Innovation in Music: Technology and Creativity

Part 1: Composition and Performance  

1. Rethinking the Relationships Between Space, Performance and Composition in Notated Acoustic Music  

Ambrose Field  

2. Timing Consistency in Live EDM: The ‘Performable Recordings’ Model

Christos Moralis  

3. The Space is the Place: Interplay and Interaction in an Extreme Location  

Claus Sohn Andersen  

4. Composing Without Keys: The LFO as a Composition Tool  

Dave Fortune  

5. Exploring a Network Setup for Music Experimentation  

Enric Guaus, Àlex Barrachina, Josep Comajuncosas, Gabriel Saber, and Víctor Sanahuja  

6. Performance Mapping and Control; Enhanced Musical Connections and a Strategy to Optimise Flow-State  

Charlie Norton, Daniel Pratt, and Justin Paterson  

7. Hacking the Concert Experience: Exploring Co-Creative Audience Interaction at a Chiptune Live Performance  

Matthias Jung and Vegard Kummen  

8. Exploring Cell-Based Dynamic Music Composition to Create Non-Linear Musical Works  

Samuel Lynch, Helen English, Jon Drummond, and Nathan Scott  

9. A Deepened ‘Sense of Place’: Ecologies of Sound and Vibration in Urban Settings and Domesticated Landscapes  

Stefan Östersjö, Jan Berg, and Anders Hultqvist  

Part 2: Technology and Innovation

10. “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the Design of a New ‘Classic’ Microphone (Nordic Audio Labs NU-100K)  

Antti Sakari Saario  

11. Audio Beyond Demand: Creative Reinventions of the Broadcast Listening Experience  

Florian Hollerweger  

12. Towards a Standard for Interactive Music  

Hans Lindetorp  

13. Transforming Performance with HASGS: Research-led Artistic Practice with an Augmented Instrument  

Henrique Portovedo and Ângelo Martingo  

14. Waveforms as Means of Time Tinkering  

Bjørnar Ersland Sandvik  

15. Levelling up Chiptune: Nostalgic Retro Games Console Sounds for the ROLI Seaboard  

Kirsten Hermes  

16. Forceful Action and Interaction in Non-Haptic Music Interfaces     

Mads Walther-Hansen and Anders Eskildsen  

17. Artificial Creativity and Tools for Understanding: Music, Creative Labour and AI   

Matthew Lovett  

18. From Digital Assistant to Digital Collaborator  

M. Nyssim Lefford, David Moffat, and Gary Bromham  

19. Analyse! Development and Integration of Software-Based Tools for Musicology and Music Theory  

Martin Pfleiderer, Egor Polyakov, and Christon-Ragavan Nadar    

20. A New Morphology: Strategies for Innovation in Live Electronics Performance    

Mattias Petersson    

Biography

Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University.

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.

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. 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 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.

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).