This thesis investigates the role of recording techniques in immersive music production, aiming to balance practicality and necessity. Through four case studies involving harp, piano, sitar and an original music production inspired by a letter, the research examines how the creative process within music production and recording techniques are influenced by immersive music in mind. Utilizing qualitative observation and quantitative technical experiments, the study documents the process and outcomes, revealing the significance of immersive microphone techniques for maintaining realistic spatialization. Future directions include further exploration of recording techniques and creative applications within immersive music production. By comparing various recording methods, this work contributes a unique perspective to the field, enhancing our understanding of the interplay between technology, creativity, and musical immersion. / <p><strong>Harp: </strong>Improvised piece played by Pauline Burke-Clason. Files: Harp_ADM_Mix1.wav, Harp_Binaural _Mix1.wav,Harp_ADM_Mix2.wav, Harp_Binaural _Mix2.wav and Harp_StereoReference.wav.</p><p>Shorter versions of these files are available on DiVa, while the complete files are stored at the Royal College of Music in Stockholm.</p><p><strong>Grand Piano: </strong><em>Maurice Ravel - Miroirs, No.5, La vallée des cloches</em>, played by Herdís Ágústa Linnet. Files:MauriceRavel-VLaValleeDesCloches_ADM_Mix1.wav, MauriceRavel-VLaValleeDesCloches_Binaural _Mix1.wav, MauriceRavel-VLaValleeDesCloches_ADM_Mix2.wav, MauriceRavel-VLaValleeDesCloches_Binaural_Mix2.wav and MauriceRavel-VLaValleeDesCloches_StereoReference.wav.</p><p>Shorter versions of these files are available on DiVa, while the complete files are stored at the Royal College of Music in Stockholm.</p><p><strong>Sitar: </strong>Improvised piece played by Arjun K. Verma. Files: Sitar_ADM.wav, Sitar_Binaural.wav och Sitar_StereoReference.wav.</p><p>21 seconds of this piece is used in this project.</p><p><strong>The Dream: </strong>Song written and produced by Basma Jabbar.</p><p>Acoustic guitar arranged by and played by Tom Jondelius.</p><p>Electric guitar arranged by and played by Chris Lee.</p><p>Drums played by Felix Kling.</p><p>Strings by Stockholm Studio Orchestra:</p><p>Violin: Anna Roos Stefansson, Claudia Bonfiglioli, Danial Shariati, Jannika Gustafsson, Jonna Simonsson, Lola Torrente, Oscar Treitler, Paul Waltman, Sarah Cross, Simona Bonfiglioli, Vicky Sayles.</p><p>Viola: Christopher Öhman, Erik Holm, Shahar Rosenthal, Vidar Andersson Meilink.</p><p>Cello: Daniel Thorell, Filip Lundberg, Josef Alin.</p><p>Double Bass: Bård Ericson.</p><p>Strings arranged by Henrik Langemyr.</p><p>Strings conducted by Erik Arvinder.</p><p>Strings recorded &amp; engineered by Willem Bleeker &amp; Erik Arvinder, assisted by Basma Jabbar.</p><p>Files: TheDream_ADM.wav, TheDream_Binaural.wav and TheDream_StereoReference.wav.</p><p>Shorter versions of these files are available on DiVa, while the complete files are stored at the Royal College of Music in Stockholm.</p><p>If nothing else is stated, recording and mixing engineer is Basma Jabbar.</p>

The use of digital technology can be seen in many aspects of daily lives. Once a symbol of business and the corporate world, digital devices such as computers and cell phones are now common artifacts to adults and children alike. While these devices become more practical and common, questions of their impact on behavior and interactions begin to arise. Digital Drumming is a series of three experiments that examined the impact of known computer participation as a partner in a dyadic creative, experience-driven task. The subjective processes associated with the task of rhythmic music production by inexperienced and experienced participants working collaboratively either with a human or computer partner to produce complex poly-rhythm sounds were investigated. Specifically, the research question asked is: How do inexperienced versus experienced drummers solve problems of what to produce when they have a human partner, versus a computer partner? This is a problem of cooperation, synchronization, and microcoordination (Lee, Tatar, & Harrison, 2010). Data was collected through self-reported questionnaires and audio transcriptions of the actual sessions. Behavioral data and subjective experience responses suggested that participants viewed a computer's role differently depending on their experience level. Participants demonstrated a propensity to simultaneous interaction, often sharing a common tempo with variable rhythmic patterns. The importance of partner, as well as the perception of leader were influenced by the partner type, and the experience level of the participant. This work identifies differ- ent perceptions and expectations that humans of varying prior experience levels have when interacting with and responding to technology, and suggests deeper investigation into how people view technology in creative activities. / Master of Science

