Motivational Design in music production
Okay. Let’s set the mood. Exactly one year ago, people here in Sweden had just started to worry about this covid-thing, and it was no more than a week left until the universities around here would close down all on-campus activities. In the midst of this – I was writing my thesis, about nothing less than “Facilitators and barriers to motivation in music production, and how product companies could design to support motivation in music production”.
This is the first article out of three that I will make on the subject. Here, I will give a brief introduction to the study, share the results, and map them to some trends that we can see in the industry as of now. I will also highlight in which areas there are still lots of work to be done.
Being a creative myself – and knowing the many of them; something I’ve seen, and experienced myself time and time again is how creatives seem to start projects, and leave them before they get even remotely finished. The reason for doing this is often attributed to loss of motivation, and in this exploratory phenomenological study I wanted to explore why this is – whether it can be attributed to the tools used, or if there are mostly other factors at play here, as well as what this “motivation” actually consists of to begin with.
There was no hypothesis, just curiosity. And so, with the following research questions in mind, I leaped in:
What are the experienced facilitators and barriers to motivation in music production?
What future implementations should product companies consider when aspiring to support motivation through the music production process?
I will cover the methodology in another article, but a few words about it won’t hurt. To find out the answers to the research questions I conducted semi-structured interviews with 7 music producer’s, four of which were professionals, and three enthusiasts. All of them were producers of electronic dance music, and primarily solo musician’s. The interviews were transcribed, and in the analysis phase, I used a phenomenological approach; setting aside all pre-conceived notions, analyzing the phenomenon separate from any theoretical background to begin with, only to map them at a later stage.
Basic motivational aspects
Basic motivational aspects are a found category of motivational aspects that need to be in place for motivation to happen, or may act as barriers to motivation if they are in place. The themes in the ‘Basic motivational aspect’ category are skewed towards needs and attributes.
Extrinsic motivators are motivational themes that are external to the self, as well as external to the process of creating music.
Motivation in relation to the process
Several motivational aspects were found that reside in relation to the process of creating, in the tasks, the technologies, or the producer involved in conducting the task.
Okay, so how can I help?
The rise of the Templates
From ideation to automation
But, there's a but
Did I leave something out?
That is probably on purpose. I try to keep things brief around here. Lucky for us, you can find my entire thesis on this link:
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