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(DAW)工作坊。人们对嘻哈音乐制作的兴趣迅速增长，突显了音乐学领域在使用DAWS制作节拍方面的巨大差距。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，并最终为以下论点提供证据：《Daws》中的节拍制作是一种多模式音乐能力。这一民族音乐学项目旨在通过实践田野调查，为音乐创作研究的“青年学术领域”(谢尔沃克，2019)做出贡献。作为一名与行业有联系的音乐制作人，我完全有能力进行这项研究，旨在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是如何随着本世纪初以来的快速技术进步而演变的，来填补嘻哈和音乐制作方面的文献空白。包括威廉姆斯(2013)和施洛斯(2004)在内的一些音乐学者写过关于早期嘻哈制作技术的社会学和文化方面的文章，但很少有关于现代的、高度合作的、“平等主义”文化的“卧室”制作的研究，在这种文化中，制作人使用Daw为全球艺术家创造节拍。这个项目将研究21世纪节拍制作的技术方面，最终争辩为什么用道斯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.