Hello fellow senior sem bloggers
Here is what I have so far on my academic portion of my project. I have focused here on the nature of Creative Collaborations and Integrative Collaborations. I have done some research on the subject and found some great material. The next phase of the paper, which I feel is the heart of it, will be my relfection on the collaborative process that took place from recording the track for the video to shooting the video. The video will be shot next weekend and I am looking very much forward to it. Enjoy your break people,
“The juxtaposition and joint exploration of ideas are crucial for constructing a new paradigm in art of science”
- Vera John-Steiner
TITLE HERE
Collaboration can be defined as working jointly with others or together, especially in an intellectual endeavor. For my senior project I will be shooting a music video that will embody the nature of collaboration and then I will write a personal reflection of the process. My studies here at Appalachian State University have been in the concentration of the Music Industry with an emphasis on Recording and Production. Having completed my studies in this field, I have noticed how important the role of collaboration is in the music industry, in the recording studio, and in the true essence of music in general. Having acknowledged this, it is very clear to me how important the role of collaborations will be in my future. Thus, my purpose in my video shoot is to thoroughly exemplify the collaborative works that where present in my work with other artist.
Before I describe the actual collaborative works that I took part in, it is important to delve into the nature of collaborations themselves especially creative and integrative collaborations. The most important aspect of collaborations to understand is that it is a dictator-less process. No one party should have more control or input than the other or else the result would not be a true collaboration. The idea of mutuality has to be embraced and completely understood, i.e. there must be complete selflessness present in the endeavors. Once this is understood there then must be the ability for the parties to merge into a single identity for the creative collaboration to exist. This does not mean that the parties must be completely the same in thought and skill. The choreographer Murray Louis said that, “in creative works two parties can and are very different. Without any differences any collaboration would not have been possible.” (Steiner, 63) The expression “opposites attract” may very well apply to collaborations.
Though the two parties may be similar or different the crux of the process must possess a shared vision. “For a partnership to be truly creative-to change a discipline and transform a paradigm- multiple perspectives, complimentary in skills and training, and fascination with one’s partner’s contributions are essential.”(Steiner, 64) The need for mutual appreciation and support of the others talent is the catalyst for the give-and-take idea generation phase. “During the early stages of an integrative collaboration, mutual discovery and a certain temporary fusion of individual personalities take place. Enchantment with the partner contributes to eagerness to learn, to explore, and to engage in new work.”(Steiner, 83) Integrative Collaboration can be described as an artist discovering their complimentary and pushing further to create a union, which will result in transforming both artist work and personal life. (Steiner, 96).
Now that you have some notion on the basis for Integrative and Creative Collaborations, we need to take a step back and take into consideration the desire for such actions. What motivates people to take part in collaborative efforts? According to John Steiner, people wish to collaborate for the “desire to overcome the limitations of the self and as a response to the alienation widespread in modern life.”(124) He also says that “creative people often face loneliness, poverty, and reoccurring doubts about their abilities”(74). Artist, by temperament, tend to be introverted to focus on work, accept amiably the fact that art does not amount to millions, and are themselves their number one critic and cynic. The ability to engage in supportive partnership collaborations allow the “participants to experience emotional connectedness and a revival of purpose in shared work”(124). This is where supporting and believing in your partners ability must present itself and remain for the course of their work. “Belief in a partner’s capabilities is crucial in collaborative work as marginality, estrangement, and self-doubt frequently plague creative people” (Steiner, 127).
The collaborative process takes shape on the basis of interdependence, trust, shared creativity, and by taking risks. As far as interdependence goes, it is the catalyst for the creativity that is in work. It’s like Picasso said about his partnership with Braque, “We were inclined to efface our personalities in order to find originality”(Steiner, 130). The assistance that the two parties give one another constructs ideas by having an open ear to new ideas and results in one’s that would not have come about from their own temperaments. “Collaborative partners can build on their solidarity as well as their differences, complimentary in knowledge, working habits, and temperament adds to the motivation needed for effective partnerships”(Steiner, 128).