Essa tese propõe uma leitura da música, enquanto recurso didático, a partir da análise do embate metodológico entre a educação jesuíta e a educação pombalina, imediatamente após a reforma educacional proposta pelo Marquês de Pombal. O período de transição da educação no Brasil colônia foi enfocado a partir de dois métodos norteadores das diretrizes conceituais e educacionais, são eles: o Ratio Studiorum, da educação jesuíta e O Verdadeiro Método de Estudar de Verney, da educação laica. Fundada por Inácio de Loyola, em 1534, a Companhia de Jesus estabeleceu prioridades pedagógicas basicamente voltadas à educação de novas gerações e à ação missionária de difusão dos valores religiosos, sendo que, nessas duas instâncias a música teve papel relevante na perspectiva da relação ensino-aprendizagem da educação religiosa. Verney, conforme relata a historiografia, teve um papel central para compreensão do movimento iluminista português, norteador da reforma pombalina, pois através de sua obra, mobilizou novos rumos para educação de Portugal e suas colônias, compatíveis com o pensamento vigente na Europa do século XVIII. Com a reforma pombalina a música foi minimizada no ambiente escolar, ocupando outros espaços e criando estilos diferenciados, tanto no que diz respeito à produção musical sacra quanto à profana. O Brasil Colônia obteve representatividade musical na Europa, pela qualidade de seus músicos-compositores mulatos, em especial os de Minas Gerais, Bahia, Pernambuco e sacros em Mogi das Cruzes. / This thesis proposes reading music as a resource for teaching, from the analysis of the methodological clash between the Jesuit Education and the Pombal Education, immediately following the educational reform proposed by the Marquis of Pombal. The educational transition in Colonial Brazil was focused on two guiding methods of conceptual and educational guidelines, they are: the Jesuit Ratio Studiorum and Verney\'s True Method of Studying, of secular education. Founded by Ignatius of Loyola in 1534, the Society of Jesus establishes educational priorities primarily focused on education of new generations and the missionary work of infusing religious values, being that in these two instances music has played a significant role in the perspective in teaching or having a religious education. Verney, as reported by historians, played a central role in understanding Portuguese Age of Enlightenment, leading the reform of Pombal, because it was with his work that new directions for education were mobilized in Portugal and its colonies, befitting of the prevailing thought in eighteenth-century Europe. With the Pombal Reform the music was oppressed in school environments, occupying other spaces and creating differentiated styles, with regard to music production being sacred as well as profane. Colonial Brazil won musical acknowledgement in Europe for its mulatto musician-composers predicate, especially those of Minas Gerais, Bahia, Pernambucco and Mogi das Cruzez.

