Dr Paula Wolfe is a critically acclaimed singer-songwriter and producer, an award nominated author and academic with an international profile in the fields of music production, the independent music industry, gender and creativity.
Nominated for The Excellence in Historical Recorded Sound Research Award 2020, from the Association for Recorded Sound (ARSC) and the IASPM Book Prize 2021, her book, "Women in The Studio: creativity, control and gender in popular music sound production" (Routledge 2020), explores the cultural and historical frameworks that underpin sustained inequalities of gender, class and race in the music industry and pays particular attention to their consequences for female music producers and for female self-producing artists. Through examining the wide-ranging impact of music production as a gendered field of practice, the book incorporates themes that include music production, self-production, music technology, creativity, the music industry, entrepreneurship, media representation, gender and diversity.
To support both the book’s publication and new areas of research that draw on her own creative practices within self-production, Dr Wolfe has been delivering guest lectures at universities throughout the UK, as well as in Europe, the US and Canada, since the autumn of 2019. This is addition to her having been invited to contribute to a number of panels at both academic and public-facing music industry events. These include a designated panel at The Art of Record Production Conference (Aalborg University, Denmark, 2016); a joint event organised by The IVORS Academy and The Swedish Society of Composers at London South Bank Centre (2017) and at an industry roundtable discussion on "Songwriting, Streaming and Sustainability" as part of the Songwriting Studies Research Network event hosted by The Ivors Academy (2019).
Dr Wolfe has also been invited to be an external PhD examiner (Massey University, New Zealand), an editorial advisor for Routledge (New York) and a peer reviewer for a number of academic journals. These include Popular Music (Cambridge University Press), Ethnomusicology (University of Illinois Press), Women and Music: A Journal of Gender and Culture (University of Nebraska Press) and IASPM Journal. In addition, she was invited to speak as a featured author at the launch event for the newly formed Society For Music Production Research (SMPR).
Along with her role as a senior lecturer at The London College of Music, Dr Wolfe has worked as a module leader and project supervisor on the MA in Creative Music Production at The Institute of Contemporary Music Performance (ICMP) and is an associate lecturer on the MA in Music Production at The London College of Communication, University of The Arts.
Professional creative and industry practice:
Dr Wolfe is an artist in equal measure to being an academic. Self-producing and self-releasing her music on her own label, Sib Records, since the early 2000s, her work has consistently received strong support. Current projects include releasing the completed re-working of her early catalogue, her fourth album and a volume of poetry. She is signed to the music publisher May Music and is represented by the international sync agency Creaminal.
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Qualifications
- PhD Music - Institute of Popular Music, University of Liverpool (2014)
- MA Contemporary Arts - Manchester Metropolitan University (2001)
- PGCE English and Drama - University of Manchester (1994)
- BA (Joint Hons) English and Spanish - University of Hull (1987)
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Memberships
Fellow of the Higher Education Academy (FHEA)Association of Independent Music (AIM)Authors Licensing and Collecting Society (ALC)Full member of the British Actors Equity AssociationInternational Association for the Study of Popular Music (IASPM)Music Producers Guild (MPG)Performing Rights Society for Music (PRS)Phonographic Performance Limited (PPL)The Ivors AcademySociety for Music Production Research (SMPR)
Teaching
Dr Wolfe has extensive teaching and project supervision experience and has developed and delivered a wide range of modules across the full provision of popular music degree courses at postgraduate, undergraduate and foundation level at LCM.
Research
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Research and publications
2023: Self-Production: creativity, process and clarity. IASPM Journal: Special CFP: Practice Based Research
2020: Women in the Studio: Creativity, Control and Gender in Popular Music Sound Production (Routledge, London, New York)
2019: Taking Creative Control
2018: ‘An indestructible sound’: Locating Gender in Genre in Bennett, S. and Bates, E., eds., Critical Approaches to the Production of Music and Sound (Bloomsbury Academic, New York)
2016: ‘I write the songs. He’s the eye candy’: the female singer-songwriter, the woman artist-producer and the British Broadsheet Press in Green. S and Marc. I., eds., The Singer-Songwriter in Europe: Politics, Paradigms and Place (Routledge, London, New York)
2012: A Studio of One’s Own: music production, technology and gender. Journal on The Art of Record Production, Issue 7.
Peer reviews
2023 Ethnomusicology, University of Illinois Press.
2022 Popular Music, Cambridge University Press.
2020 Routledge, New York.
2019 Women and Music: A Journal of Gender and Culture (WAM), University of Nebraska Press.
2018 IASPM Journal.
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Conferences
2024: In and Out of the Studio: Developments and Perspectives for the Home Recording Female Artist. Home, Work and Music. Musical Practices in Domestic Spaces. University of Performing Arts, Vienna. 22-23 February.
2022: The rise and rise of 2% Rising. Voices of Women: Materialities, Cultural Transfer and Musical Authorship. University of Groningen. 1-3 December.
2020: Exploring the ‘gulf between the universally famous and the known-to-just-some’ (Reynolds 2019): career construction on the peripheries. London Calling: IASPM UK and Ireland Biennial Conference. UWL. May-July
2019: Women In The Studio: book launch presentation. Innovation in Music Conference. University of West London. 5-8 December.
2018. DIY: identity, community and the politics of independence. Keep It Simple Make It Fast Conference (KISMIF), University of Porto, Portugal. 4-7 July.
2016. ‘When the screen disappears, and even though you’re looking at it you’re only hearing and listening to music, only then I know that I may have something good’ (Molina 2016): music production, creativity, genre and gender. Art of Record Production (ARP) Conference. Aalborg, 2-4 December.
2016. Kobalt, new industry and the female singer-songwriter: disruptive technology and gender in a fractured space. IASPM UK and Ireland Conference, Brighton, 8-10 September.
2015. Female Singer-Songwriter to Artist-Producer: music production, media representation and gender. The Gendered Politics of Production: Girls and Women as Media Producers. London, 16 June.
2014. Between the Private and the Public: the artist-producer and hybrids of production practice in the digital era. Art of Record Production (ARP) Conference, Oslo, 4-6 December.
2014. 'I've got to trust myself coz there's no A&R dad who's gonna take the rap for me' (Little Boots, 2013). Self-production, self-releasing: new industry and gender. IASPM UK and Ireland Conference. Cork, 12- 14 September.
2010. ‘Feel it and Catch a Vibe’ (Summers, I., 2010): Music Production and Gender. Post-graduate Symposium. Liverpool, 15 March.
2009. ‘Face It Guys, She's A Genius’ (Empire, K., 2006): Production, Gender and the Independent Music Industry. ARP Conference. Cardiff, 13-15 November.
2008. Just Ask George: self-production, self-promotion, gender and the British independent artist. ARP Conference. Massachusetts, 14-16 November.
2007. Will you be my Friend? Digital technology, the fan, the artist, the label: democracy for all? IASPM 14th Biennial Conference. Mexico City, 25-29 June.
2005. A Studio of Her Own: Self-production and the Female Independent Artist.
ARP Conference. London, 17-18 September.
2005. Sounds a bit like Dido: the British music press and the female singer-songwriter.
IASPM 13th Biennial Conference. Rome, 18-23 July.
2003. Hotbedders Unite! Female Musicians, Networking and the Music Industry. IASPM 11th Biennial International Conference. Montreal, 3-7 July