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Dr Justin Morey

Senior Lecturer

Justin has more than ten years experience as an independent studio owner, engineer and producer. His research interests include digital sampling, copyright, and creative practice in music production. He was awarded his doctorate in July 2017 for his thesis, ' A Study of Sampling Practice in British Dance Music, 1987-2012'.

Justin set up and ran a recording studio in Shoreditch, East London, from 1995 until 2003 when he relocated the studio to Sheffield. He worked as an engineer, programmer and producer for clients including Kathy Brown, Daisy Chainsaw, EMI Music Publishing, Flextech Television, Simon Napier-Bell, New Horizons, Pay As You Go, Pepe Deluxe, Sonic Boom, VNV Nation, Wiley and ZTT, as well as being a signed artist himself.

Since 2001 he has taught on music production and music technology courses at Community Music, London, Confetti Studios, Nottingham, Red Tape Studios, Sheffield and Leeds College of Music. He has been a senior lecturer at Leeds Beckett University since 2004, where his specialisms include music business, studio-based recording and production, and production analysis.

Current Teaching

Postgraduate:

PhD Supervision
Research Practice and Negotiated Skills Development (MA Music Production)

Undergraduate:

Music Industry - Module Leader
Production Analysis - Module Leader
Electronic Music Repertoire Development - Module Leader
Audio Production Techniques - Module Leader
Studio Recording Techniques
Music Production Project

Research Interests

Justin's recent publications have focused on sampling as a creative practice and the effect of copyright management upon it. His collaborations with Professor Phillip McIntyre have applied Bordieu's theories of cultural production and Csikszentmihalyi's systems model of creativity to the working methods of British dance music producers. He has presented his research at nine international conferences, as well as organising and co-hosting the sixth Art of Record Production conference at Leeds Beckett University in 2010.

He was awarded his doctorate in July 2017 for his thesis, 'A Study of Sampling Practice in British Dance Music, 1987-2012'.

0113 81 27373
J.Morey@leedsbeckett.ac.uk
Caedmon, 218, Headingley Campus

Leeds School of Arts

Ask Me About

Music
Sound

Selected Outputs

Morey JE; McIntyre P (2011) ‘Working out the Split’: Creative Collaboration and Assignation of Copyright across Differing Musical Worlds.
Morey JE (2009) Arctic Monkeys – The Demos vs. The Album.
Morey J (2009) Breaking the Fourth Wall - the Effect of Acknowledging the Studio on Staging and Perception.

Morey JE; McIntrye P (2014) The Creative Studio Practice of Contemporary Dance Music Sampling Composers. Dancecult : Journal of Electronic Dance Music Culture, 1 (6), pp. 41-60 (19).
Morey JE (2013) Copyright management and its effect on the sampling practice of UK dance music producers. IASPM Journal, 3 (2), pp. 48-62 (15).

http://www.iaspmjournal.net/index.php/IASPM_Journal/issue/view/54
McIntyre P; Morey JE (2012) Examining the Impact of Multiple Technological, Legal, Social and Cultural Factors on the Creative Practice of Sampling Record Producers in Britain. Journal on the Art of Record Production, (7),

https://www.arpjournal.com/asarpwp/examining-the-impact-of-multiple-technological-legal-social-and-cultural-factors-on-the-creative-practice-of-sampling-record-producers-in-britain/

Morey JE (In press) A Study of Sampling Practice in UK Dance Music, 1987-2012.

Morey J (2021) Sampling Practice: The Threat of Copyright Management to its Future (and Past). In: Harrison A; Rigg T ed. The Present and Future of Music Law. London: Bloomsbury Academic Publishing, pp. 46-63.
Morey J (2021) UK Sampling Practice: Past, Present and Future. In: Mazierska E; Rigg T; Gillon L ed. The Evolution of Electronic Dance Music. London: Bloomsbury Publishing, pp. 63-80.
Morey J (2019) Ambient house: 'Little fluffy clouds' and the sampler as time machine. In: Adkins M; Cummings S; Berndt A; Colton L; Field A; Holbrook U; Morey J; Talbot R; Toop D ed. Music Beyond Airports - appraising ambient music. University of Huddersfield Press, pp. 177-195.
Morey J (2016) The creative development of sampling composers. In: McIntyre P; Fulton J; Paton E ed. The Creative System in Action: Understanding Cultural Production and Practice. Palgrave Macmillan, pp. 60-73.
Morey JE (2012) The Bridgeport dimension: copyright enforcement and its implications for sampling practice. In: Kärjä A-V; Marshall L; Brusila J ed. Music, Business and Law: Essays on contemporary trends in the music industry. Turku, Finland: IIPC Publications, pp. 21-45.