1st Edition
Innovation in Music: Innovation Pathways
Chapter 1. Record-breaking: Palimpsestuous and Other Generative ‘Record Cutting’ Methodology Misadventures
Dylan Beattie
Chapter 2. 98% Of ‘You’re Not Supposed To Do That’ Innovation Attempts Fail: What Did The 2% Do?
Darrell Mann
Chapter 3. I Want to Break Free: Challenging the Hegemony of Traditional Composition Through Improvisation, Performance, Collaboration and Sound Installation
Monica Esslin-Peard and Samuel D Loveless
Chapter 4. Reinventing the Mixing Desk: A Comparative Review of the Channel Strip and the Stage Metaphor
Vangelis Katsinas
Chapter 5. Whose D(Art)a is it Anyway? Repositioning Data and Digital Ethics in Remote Music Collaboration Software
Martin K. Koszolko and Kristal Spreadborough
Chapter 6. Listening as Contemplation: A Reflexive Thematic Analysis of Listening to Modular-based Compositions
Rotem Haguel and Justin Paterson
Chapter 7. Research the Effect of Visual Stimuli on Auditory Perception in Music Recording and Listening
Pengcen Liu
Chapter 8. The Impossible Box: Building a DIY Groovebox on a $10 Microcontroller
Andrew R. Brown
Chapter 9. The Soundscape Cube System: A Method for the Construction of a Coherent Soundscape During Recording and Mixing
Tore Teigland
Chapter 10. Digging in the Tapes: Multitrack Archives as an Emerging Educational Resource
Paul Thompson, Toby Seay and Kirk McNally
Chapter 11. Gatekeeping in the Audio Mastering Industry
Russ Hepworth-Sawyer
Chapter 12. Music Mastering and Loudness Practices Post LUFS
Pål Erik Jensen, Tore Teigland and Claus Sohn Andersen
Chapter 13. LCR: A Valuable Multichannel Proposition for Modern Music Production?
Juhani Hemmilä and Jason Woolley
Chapter 14. Rethinking Immersive Audio
Adam Parkinson and Justin Randell
Chapter 15. Deliberate Practice and Unintended Consequences in Music Production as Practice and Pedagogy
Hussein Boon
Chapter 16. Artistic Intuition and Algorithmic Prediction in Music Production
Mads Walther-Hansen
Chapter 17. A Radiological Adventure: The Sonification of the Apocalypse
Charles Norton, Daniel Pratt, and Justin Paterson
Chapter 18. Computer-Assisted Music as Means of Multidimensional Performance and Creation: A Post Approach to "Singularity Study 3"
Henrique Portovedo
Biography
Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University. His research interests include technical, entrepreneurial, and artistic aspects of creativity in music production.
Russ Hepworth-Sawyer is a mastering engineer with MOTTOsound, an Associate Professor at York St John University, and the managing editor of the Perspectives on Music Production series for Routledge.
Dave Hook is an Associate Professor in Music at Edinburgh Napier University. A rapper, poet, songwriter, and music producer, his research focuses on hip-hop, rap lyricism, identity, culture, and performance, through creative practice.
Mark Marrington is an Associate Professor in Music Production at York St John University, having previously held teaching positions at Leeds College of Music and the University of Leeds. His research interests include metal music, music technology and creativity, the contemporary classical guitar, and twentieth-century British classical music, and his recently published book, Recording the Classical Guitar (2021), won the 2022 ARSC Award for Excellence in Historical Recorded Sound Research (Classical Music).
Justin Paterson is Professor of Music Production at London College of Music, University of West London, UK. He has numerous research publications as author and editor. His research interests include haptics, 3-D audio, and interactive music, fields that he has investigated over a number of funded projects. He is also an active music producer and composer; his latest album (with Robert Sholl) Les ombres du Fantôme was released in 2023 on Metier Records.
Rob Toulson is Director of RT60 Ltd, who develop innovative music applications for mobile platforms. He was formerly Professor of Creative Industries at the University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob is an author and editor of many books and articles, including Drum Sound and Drum Tuning, published by Routledge in 2021.