Essa tese propõe uma leitura da música, enquanto recurso didático, a partir da análise do embate metodológico entre a educação jesuíta e a educação pombalina, imediatamente após a reforma educacional proposta pelo Marquês de Pombal. O período de transição da educação no Brasil colônia foi enfocado a partir de dois métodos norteadores das diretrizes conceituais e educacionais, são eles: o Ratio Studiorum, da educação jesuíta e O Verdadeiro Método de Estudar de Verney, da educação laica. Fundada por Inácio de Loyola, em 1534, a Companhia de Jesus estabeleceu prioridades pedagógicas basicamente voltadas à educação de novas gerações e à ação missionária de difusão dos valores religiosos, sendo que, nessas duas instâncias a música teve papel relevante na perspectiva da relação ensino-aprendizagem da educação religiosa. Verney, conforme relata a historiografia, teve um papel central para compreensão do movimento iluminista português, norteador da reforma pombalina, pois através de sua obra, mobilizou novos rumos para educação de Portugal e suas colônias, compatíveis com o pensamento vigente na Europa do século XVIII. Com a reforma pombalina a música foi minimizada no ambiente escolar, ocupando outros espaços e criando estilos diferenciados, tanto no que diz respeito à produção musical sacra quanto à profana. O Brasil Colônia obteve representatividade musical na Europa, pela qualidade de seus músicos-compositores mulatos, em especial os de Minas Gerais, Bahia, Pernambuco e sacros em Mogi das Cruzes. / This thesis proposes reading music as a resource for teaching, from the analysis of the methodological clash between the Jesuit Education and the Pombal Education, immediately following the educational reform proposed by the Marquis of Pombal. The educational transition in Colonial Brazil was focused on two guiding methods of conceptual and educational guidelines, they are: the Jesuit Ratio Studiorum and Verney\'s True Method of Studying, of secular education. Founded by Ignatius of Loyola in 1534, the Society of Jesus establishes educational priorities primarily focused on education of new generations and the missionary work of infusing religious values, being that in these two instances music has played a significant role in the perspective in teaching or having a religious education. Verney, as reported by historians, played a central role in understanding Portuguese Age of Enlightenment, leading the reform of Pombal, because it was with his work that new directions for education were mobilized in Portugal and its colonies, befitting of the prevailing thought in eighteenth-century Europe. With the Pombal Reform the music was oppressed in school environments, occupying other spaces and creating differentiated styles, with regard to music production being sacred as well as profane. Colonial Brazil won musical acknowledgement in Europe for its mulatto musician-composers predicate, especially those of Minas Gerais, Bahia, Pernambucco and Mogi das Cruzez.

Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut. / This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.

This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement.

Med detta masterprojekt har jag siktat på att göra ett album bestående av tolv låtar med syftet att skapa ett sammanhängande sound för mitt bandprojekt ”isolate”. Processen har varit en metod för att få djupare kunskaper om hur man skapar en sonisk signatur genom begränsning av konstnärliga och tekniska möjligheter. Detta examensarbete är en dokumentation av skrivprocessen, förproduktion, inspelning och ljuddesign, som undersöker min viktigaste fråga: Hur kommer jag till ljudet? Forskningen har genomförts som en autoetnografisk studie. Genom att fokusera de viktigaste instrumentrollerna på albumet har jag utforskat hur deras sound definierar albumets signatur och skapar ett soniskt narrativ. Inspelningen av albumet har genomförts både digitalt och analogt och jag har fokuserat mig på hur de tekniska verktygen främjar känslor i låtarna. I det här arbetet diskuterar jag även mitt ledarskap som musikproducent och musiker i bandsammanhang. / With this master’s project, I have been aiming for a record consisting of twelve tracks with the purpose of creating a coherent sound for my band project ”isolate”. The process of making this record has been a method to gain deeper knowledge on how to create a signature sound, limit myself in possibilities to gather inspiration and capture creativity. This thesis is a documentation of the writing process, pre-production, recording, and sound design, which investigates the main question: What brings me to the sound? The research has been done through an auto-ethnographic observation. By emphasising the main instrument roles on the record, I have been exploring how their sound defines the signature of the album and creates a sonic narrative. Both digital and analogue sound-shaping has been utilised during the recording stage and I have been focusing on how the technical tools facilitate emotions in the songs. This thesis also brings my leadership as a music producer, as well as musician in the band context, to the table.

