Associate Professor Samantha Bennett

Dr Samantha Bennett is a sound recordist and academic from London, UK. As an Arts & Humanities Research Council (AHRC, UK) Doctoral Scholar, she completed her PhD at the University of Surrey under popular musicologist Professor Allan Moore. Her research centres on recorded popular music, phonomusicological analysis of popular music recordings and associated contextual studies of workplace, recordists and technologies. Her first book, Modern Records, Maverick Methods: Technology and Process in Contemporary Record Production, is forthcoming from Michigan University Press’ ‘Tracking Pop’ series. Samantha is also published in Popular Music, The Oxford Handbook of Music and Virtuality and Popular Music and Society. In 2014, Samantha gave the biannual American Musicological Society Lecture at the Rock and Roll Hall of Fame and Museum Library and Archives, where she also holds a 2015 research fellowship in conjunction with Case Western Reserve University, Cleveland. Samantha serves on the editorial boards of the Journal on the Art of Record Production and Perfect Beat [Equinox].

As an educator, Samantha has 13 years of tertiary education program management, authorship, convenorship and examining experience and is a Senior Fellow of the Higher Education Academy. In 2012, she was awarded a Vice Chancellor’s Teaching Fellowship at the University of Westminster. Since arriving at the ANU in 2013, she has authored a broad music technology curriculum to include courses in Popular Music, Recording Techniques, Music & Digital Media and Sound Archiving. In 2015, Samantha led a renewed School of Music partnership with the National Film and Sound Archive on ‘School of Music: RePlayed’ - a project dealing with the digitisation of the School of Music’s 50-year performance archive, funded by an ANU Linkage for Teaching & Learning Grant. Samantha is also the lead CI on an interdisciplinary ANU MEC grant, ‘Wired for Sound’, consolidating sound-related research in physics, linguistics and music into a central University recording facility. Samantha’s current projects include: an edited book with Dr Eliot Bates, Birmingham, entitled Critical Essays on the Production of Music and Sound; and, a joint-edited special edition of iaspm@Journal (Vol. 6, #2) with Dr Eve Klein, UQ, entitled Perspectives on Popular Music and Sound Recording.

Professional membership

  • Association for the Study of the Art of Record Production [ASARP]
  • International Association for the Study of Popular Music (UK / ANZ) [IASPM]
  • Audio Engineering Society (UK) [AES]
  • American Musicological Society (US) [AMS]
  • Royal Musical Association (UK) [RMA]
  • Institute of Musical Research (UK) [IMR]
  • Musicians Union (UK) [MU]
  • Performing Rights Society (UK) [PRS]

Published articles

  • Bennett, S. (2013) ‘The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts.’ In: Eds. Rambarran, S. and Whiteley, S. (2013) Music and Virtuality. New York: Oxford University Press. [In press]
  • Bennett, S. (2012) ‘Revisiting the ‘Double Production’ Industry: Advertising, Consumption and ‘Technoporn’ surrounding the Music Technology Press.’ Ed. Kärjä, A. V. In: Music, Law and Business Anthology. Vol 5. International Institute for Popular Culture. ISSN: 1797-318X
  • Bennett, S. (2012) Endless Analogue: Technological Precursors in Contemporary Recording Practice. In: Journal on the Art of Record Production. Issue #7. ISSN: 1754-9892.
  • Bennett, S. (2009) Examining the Emergence and Subsequent Proliferation of Anti Production amongst the Popular Music Producing Elite: An Overview of Doctoral Study. In: Proceedings of the 2nd International PhD Music Students Conference. pp. 165-172.
  • Bennett, S. (2009) Revolution Sacrilege! Examining the Technological Divide amongst Record Producers in the 1980s. In: Journal on the Art of Record Production. Issue #3. ISSN: 1754-9892.

Conference papers and research symposia

  • Bennett, S. (2014) An Imaginary Subject? Designing 'Music and Digital Media' for a post-Conservatorium BMus Programme.At: Researching music, Education, Technology: Critical Insights. Institute of Education, University of London.
  • Bennett, S. (2013) Behind the Magical Mystery Door: History, Mythology and the Challenge to Abbey Road Studios. At: ‘Bridge Over Troubled Waters’: 17th Biennial International IASPM Conference, Oviedo, Spain.
  • Bennett, S. (2013) Modern Records, Maverick Methods: Technological, Processual and Analytical Considerations in Popular Music Record Production. [Invited] At: Popular Music Research Group. Goldsmiths College, London.
  • Bennett, S. and Moore, A. (2012) Tech Processual Shaping of Recorded Popular Song. At: Music and Shape Conference. AHRC Research Centre for Musical Performance as Creative Practice. King’s College, London.
  • Bennett, S. (2012) Vintage Sound Recording Technology: Practicality, Source and Place. [Invited] At: Cambridge Branch of the Audio Engineering Society, Anglia Ruskin University.
  • Bennett, S (2011) Back to the Future? The Quest for Sonic Perfection in the Age of Digitalization. [Invited] At: Digital Pop and the Death of the Musical Artefact – Popular Music Symposium. Goldsmiths College, London.
  • Bennett, S. (2011) Endless Analogue? Situating Vintage Technologies in the Contemporary Recording & Production Workplace. At: 7th ARP, San Francisco State University, USA.
  • Bennett, S. (2011) Industry Standard? Adopting Digital Technologies in the Early 1980s Recording & Production Workplace. At: Artistic Work and Creativity in the Digital Era. University of Avignon, France.
  • Bennett, S. (2010) Anti Production. At: 6th ARP, Leeds Metropolitan University, Leeds, UK.
  • Bennett, S. (2010) Revisiting the ‘Double Production’ Industry: Equipment Manufacturing, Consumption and the Music Technology Press in the late 2000s. At: Music, Law & Business - Biennial Conference of IASPM Norden, Hanasaari Cultural Centre, Helsinki, Finland.
  • Bennett, S. (2010) The Listener as Remixer. At: Experience, Engagement, Meaning - Biennial Conference of IASPM UK/ Ireland, Cardiff University, UK.
  • Bennett, S. (2009) No Way Computer! Risk Aversion as an Influence on Equipment Choice among Popular Music Producers of the Late 1990s. At: 5th ARP, University of Glamorgan, Cardiff, UK.
  • Bennett, S. (2009) Examining the Emergence and Subsequent Proliferation of Anti Production amongst the Popular Music Producing Elite: An Overview of Doctoral Study. At: 2nd International PhD Music Students Conference, Aristotle University of Thessaloniki, Greece.
  • Bennett, S. (2008) Revolution Sacrilege! Examining the Technological Divide amongst Record Producers in the 1980s. At: 4th ARP, University of Massachusetts, Boston, USA.

Updated:  12 June 2013/Responsible Officer:  Head, School of Music/Page Contact:  Development Officer