Uploaded July 2019 | Updated September 2026, 6 hours 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
Further Exploration of Transnational Flow in Cloud-based Music Production: A Constant Tewnty-four-hour Workflow
Daniel Pratt, Queensland University of Technology, danbonefinger@gmail.com
Shane Hoose, Eastern Kentucky University, shane.hoose@eku.edu
Wellington Gordon - Husson University
Email: gordonw@husson.edu
/// ABSTRACT
Last year we assembled three experienced songwriting producers from three international locations and successfully recorded our first song. To facilitate this internationally networked recording session, we developed a new theory called transnational flow (TNF). TNF is an amalgamation of Csikszentmihalyi’s (1995) flow theory and Sawyer’s (2007) group flow theory that accounts for the unique logistical challenges associated with transnational collaboration. This year, we intend to test our fledgling theory by constraining the organizational boundaries and focusing our creativity over a timeframe of three days. To achieve the outcome of a finished song we utilize Dropbox, Reaper, and Skype. We network our expertise and studio facilities using the distributed creativity theory of Sawyer and DeZutter (2009). This network of creative facilities takes our modest home studios and turns them into abstract recording environment with three specialized producer-engineers. To navigate the international complexities, we utilize Karl Weick’s Sensemaking (1995) and Jazz metaphor (1998) theories. In doing so, we create a binary of creative and organizational cognitive states where one serves to help the other flow.
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
Further Exploration of Transnational Flow in Cloud-based Music Production: A Constant Tewnty-four-hour Workflow
Daniel Pratt, Queensland University of Technology, danbonefinger@gmail.com
Shane Hoose, Eastern Kentucky University, shane.hoose@eku.edu
Wellington Gordon - Husson University
Email: gordonw@husson.edu
/// ABSTRACT
Last year we assembled three experienced songwriting producers from three international locations and successfully recorded our first song. To facilitate this internationally networked recording session, we developed a new theory called transnational flow (TNF). TNF is an amalgamation of Csikszentmihalyi’s (1995) flow theory and Sawyer’s (2007) group flow theory that accounts for the unique logistical challenges associated with transnational collaboration. This year, we intend to test our fledgling theory by constraining the organizational boundaries and focusing our creativity over a timeframe of three days. To achieve the outcome of a finished song we utilize Dropbox, Reaper, and Skype. We network our expertise and studio facilities using the distributed creativity theory of Sawyer and DeZutter (2009). This network of creative facilities takes our modest home studios and turns them into abstract recording environment with three specialized producer-engineers. To navigate the international complexities, we utilize Karl Weick’s Sensemaking (1995) and Jazz metaphor (1998) theories. In doing so, we create a binary of creative and organizational cognitive states where one serves to help the other flow.