This is a study of how game design has influenced my artistic process as a music producer fora video game called Sang: The Desert Blade. The artistic practice is used to explore a conceptin game design called ludonarrative. The experiences gathered from this exploration arepresented with examples of music that have been created and implemented for the gameduring this study. The music examples are contextualized together with video documentationfrom my creative process and video recordings of the game. The study concludes that videogame music is directly interconnected with game design and its aesthetics is directly affectedby the degree to which a music producer is included in the development team. The study alsoshows how unpredictability is a fundamental part of game design and suggests how it can beexplored in future artistic research of video game music. / Det här är en studie om hur speldesign har påverkat min konstnärliga process sommusikproducent för ett dataspel som heter Sang: The Desert Blade. Den konstnärligapraktiken används för att undersöka ett koncept inom speldesign som kallas ludonarrativ.Erfarenheterna från undersökningen presenteras genom musikexempel som har skapats ochimplementerats i spelet under studien. Musikexemplen kontextualiseras tillsammans medvideodokumentation från min kreativa process och med videoinspelningar från spelet. Studiendrar slutsatsen att dataspelsmusik är direkt sammanlänkad med speldesign och dess estetik ärdirekt påverkad av den grad som en musikproducent involveras i spelets utvecklingsteam.Studien visar också hur oförutsägbarhet är en fundamental del av speldesign och föreslår hurdet kan undersökas i framtida konstnärlig forskning av dataspelsmusik.

This master dissertation is an attempt to find the best way for a young and aspiring music producer or songwriter to start a career within the pop music industry. The aim of the project is to gain knowledge from the process of pitching music to publishers, record labels and artists and to improve that process with the knowledge gained. As an additional method I also invited professionals from the music industry (A&amp;R, artist and producers/writers) to share their views on the topic. The work resulted in several songs and song sketches, but it is important to point out that the audio is not part of the analysis and rather a biproduct of the project. The focus of this dissertation lies on the process of pitching music, building a network and the learning effect only. / I detta arbete ska jag försöka hitta ett bra sätt för en blivande musikproducent eller låtskrivare att starta en karriär inom popmusikindustrin. Syftet med projektet är att utveckla kunskap om hur man pitchar musik till förlag, skivbolag och artister och genom den processen ständigt förbättra arbetsmetoden. Som ytterligare en metod förde jag också samtal med yrkesverksamma från musikbranschen (A&amp;R, artist och producenter/låtskrivare) för att på så sätt få ta del av andra åsikter om ämnet. Arbetet resulterade i flera låtar och sångskisser men det är viktigt att förtydliga att musiken inte är en del av analysen utan snarare en biprodukt av projektet. Uppsatsen fokuserar endast på arbetsprocessen och den kunskap som är kopplad till den.

Syftet med detta projekt var att jämföra individuellt arbete och samarbeten med andra, och studera hur de olika arbetsformerna mentalt påverkat oss som deltagit i detta arbete. Metoden som använts är genomförandet av tre delstudier som omfattat projekt där jag dels skapat musik tillsammans med andra och dels individuellt, samt en intervjuundersökning. En erfarenhet från detta projekt är att, när det kommer till samarbete och individuellt arbete inom kreativt skapande, är varje situation unik. Ett resultat av arbetet är att skillnaderna mellan hur de olika arbetsformerna upplevs är beroende av olika faktorer. Dessa faktorer är bland annat vilka som deltar, vilken uppgift som ska lösas, relationerna mellan deltagarna i en grupp och vilka tidsramar som gäller. För mig har en viktig insikt varit att jag fungerar allra bäst när jag både arbetar individuellt och samarbetar. För att kunna genomföra musikproduktioner och nå mina konstnärliga mål behöver jag, social gemenskap, dela och skapa idéer med andra, samt möjligheten att arbeta individuellt för att kunna skapa helt fritt utan att ta hänsyn till någon annan. / The purpose of this project was to compare individual and collaborative work, and to study how the different forms of work methods mentally affected me and the participants. The method used is the implementation of three sub-studies which included projects where I created music with others and individually, as well as an interview study. One experience from this project is that, when it comes to collaborative and individual work within music creation, each situation is unique. One result is that the differences between how the various working methods are experienced, depends on several factors. These factors include, who is participating, what task is to be solved, the relationship between the participants and what time frames apply. For me, an important insight has been that I prefer working both individually and collaboratively. To be able to make music productions and achieve my artistic goals, I need to, socialize with others, share and create ideas with different people, as well as the opportunity to work individually to be able to create music freely without taking anyone else into consideration.