Songwriting Camps in the 21st Century (SC21)

流行音乐对许多人来说具有很高的个人价值;它在情感上触动我们，创造记忆，并在日常生活中陪伴我们。听众可能不知道我们喜欢的歌曲是如何创作的;在许多情况下，它是通过许多相关人员的合作努力：表演艺术家，唱片制作人，工程师，程序员，制作人。然而，最基本的方面，歌曲的创作者，不一定包括在这个列表中：作曲者创作的歌曲被执行，记录和发布。尽管表演艺术家自己写歌的想法很浪漫，但现实往往是完全不同的。许多进入排行榜的歌曲都是由专业的歌曲创作团队（合作）创作的，越来越多的歌曲创作是在出版商和唱片公司召集和监督的歌曲创作营地中进行的。本项目研究歌曲创作营地中的合作歌曲创作是如何发生的。作为第一个关注英国和德国的研究，它调查了21世纪世纪存在哪些形式的歌曲创作营地，以了解召集人（出版商，唱片公司，个人）和参与专业人士的利益。它调查了各种角色（领奏者，节拍制作者，作词者，制作人，表演者）的不同技能组合的协作创作过程和相互作用，并提供了对离线和在线营地组织，法律的因素以及歌曲创作营地在更广泛的音乐行业中的作用的见解。调查将揭示谁召集这些事件，出于什么目的，以及创建和最终选择发布的内容。法律的因素，如特许权使用费，股份和分裂，以及权力结构在发挥作用。除了这些营地的组织，研究将调查参与者的个人，专业和文化背景如何影响他们的目标和行动。这包括对合作创作工作的深入分析，以及对离线和在线合作歌曲创作价值的评估。此外，研究亦会探讨业界如何在短期及中期内运用营活动的成果。为了解歌曲创作营的组织、目的、参与者、过程及成果，研究采用了多种方法，特别是对30位专业人士进行定性访谈（词曲作者和行业代表），在现实生活中的离线和在线歌曲创作营地与现场笔记和视频记录的民族志实地考察，以及一个歌曲创作实验室的实施，记录了多摄像机设置和录音采访。学术界对商业歌曲创作作为一种职业、一种创造性和经济活动的理解，以及它在更广泛的音乐产业中的实现，仍然有限。特别是，几乎没有关于歌曲创作营地的文献，所有这些文献都是在2019冠状病毒病之前存在的。基于这些原因，这项研究预计将产生深远的影响。它开发了一个经验得出的歌曲创作营地的模型与他们的各种演员，利益和创造性，社会和经济背景下，歌曲被写。就词曲作者本身而言，我们希望对这种做法的普遍理解以及参与者如何合理化他们的参与产生重大影响。对于那些召集歌曲创作营地的人来说，这项研究将改变他们对歌曲创作营地作为生产模式的商业和专业潜力的理解。虽然学术界和新闻界对合作歌曲创作的价值达成了共识，但歌曲创作营地日益重要的作用尚未得到很好的理解。本研究项目通过在英国和德国开发歌曲创作营地的系统模型奠定了基础，填补了知识的重大空白，并为未来在歌曲创作研究的年轻领域的研究奠定了基础。

Popular music has a high personal value for many people; it touches us emotionally, creates memories and accompanies us in our daily lives. The listener may not be aware of how the songs we enjoy are created; in many cases, it is through the collaborative effort of a number of people involved: performing artists, record producers, engineers, programmers, arrangers. However, the creators of the most fundamental aspect, the song, are not necessarily included in this list: songwriters who compose the songs to be performed, recorded and released. Despite the romantic notion that performing artists write their own songs, the reality is often quite different. Many songs that enter the charts are (co-)written by professional songwriting teams, increasingly in songwriting camps convened and overseen by publishers and record companies.This project researches how collaborative songwriting takes place in songwriting camps. As the first study to focus on the UK and Germany, it investigates what forms of songwriting camps exist in the 21st century to understand the interests of convenors (publishers, record companies, individuals) and participating professionals. It investigates the collaborative creative processes and interplay of the different skill-sets of various roles (topliners, beatmakers, lyricists, producers, performers) and offers insights into the organisation of offline and online camps, legal factors, and the role of songwriting camps within the wider music industries. The investigation will uncover who convenes these events, for what purposes, and what is created and ultimately selected for release. Legal factors such as royalties, shares and splits will be considered as well as the power structures at play. Apart from the organisation of these camps, the research will investigate how the participants' personal, professional and cultural backgrounds influence their aims and actions. This includes an in-depth analysis of the collaborative creative work and the evaluation of the value of collaborative songwriting offline and online. Furthermore, the research will study how the industry uses the results of the camps in the short and medium term.To understand the organisation, purposes, participants, processes and outcomes of songwriting camps, the research employs a combination of methods, in particular qualitative interviews with 30 professionals (songwriters and industry representatives), ethnographic fieldwork in real-life offline and online songwriting camps with field notes and video recordings, and the implementation of a Songwriting Lab documented with a multi-camera setup and audio-recorded interviews.The academic understanding of commercial songwriting as a profession and as a creative and economic activity, as well as its realisation in the wider music industries, is still limited. In particular, there is next to no literature on songwriting camps, and all that exists pre-dates Covid-19. For these reasons, the research is expected to have a profound impact. It develops an empirically derived model of songwriting camps with their various actors, interests and the creative, social and economic contexts in which songs are written. In terms of the songwriters themselves, we expect to make a significant impact on the general understanding of this practice and how participants rationalise their involvement. For those who convene songwriting camps, this research will transform their understanding of the commercial and professional potential of songwriting camps as a model of production. While there is a consensus in academic and journalistic literature about the value of collaborative songwriting, the increasingly important role of songwriting camps is not yet well understood. This research project lays the groundwork by developing a systematic model of songwriting camps in the UK and Germany, filling a significant gap in knowledge and providing a foundation for future research in the young field of songwriting studies.