Innovation in Music: Technology and Creativity is a groundbreaking collection, bringing together contributions from instructors, researchers and professionals, and including chapters on audience interaction, dynamic music methods, AI and live electronics performances.
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
2. