It has become increasingly common to see music creators take on multiple creative and
technical roles as they create music - roles that would have once been handled by several
individual specialists.
Due in part to improvements in the functionality and affordability of studio technology, the
fundamental concept of the recording studio has changed. This contemporary production
approach isn’t exclusive to the top tier of musicians and producers - bedroom producers are
beginning their musical journeys making complete works from their laptops.
‘The auteur’ is a term describing the accomplished producer-composer who exerts authority
over most, if not all, of the aspects of a production. The application of this term is not without
some degree of conflict within the scholarly community.
The term ‘auteur’ came into usage in French film criticism in the 1950s describing a director
who influences their films to the extent that they are considered to be the author. It has
since been adopted by other creative fields, including music. Some question how and when
authorship or auteurship can be unequivocally assigned, considering complex issues such
as collaboration and intertextuality; others wonder whether this credit should be assigned to
one person at all.
While the debate regarding authorship and auteurship is ongoing and duly recognised, the
dissertation assumes the position that the term ‘auteur’ is legitimate. Several accomplished
producer-composers who may be considered auteurs and their works are scrutinised, and a
methodological framework is presented through identifying a number of components that
these music producers attest to as contributing to their creative process. This framework
could be used to aid the progress of other producer-composers who are operating within
popular music styles.