This practical portfolio PhD presents a collection of my pop music compositions and
productions, with an accompanying exegesis that examines my process whilst creating
these tracks. The exegesis analyses the methods and techniques I use, with the aim of
achieving a better understanding of my productions. This will in turn reveal my idiolect,
which is the distinctive way an individual creates that produces their particular style
(Middleton, 1990: 136, 174; Moore, 2012: 120, 166-7). This research also includes
analyses of interesting, innovative and important moments or processes that draw on
perspectives taken from theories of creativity, technology as well as the social aspects of
creation and innovation. These theories are the systems approach to creativity
(Csikszentmihalyi, 1997, 1999), and the Social Construction of Technology [SCOT]
(Bijker, Hughes & Pinch, 1987, 2012). The focus of this thesis will be on understanding
the detail of my creative practice.
This exegesis consists of critical commentaries of four of the fifteen portfolio
tracks, each in its own chapter. It is the intention that concentrating on just four tracks
will enable a better understanding of the processes in question. Other portfolio tracks
serve as further examples of the points made, or demonstrate alternatives where
relevant. An autoethnographical approach is used as a methodology for the commentary
chapters. This is in order to achieve a comprehension of my personal experience
(Bochner and Ellis in Denzin, 2000: 736-9; Muncey, 2010: 26-33). The reader could
then potentially ‘resonate with’ this experience and ‘reflect on it’ (Bochner and Ellis in
Denzin, 2000: 753).
Chapter 1 outlines the various roles I play when creating a pop music track,
which include composer, producer, engineer, performer and collaborator. This chapter
additionally explores my position as listener as well as the significance of the opinions
of the audience. Chapter 2 focuses on composition and melody, including a discussion
of intuition and invention. The vocal production techniques used in the creation of the
featured track are explored as well as my approach to mixing. Chapter 3 centers on how
my drum performances and the lead vocal parts were created, and edited for the
portfolio track in question. It also outlines several models of collaboration that refer to
the creation of this track. Chapter 4 discusses the frame of mind one draws upon whilst
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creating pop music. It examines how I chose equipment for the production, the
production techniques used, and the creation of timbre and texture. Chapter 5 examines
the application of reverbs and effects, and also explores my approaches and attitudes,
some philosophical, towards the perspective of the listener. The composition
collaboration situation differs in each commentary chapter, including: sole composition
for Chapter 2; equally shared composition between two collaborators in Chapter 3; three
collaborators in Chapter 4, of which I have least compositional input; and two way
collaboration in Chapter 5, where I have no compositional input.
As a result of this study, a better understanding of my creative practice has been
achieved, which includes further comprehension of my idiolect. This research has not
only informed my recent composing and producing, but it is also likely that it will
influence my future productions. Furthermore, it is hoped that the insights presented in
this thesis could potentially serve as useful knowledge for others, with the prospect that
they can approach their own productions with this knowledge in mind