Producing Beats in Digital Audio Workstations as a Musical Competency, from 2001-2026

2001-2026 年在数字音频工作站中制作节拍作为一种音乐能力

• 批准号: 2890028
• 金额: --
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2890028
• 关键词: Producing; Beats; Digital; Audio; Workstations

The Cambridge University Centre for Music Performance has recently started offering Digital Audio Workstation (DAW)workshops to students. Rapidly growing interest in hip-hop production has highlighted a significant gap in musicologyregarding the production of beats using DAWS. This research aims to shed light on the learning processes, techniques,and sub-communities of digital hip-hop producers, and ultimately provide evidence for the argument that beat productionin DAWs is a multimodal musical competency. This ethnomusicological project aims to contribute to the "youngacademic field" (Shelvock, 2019) of music production studies through practice-based fieldwork. As a music producer withindustry connections, I am well-equipped to conduct this research, which aims to fill a gap in the literature on hip-hop andmusic production by examining how producers learn to use and master DAWs and how producer workflows haveevolved due to rapid technological advancement since the early 2000s. Some musicologists, including Williams (2013)and Schloss (2004), have written about the sociological and cultural aspects of early hip-hop production techniques, butthere has been little research on the modern, highly collaborative, "egalitarian" culture of "bedroom" production, in whichproducers use DAWs to create beats for global artists. This project will study the technical aspects of 21st century beatproduction, ultimately contending why producing in DAWs is a musical competency.

剑桥大学音乐表演中心最近开始为学生提供数字音频工作站（DAW）研讨会。人们对嘻哈制作的兴趣迅速增长，凸显了音乐学中关于使用 DAWS 制作节拍的巨大差距。这项研究旨在阐明数字嘻哈制作人的学习过程、技术和子社区，并最终为 DAW 中的节拍制作是一种多模式音乐能力的论点提供证据。这个民族音乐学项目旨在通过基于实践的实地考察，为音乐制作研究的“年轻学术领域”（Shelvock，2019）做出贡献。作为一名具有行业联系的音乐制作人，我完全有能力进行这项研究，旨在通过研究制作人如何学习使用和掌握 DAW 以及制作人工作流程如何因快速发展而演变，从而填补嘻哈和音乐制作文献中的空白。 2000年代初以来的技术进步。一些音乐学家，包括 Williams (2013) 和 Schloss (2004)，撰写了有关早期嘻哈制作技术的社会学和文化方面的文章，但对“卧室”的现代、高度协作、“平等”文化的研究很少制作，制作人使用 DAW 为全球艺术家创作节拍。该项目将研究 21 世纪节拍制作的技术方面，最终论证为什么在 DAW 中制作是一种音乐能力。