New Takes on Recorded Music: Performance, Creativity, Technology

A Performance Studies Network Research Forum

CONFERENCE WEBSITE (including full Conference Programme):     

Registration for this conference is now closed.  

This PSN research forum is the first of its kind complementing the biennial PSN International Conferences. This event seeks to renew and nurture dialogue among a range of different disciplines and artistic fields within which practitioners and scholars continue to explore the identity, role, and function of recorded music through varied approaches in the digital age. This event aims to stimulate critical discussion on existing and new trends in research, especially the intersection between creative practice and technology, as well as artistic and scientific inquiry.

We welcome proposals which seek to explore or challenge traditionally assumed binaries in the face of technological mediation, such as ‘text vs. performance’, ‘product vs. process’, ‘creation vs. reproduction’, ‘recorded vs. live’, ‘material vs. virtual’, or ‘embodied vs. disembodied performance’. Contributions with an applied or practice-based focus, and those that explore the cross-fertilisation of research methods are also particularly encouraged. All types of musical style, genre, and artistic practice are invited for consideration. This PSN forum embraces a broad definition of ‘recording’ and ‘recorded music’ in order to encompass the many different formats and technological media through which music is experienced as performance, and the wide range of approaches for scholarly and artistic engagement. Contributions from postgraduate researchers, and early career researchers/practitioners are particularly welcome.

Programme Committee: Professor Amanda Bayley (Bath Spa University, UK), Dr Daniel Barolsky (Associate Professor, Beloit College, US), Dr Amy Blier-Carruthers (King’s College and Royal Academy of Music, UK), Dr Georgia Volioti (main organiser, University of Surrey, UK).

This event is supported by the Music & Letters Trust. A number of bursaries is available to support individuals, especially postgraduate students and unaffiliated early career researchers.

Proposals are invited that address (but are not limited to) any of the following themes:


  • Ethnographies of recordings (e.g., documenting the recording process, capturing performances in cross-cultural contexts)
  • Performance style and interpretation (e.g., re-evaluating artists, repertories, and performance practices in light of new evidence from recordings and/or new research methods)
  • Analytical approaches (especially those that challenge traditional ideologies and assumptions)
  • Recordings and artistic practice (e.g., the recording process as artistic practice, recording techniques as compositional materials, mixing live and recorded performance, intermediality and performativity)
  • Applied psychological perspectives (e.g., evaluating performance from recordings / recording reviews, performers’ reflective practice using recordings, aural modelling and stylistic assimilation, recordings and self-regulated learning)
  • Pedagogical contexts (e.g., teaching recording/studio techniques, learning to be a musician through making recordings, recordings and creative teaching practice, using technology to foster connectivities in pedagogical contexts) 
  • Recorded music in other cross-cultural contexts (e.g., in therapeutic settings, in community music making, re-imagining the past through the lens of technology)

Submissions are invited for:

  • Individual spoken papers (20 minutes) – 250-word abstract.
  • Practice-based workshops or recitals (45 minutes maximum) – 300-word abstract including details of excerpts / scores / recordings of works to be presented in the event, plus participant CV (no longer than 1 side of A4).

All submissions should include a short author/contributor biography: 150-word (maximum).

For any further information, please contact: Georgia Volioti (g.volioti -at-