AbstractThe following thesis presents the author’s reflective process on his role as a record producer in Maltese music. This work is the outcome of his twenty-two year career in sound engineering and record production, where he focuses on his self-produced albums and projects in the classical genre, in addition to his latest contribution to the music scene in Malta. Influenced by writers and producers such as Zak (2001), Gracyk (1996) and Howlett (2009), the study takes an auto-ethnographic approach through which, the author provides a portfolio of three albums, produced with different Maltese bel canto artists and classical musicians, and reflects on the experiences and challenges during the making of these records.
This research examines the cultural constraints and phenomena that are experienced during the making of classical music in Malta. It also explores how
technology effects the Maltese musician’s perception of a recording session. Finally, the study analyses whether the practices reported in the case studies conform to the author’s characterization of the classical record producer as a Surrogate Orchestra Conductor. These evaluations, together with other empirical inquiries aim to present the reader with a unique investigation area in Maltese music from a production perspective.
|Date of Award||Mar 2017|
|Supervisor||Paul Carr (Supervisor) & Robert Smith (Supervisor)|