Innovation in Music: Performance, Production, Technology, and Business

Contents

• 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
• NICCOLO 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 Garcia 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 JOERG 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