Trust and risk are two very important elements to a successful partnership. Since the artists themselves experience a level of emotional connectedness with their partner, they can justify a purpose in the work they share together. But this can only be felt when trust between the two parties is present and genuine. “Trust between collaborators often contributes to the heightened self-confidence needed to over-come the weight of artistic traditions”(Steiner, 79). Trust is essential because it protects the relationship that has been established. This notion fits in quite well with one of my collaborators verses, “Form a fifty-fifty partnership through the creative, once partnership is formed one must be careful not to abuse this power generated, danger exists”. He speaks on the fact that the creative process is absolutely dictator-less. No one party should have more input or control than the other, otherwise danger exists indeed. Trust also allows the artists, who know their craft and how to build on it, to “build some artistic distance between each other while treasuring their primary connection”(Steiner, 84).
The risk element of collaborations is also important to recognize. Without taking risks in the idea generation stage, existing works could be replicated. Taking risks allows artists to dive into uncertain areas, areas that could very well produce originality. Howard Gruber, a scholar in creativity, said, “by spreading the risk between partners, each participant is encouraged to take more chances,” which I feel is absolutely imperative for any creative endeavor to be groundbreaking. (Steiner, 79)
Friday, April 6, 2007
Tuesday, February 13, 2007
ABSTRACT
Music Videos: More than Cars and Girls
For my senior project I propose to create a music video that will focus on the element of collaboration. Since I have been studying the Music Industry here at ASU, with an emphasis in Recording and Production, it has become quite clear to me how important collaborations will be in my future.
Music is so special because it has the universal ability to bring people together. Considering the fact that I am a producer and an aspiring audio engineer, collaborations are something that will occur on a daily basis in the future. Collaborations open the doors to creativity outside of oneself and at the same time allows for critique’s that you yourself may not see. For example, a producer can offer creative options or song structure that the band/artist might not have originally foreseen, which in the long run could ultimately make the track.
What I wish to accomplish for my senior project is to highlight the importance of collaboration by shooting a full-length music video for a track that I produce and will feature collaborations with two emcees. The collaboration will exist not only with the music but with the video as well. The value of collaborations in the Music Industry cannot be overlooked and the majority of music/video that we encounter today could not exist had it not been for multiple collaborations.
For my senior project I propose to create a music video that will focus on the element of collaboration. Since I have been studying the Music Industry here at ASU, with an emphasis in Recording and Production, it has become quite clear to me how important collaborations will be in my future.
Music is so special because it has the universal ability to bring people together. Considering the fact that I am a producer and an aspiring audio engineer, collaborations are something that will occur on a daily basis in the future. Collaborations open the doors to creativity outside of oneself and at the same time allows for critique’s that you yourself may not see. For example, a producer can offer creative options or song structure that the band/artist might not have originally foreseen, which in the long run could ultimately make the track.
What I wish to accomplish for my senior project is to highlight the importance of collaboration by shooting a full-length music video for a track that I produce and will feature collaborations with two emcees. The collaboration will exist not only with the music but with the video as well. The value of collaborations in the Music Industry cannot be overlooked and the majority of music/video that we encounter today could not exist had it not been for multiple collaborations.
Tuesday, February 6, 2007
Works Cited......a begining
So here is what I have so far. It feels weird doing a bibliography for my project considering the fact that I plan on doing a full length music video for a track that I produce but these books and sites will indeed help my endeavors.
Works Cited
Burgess, Richard James. The Art of Music Production. 3rd Ed. London, UK: Omnibus
Press, 2005.
Carlson, Jeff. iMovie HD 6 and iDVD 6 for Mac OS X. Berkeley, CA: Peachpit Press,
2006.
Coryat, Karl. How To Get Great Sound From Any Studio: (no matter how weird or
cheap your gear is). San Francisco, CA: Backbeat Books, 2005.
Huber, David Miles and Robert E. Runstein. Modern Recording Techniques. 5th Ed.
New York, NY: Focal Press, 1997.
