- Title
- Sound engineering in the recording studio as creative practice
- Creator
- Thompson, Paul; McIntyre, Phillip
- Relation
- The Art of Record Production: Creative Practice in the Studio p. 155-171
- Relation
- https://www.taylorfrancis.com/books/edit/10.4324/9781315467658/art-record-production-simon-zagorski-thomas-katia-isakoff-sophie-st%C3%A9vance-serge-lacasse
- Publisher
- Routledge
- Resource Type
- book chapter
- Date
- 2020
- Description
- Sound engineering in the recording studio has historically been viewed as a technical rather than creative endeavor (Kealy 1979). Predominantly it is the artist and, more recently, the record producer who are regarded as creative individuals in the process (Thompson 2019). But from a sociological perspective, creativity is the act of bringing into being “an idea or product that is original, valued and implemented” (Csikszentmihalyi and Wolfe 2000, 81) and there is now growing evidence that creativity occurs through the convergence of multiple elements; an agent, a knowledge system (the domain) and a social organization that holds the domain knowledge (the field), through a dynamic system of interaction (Csikszentmihalyi 1988, 1997, 1999). Creativity can therefore include technical as well as artistic and musical contributions. Rather than focusing solely on the individual, Csikszentmihalyi’s creative system emphasizes a view of creativity that integrates all three elements of domain, field, and agent within a collaborative system. The following chapter illustrates the systems model of creativity in operation at various moments of making a record on both an individual and group scale, and the process of sound engineering is identified as a creative practice within the broader creative and collaborative systems of record production.
- Description
- 2nd
- Subject
- sound engineering; recording studios; creative practices; popular music
- Identifier
- http://hdl.handle.net/1959.13/1438421
- Identifier
- uon:40600
- Identifier
- ISBN:9781315467658
- Language
- eng
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