“It’s cleaner, definitely”: Collaborative Process in Audio Production

Springer Science and Business Media LLC - Tập 32 - Trang 475-505 - 2022
Thomas Deacon1, Patrick Healey2, Mathieu Barthet3
1Media and Arts Technology Centre, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom
2Cognitive Science Research Group, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom
3Centre for Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom

Tóm tắt

Working from vague client instructions, how do audio producers collaborate to diagnose what specifically is wrong with a piece of music, where the problem is and what to do about it? This paper presents a design ethnography that uncovers some of the ways in which two music producers co-ordinate their understanding of complex representations of pieces of music while working together in a studio. Our analysis shows that audio producers constantly make judgements based on audio and visual evidence while working with complex digital tools, which can lead to ambiguity in assessments of issues. We show how multimodal conduct guides the process of work and that complex media objects are integrated as elements of interaction by the music producers. The findings provide an understanding how people currently collaborate when producing audio, to support the design of better tools and systems for collaborative audio production in the future.

Tài liệu tham khảo

Albert, Saul (2017). Research methods: Conversation analysis. In: M. F. Schober, D. N. Rapp, M. A. Britt (eds.): The routledge handbook of discourse processes. New York: Routledge, 2nd edition, Chapt. II.1, pp. 99–108. Albert, Saul; and Patrick G. T. Healey (2012). The Pragmatics of Aesthetic Assessment in Conversation. In: SeineDial: Proceedings of SemDial 2012: The 16th Workshop on the Semantics and Pragmatics of Dialogue, Paris, France, September, 2012. Special Interest Group on Discourse and Dialogue, pp. 21–30. Bennett, Joe (2012). Constraint, Collaboration and Creativity in Popular Songwriting Teams. In: D. Collins (ed.): The Act of Musical Composition: Studies in the Creative Process. Farnham: SEMPRE Studies in the Psychology of Music, Chapt. 6, pp. 139–169. Bennett, Joe (2014). Collaborative Songwriting – The Ontology Of Negotiated Creativity In Popular Music Studio Practice. In: ARP ’14: Proceedings of the 2010 Art of Record Production Conference, Leeds, UK, December 3-5, 2010. Association for the Study of the Art of Record Production, pp. 1–8. Bietti, Lucas M.; Michael J. Baker; and Françoise Détienne (2016). Joint remembering in collaborative design: a multimodal approach in the case of a video design studio. CoDesign, vol. 12, no. 4, pp. 221–242. Blaine, Tina; and Sidney Fels (2003). Collaborative musical experiences for novices. Journal of New Music Research, vol. 32, no. 4, pp. 411–428. Bleidt, Robert; Arne Borsum; Harald Fuchs; and S Merrill Weiss (2015). Object-based audio: Opportunities for improved listening experience and increased listener involvement. SMPTE Motion Imaging Journal, vol. 124, no. 5, pp. 1–13. Brooker, Phillip; and Wes Sharrock (2016). Collaborative Music-Making with Digital Audio Workstations: The n-th Member as a Heuristic Device for Understanding the Role of Technologies in Audio Composition. Symbolic Interaction, vol. 39, no. 3, pp. 463–483. Bryan-Kinns, Nick (2013). Mutual engagement and collocation with shared representations. International Journal of Human-Computer Studies, vol. 71, no. 1, pp. 76–90. Byrne, David (2012). How music works. San Francisco: McSweeneys. Clark, Herbert H; and Susan E Brennan (1991). Grounding in Communication. In: L. B. Resnick, J. M. Levine, and S. D. Teasley (eds.): Perspectives on socially shared cognition. Washington D.C: American Psychological Association, Chapt. 