Jo Lord (University of West London, UK)


Taken from the larger PhD research paper, ‘The Phenomenal Rise of Periphonic Record Production’, this study specifically problematises and addresses key issues pertaining to periphonic staging of the voice in a non-front orientated music production. The author argues that the integration of periphony presents a requisite change in the way in which we actively listen to recorded audio and this would therefor require new approaches to sound staging and record production. The scope of the PhD research holistically seeks to address this gap in applied creative research, and does so in defining new, transferrable practice through a non-traditional, unique and democratic approach to spatial music production. Through creative research as practice and experiential evaluation, the project invents and evidences new possible vocal staging techniques, whilst also defining semantic language for these new models of praxis. This paper discusses the musicological studies underpinning the memetic development of the ‘Omnimonophonic’, ‘Polyperiphonic’ and lyrical approaches to spatial vocal staging explored in the PhD project and how these techniques may address key issues pertaining to immersive, periphonic record production, and possibly offer a solution to live spatial sound staging, through a non-front orientated approach. These new developments in the craft inform ‘real world’ record production practice and open new academic pathways for further creative research and developmental (re)application.