Innovation in Music
Performance, Production, Technology, and Business
Herausgeber: Hepworth-Sawyer, Russ; Paterson, Justin; Hodgson, Jay
Innovation in Music
Performance, Production, Technology, and Business
Herausgeber: Hepworth-Sawyer, Russ; Paterson, Justin; Hodgson, Jay
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Innovation in Music: Performance, Production, Technology and Business is an exciting collection comprising of cutting-edge articles on a range of topics, presented under the main themes of artistry, technology, production and industry. Each chapter is written by a leader in the field and contains insights and discoveries not yet shared. Innovation in Music covers new developments in standard practice of sound design, engineering and acoustics. It also reaches into areas of innovation, both in technology and business practice, even into cross-discipline areas. This book is the perfect companion…mehr
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- Produktdetails
- Verlag: Routledge
- Seitenzahl: 540
- Erscheinungstermin: 8. Juli 2019
- Englisch
- Abmessung: 254mm x 178mm x 29mm
- Gewicht: 1003g
- ISBN-13: 9781138498198
- ISBN-10: 113849819X
- Artikelnr.: 56849880
- Verlag: Routledge
- Seitenzahl: 540
- Erscheinungstermin: 8. Juli 2019
- Englisch
- Abmessung: 254mm x 178mm x 29mm
- Gewicht: 1003g
- ISBN-13: 9781138498198
- ISBN-10: 113849819X
- Artikelnr.: 56849880
1 Transforming Musical Performance: The Audience as Performer
ADRIAN YORK
2 Using Electroencephalography to Explore Cognitive-Cultural Networks and
Ecosystemic Performance Environments for Improvisation
TIM SAYER
3 Press Play on Tape: 8-Bit Composition on the Commodore 64
KENNY MCALPINE
4 Composing With Microsound: An Approach to Structure and Form When
Composing for Acoustic Instruments With Electronics
MARC ESTIBEIRO
5 Defining and Evaluating the Performance of Electronic Music
JENN KIRBY
6 Perspectives on Musical Time and Human-Machine Agency in the Development
of Performance Systems for Live Electronic Music
PAUL VANDEMAST-BELL AND JOHN FERGUSON
7 Visual Agency and Liveness in the Performance of Electronic Music
TIM CANFER
8 Liveness and Interactivity in Popular Music
SI WAITE
9 How Algorithmic Composition Prompts Innovative Movement Design in
Full-Body Taiko Drumming
STU LAMBERT
PART TWO PRODUCTION
10 Collective Creativity: A 'Service' Model of Commercial Pop Music
Production at PWL in the 1980s
DR. PAUL THOMPSON AND DR. PHIL HARDING
11 Mix and Persona: Analyzing Rejected Mixes
DAN SANDERS
12 Mixing Beyond the Box: Analyzing Contemporary Mixing Practice
ALEX STEVENSON
13 Optimizing Vocal Clarity in the Mix
KIRSTEN HERMES
14 Plugging In: Exploring Innovation in Plugin Design and Utilization
ANDREW BOURBON
15 Mixing and Recording a Small Orchestral Ensemble to Create a Large
Orchestral Sound
JENNA DOYLE
16 Committing to Tape: Questioning Progress Narratives in Contemporary
Studio Production
JOE WATSON
PART THREE TECHNOLOGY
17 Harnessing Ancillary Microgestures in Piano Technique: Implementing
Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument
NICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS
18 MAMIC Goes Live: A Music Programming System for Non-specialist Delivery
MAT DALGLEISH AND CHRIS PAYNE
19 Interaction-Congruence in the Design of Exploratory Sonic Play
Instruments With Young People on the Autistic Spectrum
JOE WRIGHT
20 Translating Mixed Multichannel Electroacoustic Music With Acoustic
Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge
Gregorio García Moncada's La Historia de Nosotros
SIMON HALL
21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced
Solution in Composition and Performance
BARTOSZ SZAFRANSKI
22 Everything Is Musical: Creating New Instruments for Musical Expression
and Interaction With Accessible Open-Source Technology-The Laser Room and
Other Devices
ALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA
23 The Impact of a Prototype Acoustically Transparent Headphone System on
the Recording Studio Performances of Professional Trumpet Players
ANDY COOPER AND NEIL MARTIN
24 Evaluating Analog Reconstruction Performance of Transient Digital Audio
Workstation Signals at High and Standard-Resolution Sample Frequencies
ROB TOULSON
25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick
Response Codes (SQRC)
MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNER
PART FOUR BUSINESS
26 Can Music Samples Be Cleared More Easily? Development of an Automated
Process to Clear Music Samples for Legal Creative Reuse
STEPHEN PARTRIDGE
27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop's Future
MICHAIL EXARCHOS (A.K.A. STEREO MIKE)