7, pp. 127–149. Coughlan, Tim; and Peter Johnson (2009). Understanding productive, structural and longitudinal interactions in the design of tools for creative activities. In: C&C ’09: Proceedings of the Seventh ACM Conference on Creativity and Cognition, Berkeley, California, USA, 26-30 October 2009. New York, NY, USA: Association for Computing Machinery, pp. 155–164. Crabtree, Andy; Peter Tolmie; and Mark Rouncefield (2012). Doing Design Ethnography. Springer. Deacon, Thomas; Nick Bryan-Kinns; Patrick G.T. Healey; and Mathieu Barthet (2019). Shaping sounds: The role of gesture in collaborative spatial music composition. In: C&C ’19: Proceedings of the 2019 on Creativity and Cognition, San Diego, CA, USA, 23-26 June2 019. New York, NY, USA: Association for Computing Machinery, pp. 121–132. Duignan, Matthew; James Noble; and Robert Biddle (2010). Computer Music Journal, vol. 34, no. 4, pp. 22–33. Fencott, Robin; and Nick Bryan-Kinns (2012). Audio delivery and territoriality in collaborative digital musical interaction. In: BCS-HCI ’12: Proceedings of the 26th Annual BCS Interaction Specialist Group Conference on People and Computers, Birmingham, UK, 10–14 September 2012, London: British Computer Society, pp. 69–78. Fencott, Robin; and Nick Bryan-Kinns (2013). Computer musicking: HCI, CSCW and collaborative digital musical interaction. In: S. Holland, K. Wilkie, P. Mulholland, A. Seago, (eds.): Music and human-computer interaction, springer series on cultural computing. London: Springer, pp. 189–205. Goodwin, Charles; and Marjorie Harness Goodwin (1992). Assessments and construction of context. In: A. Duranti, C. Goodwin (eds.): Rethinking context. Cambridge University Press, pp. 147–190. Hammersley, Martyn (1992). What’s wrong with ethnography? London: Routledge. Heath, Christian; and Dirk Vom Lehn (2004). Configuring Reception: (Dis-)Regarding the ‘Spectator’ in Museums and Galleries. Theory, Culture & Society, vol. 21, no. 6, pp. 43–65. Heritage, John; and Geoffrey Raymond (2005). The Terms of Agreement: Indexing Epistemic Authority and Subordination in Talk-in-Interaction. Social Psychology Quarterly, vol. 68, no. 1, pp. 15–38. Jordan, Brigitte; and Austin Henderson (1995). interaction analysis: Foundations and practice. Journal of the Learning Sciences, vol. 4, no. 1, pp. 39–103. Kling, Christopher (2014). New studio strategies in music Production—The disappearing gap between engineer and producer. In: AES 136: Audio engineering society convention 136, Berlin, Germany, . New York, NY: Audio Engineering Society. Lefford, M. Nyssim; and Paul Thompson (2018). Naturalistic artistic decision-making and metacognition in the music studio. Cognition, Technology and Work, vol. 20, no. 4, pp. 543–554. McGarry, Glenn; Peter Tolmie; Steve Benford; Chris Greenhalgh; and Alan Chamberlain (2017). In: CSCW ’17: Proceedings of the 2017 ACM Conference on Computer Supported Cooperative Work and Social Computing, Portland, Oregon, USA, 25 February–1 March 2017. New York, NY, USA: Association for Computing Machinery, pp. 995–1008. Nabavian, Shahin; and Nick Bryan-Kinns (2006). Analysing group creativity: A distributed cognitive study of joint music composition. In: CogSci ’06: Proceedings of the Annual Meeting of the Cognitive Science Society, Vancouver, BC, Canada, 26–29 July 2006. Seattle WA: Cognitive Science Society, pp. 1856–1861. Rahaim, Matt (2008). Gesture and melody in Indian vocal music. Gesture, vol. 8, no. 3, pp. 325–347. Rogers, Yvonne; Youn-kyung Lim; William R. Hazlewood; and Paul Marshall (2009). Equal Opportunities: Do Shareable Interfaces Promote More Group Participation Than Single User Displays? Human-Computer Interaction, vol. 24, no. 1/2, pp. 79–116. Rumsey, Francis; and Tim McCormick (2009). Sound and Recording. Amsterdam etc.: Elsevier. Sawyer, R. K.; and S DeZutter (2009). Distributed Creativity: How Collective Creations Emerge From Collaboration. Psychology of Aesthetics, Creativity, and the Arts, vol. 3, no. 2, pp. 81–92. Stewart, Jason; Benjamin B Bederson; and Allison Druin (1999). Single display groupware: a model for co-present collaboration. In: CHI ’99: Proceedings of the SIGCHI conference on Human Factors in Computing Systems, Pittsburgh, Pennsylvania, USA, 15-20 May 1999. New York, NY, USA: Association for Computing Machinery, pp. 286–293. Thiebaut, Jean-Baptiste; and Patrick G. T. Healey (2007). Sketching Musical Compositions. In: CogSci ’07: Proceedings of the Annual Meeting of the Cognitive Science Society, Nashville, TN, 1–4 August 2007. Seattle, WA: Cognitive Science Society, pp. 1079–1084. Weinberg, Gil (2005). Interconnected Musical Networks: Toward a Theoretical Framework. Computer Music Journal, vol. 29, no. 2, pp. 23–39.