Uploaded July 2019 | Updated September 2026, 32 minutes ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
From Music to Mock-ups and Back Again; Practical Applications for Virtual Orchestration
Joseph Murphy – Dundalk Institute of Technology, Co. Louth.
Email: joseph.murphy92@gmail.com
/// ABSTRACT
When asked what advice he would give to up and coming composers, BAFTA award winning composer Garry Schyman recommended them to “learn the art of composing, become really good technologically, be able to take computers and synthesisers and samples and mock-up your music and make it sound fantastic without live players.” (Schyman, 2015)
This trend of virtual instruments becoming ever more pivotal in the working practice of composers, particularly those within the realm of scoring Music for Media, continues to grow and develop exponentially. Although technologies aiming to replicate live musical performances offer great opportunities for amateur composers and song writers, it also necessitates the learning of even more specialist skills; namely, those of ‘MIDI Orchestrating’ or ‘MIDI Programming’, in addition to a host of other ancillary disciplines related to general music production.
This paper presents an ongoing body of work which aims toward distilling and compiling a comprehensive source of a wide array of methods and techniques for this practice. To help composers best mediate this technological gap between their creative works and the utilizing of this technology to realize them virtually, this repository of practical approaches aims to cover all aspects of virtual instrument renditioning. This was achieved through a series of stages of gathering and disseminating a variety of resources and supplementary materials, in addition to those found first hand through applied composition, along with their effectiveness evaluated through comparative listening tests.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
From Music to Mock-ups and Back Again; Practical Applications for Virtual Orchestration
Joseph Murphy – Dundalk Institute of Technology, Co. Louth.
Email: joseph.murphy92@gmail.com
/// ABSTRACT
When asked what advice he would give to up and coming composers, BAFTA award winning composer Garry Schyman recommended them to “learn the art of composing, become really good technologically, be able to take computers and synthesisers and samples and mock-up your music and make it sound fantastic without live players.” (Schyman, 2015)
This trend of virtual instruments becoming ever more pivotal in the working practice of composers, particularly those within the realm of scoring Music for Media, continues to grow and develop exponentially. Although technologies aiming to replicate live musical performances offer great opportunities for amateur composers and song writers, it also necessitates the learning of even more specialist skills; namely, those of ‘MIDI Orchestrating’ or ‘MIDI Programming’, in addition to a host of other ancillary disciplines related to general music production.
This paper presents an ongoing body of work which aims toward distilling and compiling a comprehensive source of a wide array of methods and techniques for this practice. To help composers best mediate this technological gap between their creative works and the utilizing of this technology to realize them virtually, this repository of practical approaches aims to cover all aspects of virtual instrument renditioning. This was achieved through a series of stages of gathering and disseminating a variety of resources and supplementary materials, in addition to those found first hand through applied composition, along with their effectiveness evaluated through comparative listening tests.