28 Anticipating the Cryptopirate: "Don't Bury Treasure" and Other Potential
Preventative Measures
PATRICK TWADDLE
29 Disruption as Contingency: Music, Blockchain, Wtf?
MATTHEW LOVETT
30 Can I Get a Witness? The Significance of Contracts in an Age of Musical
Abundance
SALLY ANNE GROSS
31 The End of a Golden Era of British Music? Exploration of Educational
Gaps in the Current UK Creative Industry Strategy
CAROLA BOEHM
1 Transforming Musical Performance: The Audience as Performer
ADRIAN YORK
2 Using Electroencephalography to Explore Cognitive-Cultural Networks and
Ecosystemic Performance Environments for Improvisation
TIM SAYER
3 Press Play on Tape: 8-Bit Composition on the Commodore 64
KENNY MCALPINE
4 Composing With Microsound: An Approach to Structure and Form When
Composing for Acoustic Instruments With Electronics
MARC ESTIBEIRO
5 Defining and Evaluating the Performance of Electronic Music
JENN KIRBY
6 Perspectives on Musical Time and Human-Machine Agency in the Development
of Performance Systems for Live Electronic Music
PAUL VANDEMAST-BELL AND JOHN FERGUSON
7 Visual Agency and Liveness in the Performance of Electronic Music
TIM CANFER
8 Liveness and Interactivity in Popular Music
SI WAITE
9 How Algorithmic Composition Prompts Innovative Movement Design in
Full-Body Taiko Drumming
STU LAMBERT
PART TWO PRODUCTION
10 Collective Creativity: A 'Service' Model of Commercial Pop Music
Production at PWL in the 1980s
DR. PAUL THOMPSON AND DR. PHIL HARDING
11 Mix and Persona: Analyzing Rejected Mixes
DAN SANDERS
12 Mixing Beyond the Box: Analyzing Contemporary Mixing Practice
ALEX STEVENSON
13 Optimizing Vocal Clarity in the Mix
KIRSTEN HERMES
14 Plugging In: Exploring Innovation in Plugin Design and Utilization
ANDREW BOURBON
15 Mixing and Recording a Small Orchestral Ensemble to Create a Large
Orchestral Sound
JENNA DOYLE
16 Committing to Tape: Questioning Progress Narratives in Contemporary
Studio Production
JOE WATSON
PART THREE TECHNOLOGY
17 Harnessing Ancillary Microgestures in Piano Technique: Implementing
Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument
NICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS
18 MAMIC Goes Live: A Music Programming System for Non-specialist Delivery
MAT DALGLEISH AND CHRIS PAYNE
19 Interaction-Congruence in the Design of Exploratory Sonic Play
Instruments With Young People on the Autistic Spectrum
JOE WRIGHT
20 Translating Mixed Multichannel Electroacoustic Music With Acoustic
Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge
Gregorio García Moncada's La Historia de Nosotros
SIMON HALL
21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced
Solution in Composition and Performance
BARTOSZ SZAFRANSKI
22 Everything Is Musical: Creating New Instruments for Musical Expression
and Interaction With Accessible Open-Source Technology-The Laser Room and
Other Devices
ALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA
23 The Impact of a Prototype Acoustically Transparent Headphone System on
the Recording Studio Performances of Professional Trumpet Players
ANDY COOPER AND NEIL MARTIN
24 Evaluating Analog Reconstruction Performance of Transient Digital Audio
Workstation Signals at High and Standard-Resolution Sample Frequencies
ROB TOULSON
25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick
Response Codes (SQRC)
MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNER
PART FOUR BUSINESS
26 Can Music Samples Be Cleared More Easily? Development of an Automated
Process to Clear Music Samples for Legal Creative Reuse
STEPHEN PARTRIDGE
27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop's Future
MICHAIL EXARCHOS (A.K.A. STEREO MIKE)
28 Anticipating the Cryptopirate: "Don't Bury Treasure" and Other Potential
Preventative Measures
PATRICK TWADDLE
29 Disruption as Contingency: Music, Blockchain, Wtf?
MATTHEW LOVETT
30 Can I Get a Witness? The Significance of Contracts in an Age of Musical
Abundance
SALLY ANNE GROSS
31 The End of a Golden Era of British Music? Exploration of Educational
Gaps in the Current UK Creative Industry Strategy
CAROLA BOEHM