Innovation in Music

Performance, Production, Technology, and Business
1. Auflage 2019
ISBN: 978-1-138-49821-1
Verlag: Routledge

Buch, Englisch, 544 Seiten, Format (B × H): 183 mm x 260 mm, Gewicht: 1199 g

Reihe: Perspectives on Music Production

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.

Zielgruppe

Academic, Professional, and Professional Reference

Autoren/Hrsg.

Hepworth-Sawyer, Russ

Hodgson, Jay

Paterson, Justin

Toulson, Rob

Fachgebiete

• Technische Wissenschaften Sonstige Technologien | Angewandte Technik Akustik, Tontechnik

Inhaltsverzeichnis

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

Über Autor(innen)

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.