Abstract

Professional artistic contexts, such as studio-based music production, are rarely investigated in naturalistic decision-making (NDM) research, though creative work is characterised by uncertainty, risk, a lack of clearly definable goals, and in the case of music production, a complex socio-technical working environment that brings together a diverse group of specialized collaborators. This study investigates NDM in the music production studio. In music production, there is a professional role explicitly tasked with taking decisions—the (record) producer. The producer, as a creative collaborator, is differentiated as a problem-solver, solution creator and goal setter. This investigation looks at the producer’s metacognitive abilities for reflecting on the nature of problems and decisions. An important challenge for this study is to develop methods for observing decision-making without unrealistically reducing the amount of uncertainty around outcomes or creative intention within a studio production. In the face of that, a method is proposed that combines socio-cultural musicology and cognitive approaches and uses ethnographic data. Preliminary findings shed light on how the producer in this study self-manages his decisions and his interactions with, and in response to, the production environment; how decisions and actions sustain collaboration; how experience is utilized to identify scenarios and choose actions; and the kinds of strategies employed and their expected outcomes. Findings provide evidence that exercising producing skills and performing production tasks involve metacognitive reflection.

Highlights

  • Artistic working environments are underrepresented in the naturalistic decision-making (NDM) literature, and they are methodologically challenging to investigate, artistic domains provide interesting scenarios for the study of NDM

  • A main challenge for this study is to develop methods for observing decision-making without unrealistically reducing the amount of uncertainty around outcomes or creative intention within a studio production; methods that are as informative to socio-cultural musicology as to NDM

  • Suchman’s (1987) “situated action” and Hutchin’s (1995) “distributed cognition” frameworks illustrate how workplace studies have utilized ethnographic methods. Both these frameworks maintain a lasting influence in workplace analyses and decision-making research. (Sellberg and Lindblom 2014) This study utilizes data collected for ethnographic research in music production, but developed a method of analysis that contributes to both decision-making research as well as socio-cultural musicology

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Summary

Introduction

Artistic working environments are underrepresented in the naturalistic decision-making (NDM) literature, and they are methodologically challenging to investigate, artistic domains provide interesting scenarios for the study of NDM Professional artistic contexts, such as studio-based music production, are interesting because of the constraints professional work demands. Professional reputations are vulnerable as stakeholders bring competing interests Those who finance recording projects, such as record companies, typically impose stringent time and resource constraints on studio productions and employ representatives to verify that the musical product meets their market-based needs. Participants can often feel that their unique talents and reputations (and careers) are determined by the amount of agency they have within the process and by the decisions that are taken during a production All of these factors contribute to the intense working environment of the recording studio. This is because actions are taken and decisions are made at different times, in different orders and combinations, to yield different, distinctive results and characteristics, and there are no fixed tolerances for variation

Macrocognitive work and metacognition
The record producer
The scope of the study
An interdisciplinary approach
Recording studio data
Coding method and first analysis
Second analysis
Drawing from experience
Controlling the perceptual environment
Getting into the band’s head
Descriptions of strategy
10 Discussion and a model of decision‐making in the recording studio
11 Conclusions
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