1st Edition

Collaboration, Engagement, and Tradition in Contemporary and Electronic Music NoiseFloor Perspectives

Edited By Marc Estibeiro, Dave Payling, David Cotter Copyright 2025
    406 Pages 57 B/W Illustrations
    by Focal Press

    406 Pages 57 B/W Illustrations
    by Focal Press

    Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives offers insights into practices at the forefront of modern music making and is built on a rich collection of concerts and talks, representing over a decade of artistic insight and creative practice showcased at the annual NoiseFloor event.

    Exploring the themes of collaboration, engagement and tradition, this cutting-edge collection offers chapters on a range of pressing issues, including AI in music, audiovisual composition, environmental sound, and interactive sound systems. NoiseFloor’s aim is to showcase research and original works by international music composers and performers and has attracted prolific artists in a wide range of related fields - many of whom have contributed to this volume. This book provides a timely snapshot of new and emerging developments in the broad field of contemporary music-making.

    Collaboration, Engagement, and Tradition in Contemporary and Electronic Music will be of interest to postgraduates and advanced undergraduates working in the areas of contemporary music, electronic music, and music technology. This book is also ideal for composers, artists, and researchers investigating theoretical concepts and compositional practices in contemporary music.

    Part 1: Collaboration

    1. Electronics as a Member of The Ensemble

    Kerry Hagan

    2. Composing With Instruments and Live Electronics

    Sohrab Uduman

    3. Forty Years of Live Electro-Acoustic Music: Reflections on a Continuing Partnership.

    Duncan Chapman and Mike McInerney

    4. Music in Vision: Visual Music Instruments in Practice

    Dave Payling

    5. Autonomous Music Systems with Agency

    Jason Palamara

    Part 2: Engagement

    6. Formuls: An Electronic Musical Instrument for Synthesis Based Composition and Performance

    James Dooley

    7. Overtone Music

    Hubert Howe

    8. Spatial Sonorous Objects and Their Creative Use: A Framework for The Analysis Of Spatialisation

    Stefano Catena

    9. Sound as Method: Creative Textual Practices as Critical Rewritings

    Lauren Redhead

    Part 3: Tradition

    10. Scratching, Past and Future: Cataloguing the Scholarship on Turntablism and Controllerism, And an Introduction to Their Emerging Affiliated Practices and Communities

    Manoli Moriaty

    11. Composing with Ambisonics: An Electroacoustic Practitioner’s Guide

    Mikel Kuehn

    12. Audiovisualisation: Reviving the Spectre of Optical Sound and Structural / Materialist Film

    Ryo Ikeshiro

    13. Events and Continuums: The Audiovisual Composition ‘Estuaries 4’

    Bret Battey

    14. From Stochastic Music to Quantum Music

    Rodney DuPlessis

    15. Exploring the Musical Potential and Non-Hierarchical Signal-Noise Relationships in MP3 Compression Technologies using Musical Composition

    Jim Reeve-Baker

    16. Motion Capture for Musical Expression

    Charles Nichols


    Marc Estibeiro is a composer, guitar player and academic. His academic work focuses on composing music for acoustic instruments and electronics. His work has been presented at conferences, workshops, concerts, and seminars around the world. Marc is currently an associate professor of music at Staffordshire University in the UK.

    Dave Payling is a visual music artist from Staffordshire. His work focuses on composition for Visual Music with abstract animation and electronic music. Dave is section editor for Dancecult: Journal of Electronic Dance Music Culture, and author of Electronic Visual Music: The Elements of Audiovisual Creativity.

    David Cotter is an academic and musician. He has performed and presented his research in 29 countries. His doctoral research at the University of Cambridge concerns the cultural, sonic, spatial, and technological affordances of the guitar in collaborative musical performance.