REFLECTION ON CONTEXT, DIVERSITY AND CULTURAL APPROPRIATION

Contextualization

My project explores the evolving role of the music producer, blending technical expertise with deep artistic collaboration. It focuses on the negotiation of artistic co-ownership between producers and artists, inspired by leading figures in the field. This aligns with international Artistic Research, highlighting the intersection of music technology, artistic collaboration, and digital authorship.

The project's global scope is demonstrated through recordings with musicians from around the world, emphasizing music production as a universal dialogue. An ethical dimension runs through my work, focusing on balancing creative input and recognition, positioning the music producer as a responsible participant in artistic collaborations.

The project embodies contemporary realities and potentials of music production, where the producer's role extends beyond technical expertise to encompass significant artistic co-ownership. This perspective is illuminated by exploring the negotiation of artistic co-ownership between the producer and other artists, inspired by influential figures in the field. My work seeks to define a unique sonic signature, balancing initiating and facilitating an artistic vision and contributing creatively.

My approach aligns with international artistic research, linking my practice to discussions about authorship, artistic roles, and collaborative dynamics in digital and interdisciplinary arts. Collaborations with musicians from diverse regions like Rio de Janeiro, Nashville, and Copenhagen reflect music production as a globally interconnected practice, where cultural exchange is central.

The project contextualizes my work at the confluence of artistic creation, technological innovation, international collaboration, ethical negotiation, and academic inquiry, painting the music producer as a dynamic, adaptive, and engaged collaborator.

The unique research focus and international collaboration profoundly impact the musical qualities of the works produced. Collaborating with musicians from diverse regions introduces a rich blend of musical traditions, resulting in a unique and innovative sonic palette. My sensitivity to issues of co-ownership and rights infuses the works with integrity and respect for all contributors, influencing the music's emotional depth and authenticity.

The project's educational context also informs the musical qualities of the works, resulting in compositions that serve as exemplary models for students and professionals to learn from. Thus, my research focus and collaborative approach aim to create music that is richly diverse and ethically grounded.

Diversity

Gender diversity is essential in modern projects. At the Danish National Radio in subproject 1, there was a diverse representation of genders across all roles. However, subproject 2, faced challenges in achieving similar gender balance.

In the mock-up I recorded with a group of highly skilled musicians in Copenhagen all of whom were male. This was not a conscious choice, but a result of relying on established professional networks based on trust. The musicians were selected for their expertise, artistic sensitivity, and alignment with the project's needs, reflecting industry norms that often result in gender imbalances among available session musicians.

During my travels to Brazil and the United States, the gender balance in the teams was not due to deliberate exclusion but again was an outcome of my network-oriented approach. The recommended musicians were chosen for their skill and suitability for the project, but regrettably, the pool was all male. This starkly reflects the broader gender imbalances within the global music community, an issue of significant concern to me.

This project has been a lesson in the complexities of assembling a team under specific international circumstances with different gender dynamics. Moving forward, I am committed to being more proactive in seeking gender diversity in research projects. While recognizing the need for change, I also celebrate the vibrant diversity that the international group of studio musicians has brought to this endeavor.

Cultural Appropriation and Musical Fusion

The blending of musical cultures has always been complex, with histories of both beautiful collaborations and contentious oversteps. Popular music, ever-evolving and without a clear cultural origin, often blends different genres, instruments, and expressions freely.

In my musical endeavors, I wear many hats—from composing to mixing. My work is heavily influenced by collaborations with various artists who contribute their unique expertise. This blending of genres and cultures in music has been celebrated for its universal appeal, despite different roots. However, cultural appropriation becomes a critical issue when there is potential exploitation of specific cultural aspects. I emphasize fairness in my work, from contractual agreements to equitable pay, respecting every contribution.

In our globally connected age, it's essential to understand the fine line between celebrating cultural exchange and unintentionally appropriating it. Such interactions can lead to groundbreaking innovations.

In my preparatory research, it is clear that musical fusions involve various levels of convergence. Some collaborations, like Ravi Shankar and George Harrison, are almost cultural meetings, while others explore cultural clashes. Common to all these projects are numerous decisions and extensive negotiations about what works well in the convergence of new elements.

The Western Enlightenment era’s exploration differs from drawing inspiration from various cultures. Pop music, as a legitimate genre, doesn't belong to a specific group or cultural segment. Everyone engaged with pop music is a co-owner of the genre.

In subproject 2, I am the composer, producer, arranger, and mixing engineer. My songs, rooted in pop-music references, are constructed with attention to singability, melodic and harmonic coherence, and progression. They bear a unique compositional imprint originating from me.

I engage with various musicians who contribute their raw talent to my work, functioning more as suppliers of raw material rather than co-creators. I refine, shape, and blend these cultural and musical flavors into a cohesive whole. It is a meticulous and carefully structured process, with me deciding what elements to retain or set aside.

The unpredictability lies in the reception of the final product, making the process a genuinely experimental and artistically rewarding endeavor. As the architect and builder, I shape a new musical reality from the raw materials provided by diverse musicians, celebrating the intersection of different musical worlds under my unifying artistic vision.

Claiming my project is cultural appropriation is valid if the intention is to exploit others, but my approach ensures equal pay and respect for contributions, promoting multicultural appreciation.

Engaging with musicians from different countries promotes cross-cultural understanding, creative growth, and mutual exchange. It is a hallmark of producing and a professional responsibility. Fair collaboration supports artists’ livelihoods and respects their skills and time. Clear communication and fair compensation model how intercultural exchange should occur.

When musicians from one culture interpret songs from another, they infuse my ideas with elements of their musical traditions, preserving and evolving these traditions. This cultural exchange educates musicians and audiences, breaking down barriers and fostering global unity.

In my view, collaboration and exchange, not theft, lead to innovation and new art forms, demonstrating how cultures have interacted and evolved throughout history.