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向学生提供数字音频工作站（DAW）研讨会。对嘻哈生产的兴趣迅速增长，这突显了音乐学上的显着差距，可以使用DAWS的节拍产量。这项研究旨在阐明数字嘻哈生产商的学习过程，技术和子社区，并最终为击败Production in the Production In daws是一种多模式的音乐能力提供了证据。这个民族化学项目的目的是通过基于实践的实地调查为音乐制作研究的“少年运动领域”（Shelvock，2019年）做出贡献。作为一名与行业联系的音乐制作人，我有能力进行这项研究，该研究旨在通过研究生产商如何学习和掌握DAW的方式以及如何由于2000年代初以来的技术进步而进行的生产者工作流程如何进行差异，以填补有关嘻哈和音乐生产文献的空白。一些音乐学家，包括Williams（2013）和Schloss（2004），撰写了有关早期嘻哈生产技术的社会学和文化方面的文章，但对于现代，高度协作的“卧室”文化“卧室”生产的现代，高度协作的“卧室”生产的研究很少，在哪个制作人中为全球艺术家创造节拍，以创造节拍。该项目将研究21世纪的制作生产的技术方面，最终辩称为什么在DAWS中生产是一种音乐能力。