Songwriting Camps in the 21st Century (SC21)
Lead Research Organisation:
University of Huddersfield
Department Name: School of Arts and Humanities
Abstract
Popular music has a high personal value for many people; it touches us emotionally, creates memories and accompanies us in our daily lives. The listener may not be aware of how the songs we enjoy are created; in many cases, it is through the collaborative effort of a number of people involved: performing artists, record producers, engineers, programmers, arrangers. However, the creators of the most fundamental aspect, the song, are not necessarily included in this list: songwriters who compose the songs to be performed, recorded and released. Despite the romantic notion that performing artists write their own songs, the reality is often quite different. Many songs that enter the charts are (co-)written by professional songwriting teams, increasingly in songwriting camps convened and overseen by publishers and record companies.
This project researches how collaborative songwriting takes place in songwriting camps. As the first study to focus on the UK and Germany, it investigates what forms of songwriting camps exist in the 21st century to understand the interests of convenors (publishers, record companies, individuals) and participating professionals. It investigates the collaborative creative processes and interplay of the different skill-sets of various roles (topliners, beatmakers, lyricists, producers, performers) and offers insights into the organisation of offline and online camps, legal factors, and the role of songwriting camps within the wider music industries. The investigation will uncover who convenes these events, for what purposes, and what is created and ultimately selected for release. Legal factors such as royalties, shares and splits will be considered as well as the power structures at play. Apart from the organisation of these camps, the research will investigate how the participants' personal, professional and cultural backgrounds influence their aims and actions. This includes an in-depth analysis of the collaborative creative work and the evaluation of the value of collaborative songwriting offline and online. Furthermore, the research will study how the industry uses the results of the camps in the short and medium term.
To understand the organisation, purposes, participants, processes and outcomes of songwriting camps, the research employs a combination of methods, in particular qualitative interviews with 30 professionals (songwriters and industry representatives), ethnographic fieldwork in real-life offline and online songwriting camps with field notes and video recordings, and the implementation of a Songwriting Lab documented with a multi-camera setup and audio-recorded interviews.
The academic understanding of commercial songwriting as a profession and as a creative and economic activity, as well as its realisation in the wider music industries, is still limited. In particular, there is next to no literature on songwriting camps, and all that exists pre-dates Covid-19. For these reasons, the research is expected to have a profound impact. It develops an empirically derived model of songwriting camps with their various actors, interests and the creative, social and economic contexts in which songs are written. In terms of the songwriters themselves, we expect to make a significant impact on the general understanding of this practice and how participants rationalise their involvement. For those who convene songwriting camps, this research will transform their understanding of the commercial and professional potential of songwriting camps as a model of production. While there is a consensus in academic and journalistic literature about the value of collaborative songwriting, the increasingly important role of songwriting camps is not yet well understood. This research project lays the groundwork by developing a systematic model of songwriting camps in the UK and Germany, filling a significant gap in knowledge and providing a foundation for future research in the young field of songwriting studies.
This project researches how collaborative songwriting takes place in songwriting camps. As the first study to focus on the UK and Germany, it investigates what forms of songwriting camps exist in the 21st century to understand the interests of convenors (publishers, record companies, individuals) and participating professionals. It investigates the collaborative creative processes and interplay of the different skill-sets of various roles (topliners, beatmakers, lyricists, producers, performers) and offers insights into the organisation of offline and online camps, legal factors, and the role of songwriting camps within the wider music industries. The investigation will uncover who convenes these events, for what purposes, and what is created and ultimately selected for release. Legal factors such as royalties, shares and splits will be considered as well as the power structures at play. Apart from the organisation of these camps, the research will investigate how the participants' personal, professional and cultural backgrounds influence their aims and actions. This includes an in-depth analysis of the collaborative creative work and the evaluation of the value of collaborative songwriting offline and online. Furthermore, the research will study how the industry uses the results of the camps in the short and medium term.
To understand the organisation, purposes, participants, processes and outcomes of songwriting camps, the research employs a combination of methods, in particular qualitative interviews with 30 professionals (songwriters and industry representatives), ethnographic fieldwork in real-life offline and online songwriting camps with field notes and video recordings, and the implementation of a Songwriting Lab documented with a multi-camera setup and audio-recorded interviews.
