EGENES, John R.
DMA | University of Otago | 2016 | Pages: |
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Link to Thesis: https://ourarchive.otago.ac.nz/handle/10523/6303
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Abstract/Summary/Outline:
This doctoral exegesis gives an accounting of my work as producer for the three recording projects described herein: Pluck, by harpist Helen Webby, Tyre Tracks & Broken Hearts, by songwriter Donna Dean, and my own album, The Stone Soup Sessions. The latter two include my work as a performer and composer. The exegesis describes the methodologies employed as a producer and also where the roles producer, performer or composer intersect.
The job of record producer has, as have many jobs and roles, seen a shift in its authority structure during our transition from the top-down, centralised model of the twentieth century to a bottom-up, decentralised paradigm that is emerging in the twenty-first. In order to explore some of the changes to the ways in which producers have operated, I produced the three albums using different models, each with a unique approach to record production...
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