Innovation in Music: Technology and Creativity
Herausgeber: Gullo, Jan-Olof; Hepworth-Sawyer, Russ; Toulson, Rob; Marrington, Mark; Paterson, Justin
66,99 €
inkl. MwSt.
Versandkostenfrei*
Versandfertig in über 4 Wochen
Melden Sie sich
hier
hier
für den Produktalarm an, um über die Verfügbarkeit des Produkts informiert zu werden.
Innovation in Music: Technology and Creativity
Herausgeber: Gullo, Jan-Olof; Hepworth-Sawyer, Russ; Toulson, Rob; Marrington, Mark; Paterson, Justin
- Broschiertes Buch
Innovation in Music: Technology and Creativity is a groundbreaking collection, bringing together contributions from instructors, researchers and professionals, and including chapters on audience interaction, dynamic music methods, AI and live electronics performances.
Andere Kunden interessierten sich auch für
- Mike SeniorRecording Secrets for the Small Studio39,99 €
- Bob Katz (Mastering Engineer of 3 Grammy-Winning albumsMastering Audio51,18 €
- Mixing Music100,99 €
- Artificial Intelligence and Music Ecosystem37,99 €
- Alex RiviereGame Audio Mixing31,99 €
- Tammy DonhamMarketing Recorded Music58,99 €
- Paul GilreathThe Guide to MIDI Orchestration 4e147,99 €
-
-
-
Innovation in Music: Technology and Creativity is a groundbreaking collection, bringing together contributions from instructors, researchers and professionals, and including chapters on audience interaction, dynamic music methods, AI and live electronics performances.
Produktdetails
- Produktdetails
- Perspectives on Music Production
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 342
- Erscheinungstermin: 27. März 2024
- Englisch
- Abmessung: 178mm x 253mm x 22mm
- Gewicht: 692g
- ISBN-13: 9780367633363
- ISBN-10: 0367633361
- Artikelnr.: 69431627
- Perspectives on Music Production
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 342
- Erscheinungstermin: 27. März 2024
- Englisch
- Abmessung: 178mm x 253mm x 22mm
- Gewicht: 692g
- ISBN-13: 9780367633363
- ISBN-10: 0367633361
- Artikelnr.: 69431627
Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University. Russ Hepworth-Sawyer is a mastering engineer with MOTTOsound, an Associate Professor at York St John University, and the managing editor of the Perspectives On Music Production series for Routledge. Justin Paterson is Professor of Music Production at London College of Music, University of West London, UK. He has numerous research publications as author and editor. Research interests include haptics, 3-D audio and interactive music, fields that he has investigated over a number of funded projects. He is also an active music producer and composer; his latest album (with Robert Sholl) Les ombres du Fantôme was released in 2023 on Metier Records. Rob Toulson is Director of RT60 Ltd, who develop innovative music applications for mobile platforms. He was formerly Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob is an author and editor of many books and articles, including Drum Sound and Drum Tuning, published by Routledge in 2021. Mark Marrington is an Associate Professor in Music Production at York St John University, having previously held teaching positions at Leeds College of Music and the University of Leeds. His research interests include metal music, music technology and creativity, the contemporary classical guitar and twentieth-century British classical music, and his recently published book, Recording the Classical Guitar (2021), won the 2022 ARSC Award for Excellence in Historical Recorded Sound Research (Classical Music).
Part 1: Composition and Performance 1. Rethinking the Relationships Between
Space, Performance and Composition in Notated Acoustic Music 2. Timin
consistency in live EDM: The 'Performable Recordings' Model 3. The Space is
the Place: Interplay and Interaction in an Extreme Location 4. Composing
Without Keys: The LFO as a Composition Tool 5. Exploring a Network Setup
for Music Experimentation 6. Performance Mapping and Control; Enhanced
Musical Connections and a Strategy to Optimise Flow-State 7. Hacking the
Concert Experience: Exploring Co-Creative Audience Interaction at a
Chiptune Live Performance 8. Exploring Cell-Based Dynamic Music Composition
to Create Non-Linear Musical Works 9. A Deepened 'Sense of Place':
Ecologies of Sound and Vibration in Urban Settings and Domesticated
Landscapes Part 2: Technology and Innovation 10. "Yesterday's Charm,
Today's Precision": Martin B. Kantola and the Design of a New 'Classic'
Microphone (Nordic Audio Labs NU-100K) 11. Audio Beyond Demand: Creative
Reinventions of the Broadcast Listening Experience 12. Towards a Standard
for Interactive Music 13. Transforming Performance with HASGS: Research-led
Artistic Practice with an Augmented Instrument 14. Waveforms as Means of
Time Tinkering 15. Levelling up Chiptune: Nostalgic Retro Games Console
Sounds for the ROLI Seaboard 16. Forceful Action and Interaction in
Non-Haptic Music Interfaces 17. Artificial Creativity and Tools for
Understanding: Music, Creative Labour and AI 18. From Digital Assistant to
Digital Collaborator 19. Analyse! Development and Integration of