The academic understanding of commercial songwriting as a profession and as a creative and economic activity, as well as its realisation in the wider music industries, is still limited. In particular, there is next to no literature on songwriting camps, and all that exists pre-dates Covid-19. For these reasons, the research is expected to have a profound impact. It develops an empirically derived model of songwriting camps with their various actors, interests and the creative, social and economic contexts in which songs are written. In terms of the songwriters themselves, we expect to make a significant impact on the general understanding of this practice and how participants rationalise their involvement. For those who convene songwriting camps, this research will transform their understanding of the commercial and professional potential of songwriting camps as a model of production. While there is a consensus in academic and journalistic literature about the value of collaborative songwriting, the increasingly important role of songwriting camps is not yet well understood. This research project lays the groundwork by developing a systematic model of songwriting camps in the UK and Germany, filling a significant gap in knowledge and providing a foundation for future research in the young field of songwriting studies.
Organisations
Publications
Ahlers, M.
(2024)
"Parallelgesellschaften" in populärer Musik?
Herbst J
(2024)
The Benefits of Collaborative Popular Music Songwriting: A Spectrum of Artist-Songwriter Involvement
in Popular Music and Society
Herbst J
(2024)
'The song factories have closed!': songwriting camps as spaces of collaborative creativity in the post-industrial age
in Creative Industries Journal
| Description | This research project investigates the various forms of collaborative songwriting in the UK and Germany, with a particular focus on songwriting camps. Most commonly, these camps are industry-led initiatives - organised by record labels, publishers, royalty collection societies, and individuals - to create songs for publishers, specific artists, or production libraries. The research is structured around five objectives: (1) examining the purposes, (2) analysing the organisation, (3) understanding the participants, (4) exploring the creative processes, and (5) assessing the outcomes of songwriting camps. To achieve these aims, we have conducted over 40 interviews with industry professionals, observed five professional and one retreat-style songwriting camps ethnographically, and organised our own songwriting camp. This work-in-progress ethnography has yielded substantial insights across all five research aims. Regarding purposes (O1), songwriting camps serve a variety of functions, ranging from leisure and professional development to enculturation and commercial music production. This diversity is reflected in the different types of camps, which vary from secluded retreats to high-intensity studio sessions in major music hubs. Our observations at external camps, as well as insights from hosting our own, provided a detailed understanding of organisation (O2). Beyond material resources, we now understand that the success of a songwriting camp depends on carefully managed interpersonal dynamics and a structured balance between focused work, relaxation, and social interaction, each of which is conducive to creative activity. With respect to participants (O3), we found that songwriting camps mirror broader industry structures and often reproduce systemic imbalances. These include the underrepresentation of non-male participants, gendered divisions in creative roles and technological engagement, and both explicit and implicit hierarchies that shape power dynamics within the camp environment. Regarding creative processes (O4), our research highlights how the structured environment of songwriting camps fosters focused creativity within defined constraints. Typically, songs are written, and often fully produced, within a single working day, reaching a quality close to commercial release standards. The outcomes (O5) of songwriting camps go beyond the creation of songs as marketable products. These camps serve as central networking hubs that encourage relationships among songwriters, publishers, record labels, and artists. The professional success of songwriters often depends on these social connections, which facilitate future collaborations and career opportunities. A key objective of this bi-national project is to explore the geographical and cultural differences between the United Kingdom and Germany (as well as other German-speaking countries). While we anticipated some distinctions, the extent of these differences was striking. In the UK, songwriting retreats, which blend commercial songwriting, professional training, and networking in remote locations, are a well-established part of the scene. These retreats often feature guidance from experienced songwriters; however, they are rare in Germany and neighbouring countries. Conversely, educational songwriting camps, often organised by institutions and industry bodies, are far more prevalent in Germany than in the UK, where they play a comparatively minor role. Commercially focused songwriting camps are common in both countries, yet they operate within distinct professional ecosystems. In Germany, industry organisations actively advocate for walk-in fees to compensate songwriters for their participation, whereas in the UK, the system is more market-driven, with financial arrangements largely left to individual negotiations. Songwriters will fund themselves, apply for PRO grants, or, if signed, be funded by their record label or music publisher. Our observations and interviews have led to insights into the financial transactions that take place at songwriting camps. |
