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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.
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.
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Russ Hepworth-Sawyer is a member of the Audio Engineering Society and co-founder of the UK Mastering Section there. A former board member of Music Producers Guild, Russ helped form their Mastering Group. Through MOTTOsound (www.mottosound.co.uk), Russ now works freelance in the industry as a mastering engineer, writer and consultant. Russ currently lectures part-time for York St John University, UK and the University of Huddersfield, UK and has taught extensively in UK Higher. He contributes from time to time in magazines such as MusicTech, Pro Sound News Europe, and Sound On Sound plus has written many titles for Focal Press and Routledge. Jay Hodgson is on faculty at Western University, Canada, where he primarily teaches songwriting and record production. He is also a mastering engineer at MOTTOsound. His masters have twice been nominated for Juno Awards and topped Beatport's global techno and house charts. He was awarded a Governor General's academic medal in 2006, primarily in recognition of his research on audio recording; and his second book, Understanding Records (2010), was recently acquired by the Reading Room of the Rock and Roll Hall of Fame. He has other books with Oxford University Press, Bloomsbury, Continuum, Wilfrid Laurier University Press, Focal Press and Routledge. Justin Paterson is Associate Professor of Music Technology in London College of Music, University of West London, UK. He has numerous research publications ranging through journal articles, conference presentations and book chapters, and is author of the Drum Programming Handbook. He is also an active music producer. Current research interests are 3D audio and interactive music, fields that he has investigated with prominent industrial organizations such as Warner Music Group. Together with Professor Rob Toulson of the University of Westminster, he developed the variPlay interactive music system. Rob Toulson is Professor of Creative Industries: Commercial Music at the University of Westminster, London. He was previously Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge, UK. Rob is a research leader in the field of commercial music, and he has collaborated with many international organizations in the music and audio industries. He is a successful music producer and studio engineer, as well as an experienced mobile app developer, having invented the novel iDrumTune percussion tuning application and the innovative variPlay interactive playback system, in collaboration with Professor Justin Paterson of the University of West London.
Inhaltsangabe
PART ONE PERFORMANCE 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
PART ONE PERFORMANCE 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
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