Innovation in Music Sound and Place

Part 1: Composition and Performance                             

1.         Object-Oriented Discography: Collaboration, Creativity and the Music Hyperobject

Robert Wilsmore

2.         Redividing the Octave for Expanded Tonal Spaces: Further Practical Explorations of Formalised Approaches to (Poly)Microtonal Composition

Edward Clijsen

3.         Composing with waves: An empirical ontology of electromagnetism

Eleonora Oreggia

4.         Spatial composition: existing concepts and new applications

Ambrose Seddon

5.         Intentional Decision Making: Exploring What Improvising Composers Want Their Musical Choices to Do

Toby Armstrong

6.         There is music in your noise: composition as a denoising process of experimental results

Iker Ormazabal and Iñigo Llanos

7.         Emotionally Adaptive Music: Towards human composer agency in music composition with automated text/dialogue using multi-dimensional sentiment analysis

John Matthias , Nathan Duran, Giorgio Cortiana, Jamie Gibney, Jay Auborn, and Emmanuel Spinelli

8.         An exploratory user study of tablature software: perspectives on popular music creativity with algorithmic tools

Baptiste Bacot, Benoît Navarret, and Louis Bigo

9.         Bring Machines: Observations and Proposed Frameworks for Improvised Electronic Music Performance

Dave Fortune

10.       Recasting mixed music with live electronics: towards a performance-based approach

Philippe Trovão and Henrique Portovedo

11.       The Post-Musical Performer: creative and performative challenges in works for saxophone

Jorge Sousa, Henrique Portovedo, and Nádia Carvalho

12.       Understanding and Emulating Time: Analyzing and Simulating Musical Microrhythm Timing with the beat_it Toolbox

Egor Polyakov

13.       Evolving music theory for emerging musical languages

Emmanuel Deruty

Part 2: Case Studies                        

14.       ‘Let the smile always be independent of nationality’: Creating Space for Migrant Voices through Participatory Art

Marieke Lewis

15.       “Drunk” post-rebetiko blues: Anatomising two “dírla” intercultural songs

Nassos Polyzoidis

16.       Liquidation as Quotation: Adventures in Folk Music and Deconstructive Compositional Technique

Timothy Johnston

17.       Organising ‘The Croydon Concert’: How Ornette Coleman re-started his career

Nick Sorensen

18.       “Let the Dance Contest Begin!”: Varying Interpretations of Metric Modulation within Chinese Man’s ‘Step Back’

Chris Inglis

19.       Kokoronaki / Minimo Awarewa/ Shirarekeri / Shigitatsu Sawano / Akino Yugure: Exploring Cross-Cultural Composition and Cultural Identity

Ryoka Hagiwara

20.       Let's Hear It: Unspoken Codes of Collaborative Creation in Songwriting Camps

Simon Barber and Katherine Williams

21.       Creating Cross-Genre Fusions: A Practice-as-Research Approach

Kirill Polyanskiy

22.       Bike Voyage II Apple: Björn J.son Lindh’s innovative flute playing in a new context

David Thyrén and Jan-Olof Gullö

23.       Increasing Student Composer Diversity and Visibility: The BBC Television Programme Boarders As An Innovation Case Study

Mykaell Riley and Hussein Boon

Biography

Matthew Lovett is Head of the School of Creative Arts at Bath Spa University, UK, an award-winning creative musician and a published researcher.

Jan-Olof Gullö is Professor in Music Production, Royal College of Music, Academy of Folk Music, Jazz and Music and Media Production, Stockholm, Sweden.

Russ Hepworth-Sawyer is a mastering engineer with MOTTOsound, an Associate Professor at York St John University, UK, and the managing editor of the Perspectives on Music Production series for Routledge.

Rob Toulson is Director of RT60 Ltd, who develop innovative music applications for mobile platforms. He was formerly Professor of Creative Industries at 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.

Justin Paterson is Professor of Music Production at London College of Music in the University of West London, UK, where he leads the MA Advanced Music Technology.

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).