This website is still under development - the conference opens on 23rd Jan 2016

Further information about the research project can be found at: http://www.uwl.ac.uk/classical-music-hyper-production/welcome

Panel Discussions - see below for participants and panel themes

performancecompositionProductionCommercialMusicology

 

 

 

 

 

 

StudentsProgramConcertsPAR

 Level Playing Field

 

 

 

 

 

Participants include: Martin Anderson (Toccata Classics Records, UK), Arved Ashby (Ohio State University, USA), Philip Auslander (Georgia Institute of Technology, USA), Daniel Barolsky (Beloit College, USA), Joe Bennett (The Boston Conservatory, USA), Ken Blair (Sound Engineer, UK), Andrew Bourbon (London College of Music, UWL, UK), Amy Blier-Carruthers (Royal Academy of Music), Andrew Blake (Winchester University, UK), Experience Bryon (Royal Central School of Speech and Drama, UK), Emilie Capulet (London College of Music, UWL, UK), Stephen Emmerson (Queensland Conservatorium, Australia), Ambrose Field (University of York, UK), Robert Fink (UCLA, USA), Andrew Hallifax (Sound Engineer, UK), Jan Olof Gullo (Stockholm Royal College of Music, Sweden), Robert Hugill (Blogger, Planet Hugill, UK), Kristen Kreider (Royal Holloway College, UK), J. Meryl Krieger (Indiana University, USA), John Landor (Music Director, LMA Orchestra, UK), Dan Leech-Wilkinson (Kings College London, UK), Scott Metcalfe (Peabody Conservatory, USA), Morten Michelsen (University  of Copenhagen, Denmark), Ian Pace (City University, UK), John Rink (University of Cambridge, UK), Jez Wells (York, UK), Frances Wilson (Blogger, Cross-Eyed Pianist, UK),  Simon Zagorski-Thomas (London College of Music, UWL, UK), Xuefeng Zhou (Southwest University, China), 

Panel Themes

  1. Performance: How can performers contribute to the creative potential of recording classical music?
  2. Composition: How can composers contribute to the creative potential of recording classical music?
  3. Production: How can producers and engineers contribute to the creative potential of recording classical music?
  4. Commercial: How does the sound of the record production affect the commercial prospects of a classical recording?
  5. Musicology: How do more adventurous approaches to record production affect the notion of the 'text' in classical music?
  6. Students: How should classical music students be encouraged to engage more actively with recording as a creative practice?
  7. Practice As Research: What does a good Practice As Research output look like?
  8. Level Playing Field: How can we create a more level playing field for comparing Practice As Research with 'traditional' forms of research?