Software-Based Tools for Musicology and Music Theory 20. A New Morphology:
Strategies for Innovation in Live Electronics Performance
Space, Performance and Composition in Notated Acoustic Music 2. Timin
consistency in live EDM: The 'Performable Recordings' Model 3. The Space is
the Place: Interplay and Interaction in an Extreme Location 4. Composing
Without Keys: The LFO as a Composition Tool 5. Exploring a Network Setup
for Music Experimentation 6. Performance Mapping and Control; Enhanced
Musical Connections and a Strategy to Optimise Flow-State 7. Hacking the
Concert Experience: Exploring Co-Creative Audience Interaction at a
Chiptune Live Performance 8. Exploring Cell-Based Dynamic Music Composition
to Create Non-Linear Musical Works 9. A Deepened 'Sense of Place':
Ecologies of Sound and Vibration in Urban Settings and Domesticated
Landscapes Part 2: Technology and Innovation 10. "Yesterday's Charm,
Today's Precision": Martin B. Kantola and the Design of a New 'Classic'
Microphone (Nordic Audio Labs NU-100K) 11. Audio Beyond Demand: Creative
Reinventions of the Broadcast Listening Experience 12. Towards a Standard
for Interactive Music 13. Transforming Performance with HASGS: Research-led
Artistic Practice with an Augmented Instrument 14. Waveforms as Means of
Time Tinkering 15. Levelling up Chiptune: Nostalgic Retro Games Console
Sounds for the ROLI Seaboard 16. Forceful Action and Interaction in
Non-Haptic Music Interfaces 17. Artificial Creativity and Tools for
Understanding: Music, Creative Labour and AI 18. From Digital Assistant to
Digital Collaborator 19. Analyse! Development and Integration of
Software-Based Tools for Musicology and Music Theory 20. A New Morphology:
Strategies for Innovation in Live Electronics Performance
Part 1: Composition and Performance 1. Rethinking the Relationships Between
Space, Performance and Composition in Notated Acoustic Music 2. Timin
consistency in live EDM: The 'Performable Recordings' Model 3. The Space is
the Place: Interplay and Interaction in an Extreme Location 4. Composing
Without Keys: The LFO as a Composition Tool 5. Exploring a Network Setup
for Music Experimentation 6. Performance Mapping and Control; Enhanced
Musical Connections and a Strategy to Optimise Flow-State 7. Hacking the
Concert Experience: Exploring Co-Creative Audience Interaction at a
Chiptune Live Performance 8. Exploring Cell-Based Dynamic Music Composition
to Create Non-Linear Musical Works 9. A Deepened 'Sense of Place':
Ecologies of Sound and Vibration in Urban Settings and Domesticated
Landscapes Part 2: Technology and Innovation 10. "Yesterday's Charm,
Today's Precision": Martin B. Kantola and the Design of a New 'Classic'
Microphone (Nordic Audio Labs NU-100K) 11. Audio Beyond Demand: Creative
Reinventions of the Broadcast Listening Experience 12. Towards a Standard
for Interactive Music 13. Transforming Performance with HASGS: Research-led
Artistic Practice with an Augmented Instrument 14. Waveforms as Means of
Time Tinkering 15. Levelling up Chiptune: Nostalgic Retro Games Console
Sounds for the ROLI Seaboard 16. Forceful Action and Interaction in
Non-Haptic Music Interfaces 17. Artificial Creativity and Tools for
Understanding: Music, Creative Labour and AI 18. From Digital Assistant to
Digital Collaborator 19. Analyse! Development and Integration of
Software-Based Tools for Musicology and Music Theory 20. A New Morphology:
Strategies for Innovation in Live Electronics Performance
Space, Performance and Composition in Notated Acoustic Music 2. Timin
consistency in live EDM: The 'Performable Recordings' Model 3. The Space is
the Place: Interplay and Interaction in an Extreme Location 4. Composing
Without Keys: The LFO as a Composition Tool 5. Exploring a Network Setup
for Music Experimentation 6. Performance Mapping and Control; Enhanced
Musical Connections and a Strategy to Optimise Flow-State 7. Hacking the
Concert Experience: Exploring Co-Creative Audience Interaction at a
Chiptune Live Performance 8. Exploring Cell-Based Dynamic Music Composition
to Create Non-Linear Musical Works 9. A Deepened 'Sense of Place':
Ecologies of Sound and Vibration in Urban Settings and Domesticated
Landscapes Part 2: Technology and Innovation 10. "Yesterday's Charm,
Today's Precision": Martin B. Kantola and the Design of a New 'Classic'
Microphone (Nordic Audio Labs NU-100K) 11. Audio Beyond Demand: Creative
Reinventions of the Broadcast Listening Experience 12. Towards a Standard
for Interactive Music 13. Transforming Performance with HASGS: Research-led
Artistic Practice with an Augmented Instrument 14. Waveforms as Means of
Time Tinkering 15. Levelling up Chiptune: Nostalgic Retro Games Console
Sounds for the ROLI Seaboard 16. Forceful Action and Interaction in
Non-Haptic Music Interfaces 17. Artificial Creativity and Tools for
Understanding: Music, Creative Labour and AI 18. From Digital Assistant to
Digital Collaborator 19. Analyse! Development and Integration of
Software-Based Tools for Musicology and Music Theory 20. A New Morphology:
Strategies for Innovation in Live Electronics Performance