Matt Gooderson
Matt Gooderson is a senior lecturer at the University for the Creative Arts with a central focus on creative, entrepreneurial practices. Central to Matt’s philosophy is promoting equality, diversity and inclusivity through diverse programmes of study and authentic, real-world assessment. In his previous job, Matt was course leader for Music at the University of Westminster.
As a researcher, Matt explores A.I through the lens of music production, technology and the creative process and has begun to publish his findings in academic outlets as well as through communication and engagement with the public and industry.
Alongside his academic work, Matt has a career as a music producer, songwriter, composer, remixer and performer. In 2003 Matt founded the band Infadels with Alex Bruford (ATC Live) and Bnann Watts (Charlie XCX). The Infadels’ career highlights include over five hundred shows in twenty different countries, a number one dance album and a number one Independent single which culminated in the sale of over fifty thousand records earning them an Impala silver award.
In 2020 Matt signed a new record contract with the prestigious electronic-classical label Village Green after scoring a remix for the award-winning Matt Dunkley (Inception, Black Swan, Massive Attack, Nick Cave) creating music for a new advert for Nowness, and releasing the critically acclaimed album, Land Waves and returned to live performance in 2019 performing at London’s prestigious South Bank centre and collaborated on the art exhibition; Wilderness for the Mind with the Wilderness Art Collective.
Matt’s productions and compositions have been also used in a variety of media settings including film (BBC, A24, BFI) games (Grand Turismo, FIFA), television (CSI Miami), and advertising (Mazda, Lenovo, 3 Mobile, Jack Daniels, Carling) and streamed over 10,000,000 times.
Matt is currently working a release on Web 3 with the Wild Awake collective.
As a researcher, Matt explores A.I through the lens of music production, technology and the creative process and has begun to publish his findings in academic outlets as well as through communication and engagement with the public and industry.
Alongside his academic work, Matt has a career as a music producer, songwriter, composer, remixer and performer. In 2003 Matt founded the band Infadels with Alex Bruford (ATC Live) and Bnann Watts (Charlie XCX). The Infadels’ career highlights include over five hundred shows in twenty different countries, a number one dance album and a number one Independent single which culminated in the sale of over fifty thousand records earning them an Impala silver award.
In 2020 Matt signed a new record contract with the prestigious electronic-classical label Village Green after scoring a remix for the award-winning Matt Dunkley (Inception, Black Swan, Massive Attack, Nick Cave) creating music for a new advert for Nowness, and releasing the critically acclaimed album, Land Waves and returned to live performance in 2019 performing at London’s prestigious South Bank centre and collaborated on the art exhibition; Wilderness for the Mind with the Wilderness Art Collective.
Matt’s productions and compositions have been also used in a variety of media settings including film (BBC, A24, BFI) games (Grand Turismo, FIFA), television (CSI Miami), and advertising (Mazda, Lenovo, 3 Mobile, Jack Daniels, Carling) and streamed over 10,000,000 times.
Matt is currently working a release on Web 3 with the Wild Awake collective.
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Books by Matt Gooderson
Conference Presentations by Matt Gooderson
Through the application of Ableton software in combination with live analogue instrument playing, the performance will contribute to a current of contemporary practice that includes work by fellow improvisational producers such as Tim Exhile, Imogen Heap, Brian Eno, Bugge Wesseltoft and Henrik Schwarz.
This presentation explores a potential addition to Burgess's taxonomy; that of the producer as improviser.
Talks by Matt Gooderson
In this talk, I will address how creativity might be taught and assessed. I will be focussing primarily on the idea of ‘otherness’ in popular music composition, as a method of fostering creativity (Burnard & Younker, 2002; John-Steiner, 2000; Petty, 2003). –
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I will also discuss the difficulties of teaching composition in terms of assessment (Faultley, 2010) together with an examination of different pedagogical approaches. This will lead to a description of a curriculum I implemented, and my review, reflection and evaluation of the project.
Thesis Chapters by Matt Gooderson
This comparison case study explores the creative process undertaken by two contrasting songwriting groups engaged in composing music to the same ‘real world’ brief. Following a comprehensive review of the literature surrounding creativity and songwriting, the dissertation critically analyses and discusses the different approaches to song composition adopted by contrasting groups. Specific focus was granted to the creative process of songwriting.
Key findings reveal the professional group generated more ideas through improvisation. The research also proposed that larger domain-relevant knowledge contributed to increased creativity. Another key skill identified was the ability to shift evaluative focus from the micro to the macro, facilitating changes of direction at critical points.
From an educational perspective, the task itself acted as a valid learning experience. Results indicate that self-analysis and reflection were enhanced as a direct result of completing the assignment. Possible implications for education are considered such as a ‘collaborative songwriting module’ or a ‘flipped classroom’ approach.
The purpose of the research was to:
1. Understand and compare the epistemology of songwriting between a professional and student group.
2. Develop an understanding of how to foster greater creativity through songwriting in higher education.
Through the application of Ableton software in combination with live analogue instrument playing, the performance will contribute to a current of contemporary practice that includes work by fellow improvisational producers such as Tim Exhile, Imogen Heap, Brian Eno, Bugge Wesseltoft and Henrik Schwarz.
This presentation explores a potential addition to Burgess's taxonomy; that of the producer as improviser.
In this talk, I will address how creativity might be taught and assessed. I will be focussing primarily on the idea of ‘otherness’ in popular music composition, as a method of fostering creativity (Burnard & Younker, 2002; John-Steiner, 2000; Petty, 2003). –
!
I will also discuss the difficulties of teaching composition in terms of assessment (Faultley, 2010) together with an examination of different pedagogical approaches. This will lead to a description of a curriculum I implemented, and my review, reflection and evaluation of the project.
This comparison case study explores the creative process undertaken by two contrasting songwriting groups engaged in composing music to the same ‘real world’ brief. Following a comprehensive review of the literature surrounding creativity and songwriting, the dissertation critically analyses and discusses the different approaches to song composition adopted by contrasting groups. Specific focus was granted to the creative process of songwriting.
Key findings reveal the professional group generated more ideas through improvisation. The research also proposed that larger domain-relevant knowledge contributed to increased creativity. Another key skill identified was the ability to shift evaluative focus from the micro to the macro, facilitating changes of direction at critical points.
From an educational perspective, the task itself acted as a valid learning experience. Results indicate that self-analysis and reflection were enhanced as a direct result of completing the assignment. Possible implications for education are considered such as a ‘collaborative songwriting module’ or a ‘flipped classroom’ approach.
The purpose of the research was to:
1. Understand and compare the epistemology of songwriting between a professional and student group.
2. Develop an understanding of how to foster greater creativity through songwriting in higher education.