Producing Beats in Digital Audio Workstations as a Musical Competency, from 2001-2026

剑桥大学音乐表演中心最近开始为学生提供数字音频工作站（Digital Audio Workstation，简称DAI）研讨会。对嘻哈音乐制作的兴趣迅速增长，突显了音乐学中关于使用DAWS制作节拍的重大差距。这项研究旨在揭示数字嘻哈制作人的学习过程、技术和子社区，并最终为数字嘻哈制作人的节拍制作是一种多模态音乐能力的论点提供证据。这个民族音乐学项目旨在通过基于实践的实地考察，为音乐制作研究的“学术领域”（Shelvock，2019）做出贡献。作为一个音乐制作人与行业的联系，我有能力进行这项研究，其目的是通过研究制作人如何学习使用和掌握DAW以及制作人工作流程如何由于21世纪初以来的快速技术进步而演变来填补嘻哈音乐和音乐制作文献中的空白。一些音乐学家，包括威廉姆斯（2013）和施洛斯（2004），已经写了关于早期嘻哈制作技术的社会学和文化方面的研究，但很少有关于现代的，高度合作的，“平等”的“卧室”制作文化的研究，其中制作人使用DW为全球艺术家创造节拍。这个项目将研究21世纪世纪节拍制作的技术方面，最终争论为什么在DAWs制作是一种音乐能力。

The Cambridge University Centre for Music Performance has recently started offering Digital Audio Workstation (DAW)workshops to students. Rapidly growing interest in hip-hop production has highlighted a significant gap in musicologyregarding the production of beats using DAWS. This research aims to shed light on the learning processes, techniques,and sub-communities of digital hip-hop producers, and ultimately provide evidence for the argument that beat productionin DAWs is a multimodal musical competency. This ethnomusicological project aims to contribute to the "youngacademic field" (Shelvock, 2019) of music production studies through practice-based fieldwork. As a music producer withindustry connections, I am well-equipped to conduct this research, which aims to fill a gap in the literature on hip-hop andmusic production by examining how producers learn to use and master DAWs and how producer workflows haveevolved due to rapid technological advancement since the early 2000s. Some musicologists, including Williams (2013)and Schloss (2004), have written about the sociological and cultural aspects of early hip-hop production techniques, butthere has been little research on the modern, highly collaborative, "egalitarian" culture of "bedroom" production, in whichproducers use DAWs to create beats for global artists. This project will study the technical aspects of 21st century beatproduction, ultimately contending why producing in DAWs is a musical competency.