1st Edition
Innovation in Music: Technology and Creativity
Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.
Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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).
