Abstract
Music-making software is increasingly available to amateur or hobbyist musicians, and affords the possibility of professional-
quality recordings to non-professional music-makers working from their home computers. Based on audio/video recordings and screen capture data of two such musicians working
collaboratively and for fun, this paper aims to unpack an array of features of the order and organisation of various amateur music-making activities. Topically, this paper addresses how such music-makers utilise various available resources to facilitate their collaborative efforts: through the invention and usage of idiosyncratic ‘technical’ terms borne from audio properties of the sounds at hand;
a reliance on the shared availability of visual properties of the composition and the software on-screen; through the use of accompanying written documents, and so on. Further comments are made on the technological and
methodological demand of analysing work that is primarily available only through the fine detail of a computer screen and through ad hoc invented ‘technical’ terms. Hence, the overall aim is to highlight some of the empirical and methodological issues pertaining to understanding the work of amateur music-makers, and how they might be able to work towards professional-quality recordings despite still learning what it takes to do so.
quality recordings to non-professional music-makers working from their home computers. Based on audio/video recordings and screen capture data of two such musicians working
collaboratively and for fun, this paper aims to unpack an array of features of the order and organisation of various amateur music-making activities. Topically, this paper addresses how such music-makers utilise various available resources to facilitate their collaborative efforts: through the invention and usage of idiosyncratic ‘technical’ terms borne from audio properties of the sounds at hand;
a reliance on the shared availability of visual properties of the composition and the software on-screen; through the use of accompanying written documents, and so on. Further comments are made on the technological and
methodological demand of analysing work that is primarily available only through the fine detail of a computer screen and through ad hoc invented ‘technical’ terms. Hence, the overall aim is to highlight some of the empirical and methodological issues pertaining to understanding the work of amateur music-makers, and how they might be able to work towards professional-quality recordings despite still learning what it takes to do so.
| Original language | English |
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| Title of host publication | The 11th Conference of the International Insitute for Ethnomethodology and Conversation Analysis: Technologies and Techniques |
| Publication status | Published - 8 Aug 2013 |
| Event | The 11th Conference of the International Insitute for Ethnomethodology and Conversation Analysis: Technologies and Techniques - Wilfred Laurier University, Waterloo, Canada Duration: 5 Aug 2013 → 8 Aug 2013 https://www.regonline.ca/builder/site/Default.aspx?EventID=1104991 |
Conference
| Conference | The 11th Conference of the International Insitute for Ethnomethodology and Conversation Analysis |
|---|---|
| Abbreviated title | IIEMCA2013 |
| Country/Territory | Canada |
| City | Waterloo |
| Period | 5/08/13 → 8/08/13 |
| Internet address |