Full Description
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 for professionals and researchers alike with an interest in the Music industry.
Chapter 31 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
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
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
