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Outputs (204)

Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies (2016)
Presentation / Conference Contribution
Harkins, P. (2016, December). Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg

This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain important to the contemporary users of digital technologies in the production of... Read More about Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies.

Beyond Borealism: New Perspectives on the North (2016)
Book Chapter
Medboe, H. (2016). Beyond Borealism: New Perspectives on the North. In Beyond Borealism: New Perspectives on the North (149-166). Norvik Press

Since the 1970s, jazz from Scandinavia has represented a distinct reimagining of the erstwhile American music form with the term “Nordic tone” being liberally applied in the marketing and critical discussion of jazz from the region. While undoubtedly... Read More about Beyond Borealism: New Perspectives on the North.

Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds (2017)
Presentation / Conference Contribution
Harkins, P. (2017, June). Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh

This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designers, Peter Vogel and Kim Ryrie, were primarily interested in the use of digi... Read More about Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds.

for Mies (2015)
Other
Burton, K. (2015). for Mies. Chicago, USA

A work for solo cello commissioned by Access Contemporary Music and the Chicago Architecture Foundation. The composition explores the relationship between music and the architecture of German modernist, Mies van der Rohe. The premiere performance... Read More about for Mies.

Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies (2017)
Presentation / Conference Contribution
Harkins, P. (2017, June). Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music

The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the processes of musical production. This paper, though, challenges the view t... Read More about Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies.

Promotion anxieties: Jazz promoters within the UK scene (2017)
Journal Article
Medbøe, H., & Moir, Z. (2017). Promotion anxieties: Jazz promoters within the UK scene. Jazz Research Journal, 11(1), 7-27. https://doi.org/10.1558/jazz.32504

Definitions and roles of the promoter within the ecology of the music industries have over recent years become the subject of attention by academics working within the eld of popular music studies. It has become accepted that precise de nitions are... Read More about Promotion anxieties: Jazz promoters within the UK scene.

Floating Sanctuary (2017)
Other
Burton, K. (2017). Floating Sanctuary. [PDF score]. Edinburgh, Scotland

A site-specific work for solo cello written for Edinburgh Doors open Day. The piece is informed by the architectural design of Craigsbank Parish Church and was presented in the space at regular intervals on September 23 2017. It was performed by Joan... Read More about Floating Sanctuary.

The Hold (2014)
Other
Dempster, K. (2014). The Hold. [Musical Score]. Edinburgh, UK

The Hold – a site-specific, promenade performance, staged at the National Museum of Scotland, Chambers Street, Edinburgh, the result of a collaboration between Lung Ha’s Theatre Company and National Museums Scotland. The play is by Anglo-Canadian wri... Read More about The Hold.

Distant Voices (2016)
Other
Dempster, K. (2016). Distant Voices. [Musical Score]. Edinburgh, UK

Distant Voices - A unique multi-disciplinary performance, in which live musicians in Edinburgh connect, via video-link technology, with dancers on stage in Liverpool and Florida. This telematic creative research project explored the efficacy of VisiM... Read More about Distant Voices.

Two Hearts Beating (2017)
Other
Dempster, K. (2017). Two Hearts Beating. [Musical Score]. Edinburgh, UK

Grassmarket Community Project • Composition: Two Hearts Beating for soprano and guitar. • Performance 1: Grassmarket Community Project during Edinburgh Doors Open Day on 23 September 2017. • Performance 2: Stockbridge Parish Church, in a v... Read More about Two Hearts Beating.

for St Gabriel's (2018)
Other
Burton, K. (2018). for St Gabriel's. [PDF score]. Prestonpans, Scotland

A site-specific work informed by the architectural design of St Gabriel's RC church, Prestonpans. The piece was presented at St Gabriel's on July 7th 2018 by Caitlin Monaghan (percussion) and Joanna Stark (cello), programmed as part of the 3 Harbours... Read More about for St Gabriel's.

Becoming a User? Science & Technology Studies (STS) and the Design/Use of Digital Synthesizer/Sampling Instruments (2018)
Presentation / Conference Contribution
Harkins, P. (2018, June). Becoming a User? Science & Technology Studies (STS) and the Design/Use of Digital Synthesizer/Sampling Instruments. Presented at Workshop on Objects of Electronic Sound & Music in Museums

This provocation will give an overview of a research project about the historical and contemporary uses of digital synthesizer/sampling instruments. One of the problems I faced when developing a theoretical and conceptual framework was that the field... Read More about Becoming a User? Science & Technology Studies (STS) and the Design/Use of Digital Synthesizer/Sampling Instruments.

Following the Distributors: Syco Systems and the Selling of Musical Instruments. (2018)
Presentation / Conference Contribution
Harkins, P. (2018, September). Following the Distributors: Syco Systems and the Selling of Musical Instruments. Paper presented at Art of Record Production (ARP)/International Association for the Study of Popular Music (IASPM) UK & Ireland Branch Conference, University of Huddersfield, UK

Since the 1980s and 1990s, scholars in Science and Technology Studies (STS) and, more specifically, those adopting the Social Construction of Technology (SCOT) approach have been investigating ‘the user-technology nexus’. This continued a shift in th... Read More about Following the Distributors: Syco Systems and the Selling of Musical Instruments..

Can Music be Digitised? Samplers, Democratisation, and 'the Digital Age' (2018)
Presentation / Conference Contribution
Harkins, P. (2018, December). Can Music be Digitised? Samplers, Democratisation, and 'the Digital Age'. Paper presented at Music, Digitalisation, and Democracy

Rather than an abrupt or revolutionary shift from analogue to digital, I will argue in this paper that the use of digital technologies such as samplers have been part of a more gradual process of socio-musical change. As well as examining the argumen... Read More about Can Music be Digitised? Samplers, Democratisation, and 'the Digital Age'.

Deacon (CD/DVD Set) (2009)
Other
Moir, Z. (2009). Deacon (CD/DVD Set)

DVD/CD set of commissioned work for the rehabilitation of adult cochlear implant users, published by MED-EL UK.

Challenging authenticity: fakes and forgeries in rock music (2019)
Journal Article
Atton, C. (2019). Challenging authenticity: fakes and forgeries in rock music. Popular Music, 38(2), 204-218. https://doi.org/10.1017/S0261143019000084

Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This paper examine... Read More about Challenging authenticity: fakes and forgeries in rock music.