Kleiler, David and Robert Moss. You Stand There: Making Music Video. 1st Ed. New
York, NY: Three Rivers Press, 1997
King, Sahpreem A. Gotta Get Signed: How to Become a Hip-Hop Producer. New York,
NY: Schirmer Trade Books, 2005.
Owsinski, Bobby. The Mixing Engineer’s Handbook. 2nd Ed. Boston, MA: Thomson
Course Technology PTR, 2006.
Owsinksi, Bobby. The Recording Engineer’s Handbook. Boston, MA: artistpro
Publishing, 2005.
Shwartz, Laura M. Making Music Videos: Everything You Need to Know From the Best
In the Business. New York, NY: Billboard Books, 2007
White, Paul. Creative Recording 1: Effects and Processors. 2nd Ed. London, UK: SMT,
2003.
http://www.apple.com/ilife/imovie/
http://www.digidesign.com
http://www.mixonline.com
http://www.mixonline.com/education/directory
http://www.propellerheads.se/
http://remixmag.com/production/
back to the class blog........http://idsseniorseminar.blogspot.com/
Works Cited
Burgess, Richard James. The Art of Music Production. 3rd Ed. London, UK: Omnibus
Press, 2005.
Carlson, Jeff. iMovie HD 6 and iDVD 6 for Mac OS X. Berkeley, CA: Peachpit Press,
2006.
Coryat, Karl. How To Get Great Sound From Any Studio: (no matter how weird or
cheap your gear is). San Francisco, CA: Backbeat Books, 2005.
Huber, David Miles and Robert E. Runstein. Modern Recording Techniques. 5th Ed.
New York, NY: Focal Press, 1997.
Kleiler, David and Robert Moss. You Stand There: Making Music Video. 1st Ed. New
York, NY: Three Rivers Press, 1997
King, Sahpreem A. Gotta Get Signed: How to Become a Hip-Hop Producer. New York,
NY: Schirmer Trade Books, 2005.
Owsinski, Bobby. The Mixing Engineer’s Handbook. 2nd Ed. Boston, MA: Thomson
Course Technology PTR, 2006.
Owsinksi, Bobby. The Recording Engineer’s Handbook. Boston, MA: artistpro
Publishing, 2005.
Shwartz, Laura M. Making Music Videos: Everything You Need to Know From the Best
In the Business. New York, NY: Billboard Books, 2007
White, Paul. Creative Recording 1: Effects and Processors. 2nd Ed. London, UK: SMT,
2003.
http://www.apple.com/ilife/imovie/
http://www.digidesign.com
http://www.mixonline.com
http://www.mixonline.com/education/directory
http://www.propellerheads.se/
http://remixmag.com/production/
back to the class blog........http://idsseniorseminar.blogspot.com/
Thursday, January 25, 2007
Mixed Thoughts on my Senior Project
Thanks to my trusty alarm clock, I missed class today and was not able to present my possible senior project ideas. Yes I said ideas because I am constantly thinking of ideas because I want this project to be fun and creative, not a bland presentation on Powerpoint. So I am studying the Music Industry basically with a focus in Recording and Production. I have numerous options with this. I talked with Derek and he thought it would be cool to explore different recording techniques with one particular track that I myself will produce. This could be a historical account of recording technologies that I incorporate into my own productions, but I don't want it to be boring because it takes trained ears to hear specific differences between say analog tape and digital recordings that exist today. Thats one option. The other that I have been thinking about doing is taking my acquired knowledge of recording and production and making a full length music video. So I would incorporate video technologies and my own productions to create a project. This I think would be very interesting and would be much more creative than the first propsed topic. I am still thinking and am collecting ideas daily so who knows what I will do but this is what I have so far. Any input or suggestions would be great, so feel free to get your blog on!
