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Outputs (14)

Performing in the Studio (2022)
Book Chapter
Slater, M. (2022). Performing in the Studio. In G. McPherson (Ed.), The Oxford Handbook of Music Performance, Vol.1 (510-527). Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190056285.013.31

While studio recordings can resemble live performances and draw upon similar reserves of knowledge and skill, the processes and experiences of performing in the studio are notably different from being on stage in front of an audience. This chapter si... Read More about Performing in the Studio.

Transmission strategies and blossoming participants in my composed music (2020)
Thesis
Catherin, B. (2020). Transmission strategies and blossoming participants in my composed music. (Thesis). University of Hull. Retrieved from https://hull-repository.worktribe.com/output/4223492

This commentary accompanies a portfolio of six compositions written between 2017 and 2019 with different co-makers. It discusses the core question explored in this portfolio: how the idiosyncrasies of the participants (makers, performers, audience m... Read More about Transmission strategies and blossoming participants in my composed music.

Making music in the real world : a professional practice portfolio and reflective commentary (2019)
Thesis
McCallum, S. (2019). Making music in the real world : a professional practice portfolio and reflective commentary. (Thesis). University of Hull. Retrieved from https://hull-repository.worktribe.com/output/4222595

This practice-as-research aims to explore the roles and working practice of a contemporary music practitioner. There are two elements included in the research: a musical portfolio and a written commentary. The creation of the musical portfolio is the... Read More about Making music in the real world : a professional practice portfolio and reflective commentary.

Constraint and creative decision making in the composition of concert works, film and video-game soundtracks (2019)
Thesis
Marshall, G. A. (2019). Constraint and creative decision making in the composition of concert works, film and video-game soundtracks. (Thesis). University of Hull. Retrieved from https://hull-repository.worktribe.com/output/4222714

This PhD research investigates the types, implications and origins of constraint within the contexts of various music composition projects. It then presents the practical value of this deeper understanding as a contemporary music composer. To expl... Read More about Constraint and creative decision making in the composition of concert works, film and video-game soundtracks.

Nightports, 'Nightports w/ Matthew Bourne' (2018)
Digital Artefact
Slater, M., Martin, A., & Bourne, M. (2018). Nightports, 'Nightports w/ Matthew Bourne'. [https://nightports.bandcamp.com/album/nightports-w-matthew-bourne]

A 45-minute album exploring the concept of restriction in collaboration with pianist Matthew Bourne. Liner notes (introduction): Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician ca... Read More about Nightports, 'Nightports w/ Matthew Bourne'.

Functions of genre in metal and hardcore music (2017)
Thesis
Kennedy, L. F. (2017). Functions of genre in metal and hardcore music. (Thesis). University of Hull. Retrieved from https://hull-repository.worktribe.com/output/4220820

This thesis addresses various functions of genre in metal/hardcore music as a lens through which to study popular music in the twenty-first century. The thesis proposes that issues of genre are fundamental to understandings of popular music for all p... Read More about Functions of genre in metal and hardcore music.

Processes of learning in the project studio (2016)
Book Chapter
Slater, M. (2016). Processes of learning in the project studio. In A. King, & E. Himonides (Eds.), Music, Technology, and Education : Critical Perspectives (9-26). London: Routledge. https://doi.org/10.4324/9781315596945

The emergence of the project studio is a story of increasing access to ever more powerful technologies that allow music to be produced in increasingly diverse circumstances. In 1973 Melody Maker responded, somewhat tongue-in-cheek, to an emerging tre... Read More about Processes of learning in the project studio.

Locating project studios and studio projects (2016)
Journal Article
Slater, M. (2016). Locating project studios and studio projects. Journal of the Royal Musical Association, 141(1), 167-202. https://doi.org/10.1080/02690403.2016.1151241

Via a longitudinal case study of a studio project (Middlewood Sessions, 2004–12), this research explores processes of music-making in the increasingly prevalent context of the project studio to give an insight into contemporary music-making practices... Read More about Locating project studios and studio projects.

Nests, arcs and cycles in the lifespan of a studio project (2014)
Journal Article
Slater, M. (2015). Nests, arcs and cycles in the lifespan of a studio project. Popular music, 34(1), 67-93. https://doi.org/10.1017/S0261143014000683

Middlewood Sessions produced a kind of popular music that infuses the timbral aesthetics of jazz and orchestral music with the driving rhythms of dance music. This studio project, lasting for almost eight years, provided a rich resource for gaining i... Read More about Nests, arcs and cycles in the lifespan of a studio project.

A conceptual foundation for understanding musico-technological creativity (2012)
Journal Article
Slater, M., & Martin, A. (2012). A conceptual foundation for understanding musico-technological creativity. Journal of Music, Technology and Education, 5(1), 59-76. https://doi.org/10.1386/jmte.5.1.59_1

The point of departure for this article is the observation that increasing numbers of people are using technologies to create music. This rise in activity correlates directly with the proliferation of increasingly miniaturized music technologies whic... Read More about A conceptual foundation for understanding musico-technological creativity.

Timbre and non-radical didacticism in the Streets' A grand don't come for free: a poetic-ecological model (2011)
Journal Article
Slater, M. (2011). Timbre and non-radical didacticism in the Streets' A grand don't come for free: a poetic-ecological model. Music Analysis, 30(2-3), 360-395. https://doi.org/10.1111/j.1468-2249.2011.00317.x

This article investigates the status and function of timbre by proposing a poetic-ecological model, which seeks to encapsulate the intersections between and applications of three theoretical territories: poetics, ecological theory and spectromorpholo... Read More about Timbre and non-radical didacticism in the Streets' A grand don't come for free: a poetic-ecological model.