Paul Harkins

Paul Harkins

Dr Paul Harkins

Lecturer T&R

Biography

My lecturing role at Edinburgh Napier University began in 2005 when I started teaching the Business of Music modules on the BA (Hons) Popular Music degree before becoming a permanent member of staff in October 2007. I have been responsible for designing and leading new undergraduate modules about the music industries and the history of music technologies. I was Programme Leader from 2015-2018 and have been nominated in the Best Feedback Category at the NSA Awards.

My PhD research was about the history and uses of sampling technologies and my book, Digital Sampling (Routledge), was published in 2019. I have also written about the politics of copyright, the aesthetics of mash ups, and published articles in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production, and Reseaux. I'm currently working on research projects about digitalisation and democratisation, Syco Systems and the distribution of musical instruments, and Kate Bush's use of the Fairlight CMI.

I am keen to exchange ideas and share research with a wide audience. In 2011, I organised and chaired a debate about song lyrics with Ian Rankin and King Creosote at the launch of Edinburgh City of Literature's 'Let's Get Lyrical' campaign and took part in an AHRC New Generation Thinkers Media Training Workshop. One of two early career researchers invited to take part in music policy workshops funded by the Royal Society of Edinburgh, I have contributed to policy debates by writing op-ed pieces about copyright and the music industries and participating in a round-table discussion about the creative industries for The Times. I was recently awarded funding by the AHRC to host an event at the National Science and Media Museum in Bradford called 'Uncovering the Secrets of the Fairlight CMI' as part of the 2019 Being Human festival.

I worked for PRS For Music and as a music publisher before becoming a lecturer and have contributed articles to Product magazine, The Scotsman newspaper, and The Conversation website. I am a member of the International Association for the Study of Popular Music (IASPM), the Association for the Study of the Art of Record Production (ASARP), and the Scottish Pop Ideas Network (SPIN).

Date


29 results

Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds

Presentation / Conference
Harkins, P. (2017, June)
Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh
This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designe...

'The Rest is History': Writing a History of Music Technologies and their Users

Presentation / Conference
Harkins, P. (2017, March)
'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon
The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, base...

Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies

Presentation / Conference
Harkins, P. (2016, December)
Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg
This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain import...

Following the Instruments, Designers, and Users: The Case of the Fairlight CMI

Journal Article
Harkins, P. (2015)
Following the Instruments, Designers, and Users: The Case of the Fairlight CMI. Journal on the Art of Record Production,
The focus of this article is the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its des...

The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III

Presentation / Conference
Harkins, P. (2015, June)
The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium
The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropri...

Following the Instruments, Designers, and Users: A Conceptual Framework for the Study of Digital Sampling Technologies

Presentation / Conference
Harkins, P. (2014, December)
Following the Instruments, Designers, and Users: A Conceptual Framework for the Study of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Oslo
No abstract available.

The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings

Presentation / Conference
Harkins, P. (2014, September)
The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings. Paper presented at IASPM UK and Ireland Conference, University College Cork
No abstract available.

Replies to the Critics: The Grounded Theories of Simon Frith

Presentation / Conference
Harkins, P. (2014, April)
Replies to the Critics: The Grounded Theories of Simon Frith. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, The University of Edinburgh
No abstract available.

La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement

Journal Article
Harkins, P. (2012)
La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement. Réseaux, 172, 92. https://doi.org/10.3917/res.172.0092
According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the...

Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings

Journal Article
Harkins, P. (2012)
Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings. Popular Music and Society, 35, 629-649. https://doi.org/10.1080/03007766.2012.709664
After the UK government commissioned a review of intellectual property in 2005, a campaign to “Extend the Term” of copyright in sound recordings was orchestrated by trade maga...