| Exploitation Route | The findings from this research have significant implications for both academic and industry audiences. Academically, the project advances research on collaborative creativity, gender dynamics, and the organisation of creative labour, contributing to fields such as popular music studies, media industries, and cultural sociology. Insights from the study are being and will be disseminated through journal articles, book chapters, and conference presentations, offering frameworks for future researchers to build upon. The ethnographic data also provides a valuable resource for further qualitative and comparative studies. For the music industries, the findings can inform the design and facilitation of songwriting camps; they can help organisers optimise creative conditions, enhance diversity, and develop fairer economic models. Industry bodies, including publishers, record labels, and collection societies, can use this research to improve professional development initiatives and policy advocacy, particularly in areas such as songwriter remuneration. Beyond academia and industry, this research has relevance for education and policy. Music education institutions can integrate the findings into songwriting curricula, while policymakers may use insights on equity and economic structures to shape funding initiatives. These findings may contribute to the establishment of more inclusive and sustainable songwriting practices. |
| Sectors | Creative Economy Education Leisure Activities including Sports Recreation and Tourism Culture Heritage Museums and Collections |
| Description | The research project is generating economic, social, and academic impact by advancing knowledge on collaborative songwriting and documenting industry practices. The project has engaged and continues to engage directly with songwriters, producers, and industry professionals to capture their experiences through interviews and prompting reflection on their practices. By attending songwriting camps and interacting with creatives as external observers, we have offered valuable outside perspectives on creativity, collaboration, and power dynamics. Our own songwriting camp, which brought together participants from the UK and Germany, has facilitated cross-cultural exchange and professional networking while allowing us to provide structured feedback based on observation and videography. Additionally, our industry roundtable discussion at Reeperbahn Festival in Hamburg, Germany, was fully booked, which highlights strong interest from key stakeholders in conversations about fairer remuneration, diversity, and the changing role of songwriting camps in the industry. Within academia, the project is strengthening interdisciplinary research at the intersection of popular music studies, cultural industries, and music business studies. The research not only contributes new empirical data and theoretical insights but also helps to shape a new research area on songwriting camps by engaging with scholars from different disciplines. A challenge has been ensuring that research findings translate into practical change in an industry that is often informal and decentralised. Moving forward, we aim to expand our engagement with policymakers, educational institutions, and industry stakeholders to influence further developments in the field. |
| First Year Of Impact | 2023 |
| Sector | Creative Economy,Education,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural Societal Economic |
| Description | Hosting of a songwriting camp in Berlin |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | We hosted a songwriting camp between 2 and 5 September 2024 at Bauteil3 studios in Berlin. Professional songwriters from Germany, the UK, and Australia came together to write songs to a pitch and for/with the artist Bokeh. The camp resulted in four fully written and produced songs that may be released and commercially exploited. To keep with industry conventions, we arranged for split sheets to formalise copyrights. The songwriters commented on the professionalism of the camp organised and the good hospitality, all of which helped them produce high-quality songs. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Participation at Pro7ect Songwriting Retreat at Rockfield Studios |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | The SC21 team took part in a masterclass and songwriting retreat in the renowned Rockfield Studios, Monmouth, Wales. Engaging with professional and semi-professional songwriters, music producers, and musicians, the team introduced the SC21 project to the participants and helped them to reflect on their own songwriting practice and their position in the industry as a leisure or professional endeavour. |
| Year(s) Of Engagement Activity | 2023 |
| URL | https://www.pro7ect.com/ |
| Description | Presentation and discussion at a research event at Birmingham City University |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Postgraduate students |
| Results and Impact | The SC21 team presented work-in-progress findings of the interviews/fieldwork, which sparked questions and discussions about the precarious nature of popular music songwriting, systematic and structural issues, as well as creative, socio-cultural, economic, and legal implications. |
| Year(s) Of Engagement Activity | 2023 |
| Description | Presentation and discussion at a research symposium at the University of Huddersfield |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Postgraduate students |
| Results and Impact | The SC21 team presented work-in-progress findings of the interviews/fieldwork, which sparked questions and discussions about the precarious nature of popular music songwriting, systematic and structural issues, as well as creative, socio-cultural, economic, and legal implications. |
| Year(s) Of Engagement Activity | 2023 |
| Description | Roundtable discussion at Reeperbahn Festival Hamburg |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Industry/Business |
| Results and Impact | We held a roundtable discussion/panel at the Reeperbahn Festival about songwriting camps that have become a permanent feature of creative work in many countries. These range from training structures such as the British retreats to commercial camps for and with artists, themed sessions for the ESC, pop songs, and more. The panel, comprised of practitioners, policymakers, and scholars, provided insights from the perspective of creatives, researchers and selected associations and discussed the working conditions and structures of the camps in a comparative manner. The room was filled to capacity. The second half of the panel was open to questions from the audience and interactive discussion. Many songwriters, creatives, and songwriting camp organisers shared their experiences and built their networks. |
| Year(s) Of Engagement Activity | 2024 |
| URL | https://www.reeperbahnfestival.com/en/event/songwriting-camps-im-21-jahrhundert |