Wednesday, January 17, 2007
review of past senior projects
i was very suprised to find some senior projects that were in line with what I am studying, but there was really only one that hit dead on with my subject. In 01' Skye McLeod wrote a paper titled, "Bouncing Around the Room: Design & Construction of an Affordable Project Studio". Having studies this material before, the information was not that new to me but the detail that Skye offered was great and very thorough. His detail was so thorough he even got down to how far certain frequencies from sounds waves travel, such as the lowest of low notes(20 Hz) travels 56.5 ft and the highest note that our ears can perceive(20kHz) travels only 0.0565ft.....interesting stuff right? I'm not going to continue with the details because it even bores me but this paper was some 30 pages long and the appendix included frequency range charts, propsed designs for studios, list of materials, and how-to-do instructions. I was thoroughly impressed.
I looked over three other papers as well; "Audio Format: The Changing of Musical Experience" by Michael Henderlite, "Live Performance in the Development of Sustainability in Indpendant Music: Success, Spontaneity, and Suggestions" by James Flynn, and "Expressions and Creativity through Music" by Kelly Earp. All of these were different in nature but dealt with some aspect of music. Michale Henderlite's paper was interesting because it explored the history of recorded music and how we attach ourselves to it. He ended his paper with a pretty dope quote, "Music links us all. Recording has just made it easier for us to find this connection"- NICENESS!
I looked over three other papers as well; "Audio Format: The Changing of Musical Experience" by Michael Henderlite, "Live Performance in the Development of Sustainability in Indpendant Music: Success, Spontaneity, and Suggestions" by James Flynn, and "Expressions and Creativity through Music" by Kelly Earp. All of these were different in nature but dealt with some aspect of music. Michale Henderlite's paper was interesting because it explored the history of recorded music and how we attach ourselves to it. He ended his paper with a pretty dope quote, "Music links us all. Recording has just made it easier for us to find this connection"- NICENESS!
Wednesday, January 10, 2007
About Patrick Ferrell
So this blogging thing is new to me and will take time to adjust to the idea of expressing thoughts in the digital realm. So who is Patrick Ferrell. In terms of college, I am a 22 year old IDS Self Design with a minor in Business. I am practically studying the Hayes School of Music's Recording and Production emphasis within their Music Industry degree. I am taking classes from communications, business, and music to fulfill my self-design degree, but my focus is on recording and production, which I have completed all courses offered. I have taken courses such as Recording and Production 1, 2, and 3, courses that focus more on the music industry such as Advanced Music Business procedures and Issues in Music Promotion, as well as the boring as hell business minor courses(ACT, MKT, FIN, MNG, blah, blah, blah). Outside of school is where you the real Patrick Ferrell can be better understood. I am all about music. Every day I produce music that fits somewhere in the vein of hip-hop with influences from electronic elements, especially synthesizers. Records, vinyl that is, is something I have come to face as an addiction. I've been collected records for a few years now and that will not stop, im going to need a sepereate room in my future house for all the goods. Old records are also incorporated into my music through SAMPLING( i.e. taking bits and pieces from prerecording sources and manipulating or rearranging them into my own compositions.....just ask me if your really interested). I play the keyboards, guitar, bass, and drums, but i guess you could say that the guitar is my main axe, but as of lately percussion is what really excites me. You wanted us the mention work experience so let me hit on that because I could talk about my love for music non-stop. My first work experience was at a pool snack bar back in the 7th grade. From there I have worked for the Fresh Market, Brueggars Bagel, Wishbones resturant, Crossroads coffee store, Grapevine Music and Video, and my last work stint was my internship up in NYC last summer for two recording studios. On that note, I love NYC, especially Brooklyn( and no for all of those who think the BK is the ghetto think again...its quite nice and has a more relaxed neighborhood feel than Manhatten). I plan on moving back to Brooklyn as soon as I graduate and hopefully find employment at a studio. The last thing I'll talk about cause this is getting lenghty is traveling. I love to travel. I have traveled over the western half of Europe( i.e. The Netherlands, Belgium, Scotland, England, Switzerland, Italy, Spain, etc) and love it. For spring break this year, me and some friends are going down to Buenos Aires, Argentina. I also plan on taking an extra semester abroad over in Spain in the fall. Thats it for now, you got an idea about me now.
Subscribe to:
Posts (Atom)