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    Reducing and removing barriers to spatial audio : applications of capital as a critical framework to promote inclusion in spatial audio : a thesis submitted to Massey University in partial fulfilment of the requirements for the degree of Doctorate of Philosophy in Music at Massey University, Wellington, New Zealand
    (Massey University, 2022) Austin-Stewart, Jesse
    The research within this thesis aims to address the question of whether barriers of capital to the field of spatial audio can be reduced or removed. Spatial audio is the musical utilization of space, where spatialization is the salient feature of the musical work. As a field, it primarily exists within academic and art institutions. Because of this, there are numerous barriers that prohibit people from engaging with the field. These barriers include significant technical requirements, the need for education, the expense of large spatial audio systems, amongst others. These barriers mean that those who are excluded have little to no pathway to engage with the field. This thesis explores the barriers in spatial audio through the lens of capital. Viewed as one’s level of resource, a lack of economic, social, symbolic, cultural, and physical capital can exclude many from engaging with spatial audio. The research within this thesis identifies barriers of capital that exist within the field through qualitative and quantitative survey analysis as well as literature review. The identified barriers are then addressed through practice-led and practice-based research with the creation of new spatial audio works and compositional strategies, alongside user surveys to ascertain the efficacy of the research.
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    How the pursuit of perfection impacts music recording and performance : an audiovisual thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Media Studies at Massey University, New Zealand
    (Massey University, 2021) Wintyr, Denni Elizabeth
    How has the pursuit of perfection changed the way that music performance is recorded and presented to the public? How have these changes affected the way music is conceived and performed, and altered its perceived authenticity for listeners? I examined the trend in music of production towards "perfection" over performance. This trend is exemplified by the way that music recording today tends to involve everything being time aligned to a tempo grid, copy and pasting any repeating sections, and auto-tuning vocals. I also looked into the push back against this trend, with people going back to 1950s style recording, using only a single take of a performance. The former is very versatile, and editable, the latter being a raw performance. These two extremes seem to be existing with very little lying in the middle, where one could take the positive aspects of both, and combine them to create music that has the feel of an authentic performance, but still retains the polish of studio production (using a 100% digital workflow allows for this flexibility). Essentially taking production techniques of the ‘70s and ‘80s, but applying them with modern recording tools. I recorded one song as a single take by a band, with no editing. The individual stems from this recording then formed the basis of a second version which is polished with studio techniques such as punch-ins, overdubs, and additional material. Finally, the song was reproduced as a time aligned, polished, tuned, ‘perfected’ version, built up in layers, as is the current standard in music production. I also delved into the way music is presented using pre-recorded material both online, and at live shows. Survey questions were based on these alternate recordings of one song, and on preferences regarding performance enhancement. Participants overwhelmingly preferred one version over the others, and had clear views on what they felt was acceptable in how music was presented to them. This presented the very real possibility that the paradigm of seeking perfect performances and productions may not be the best approach for anyone involved.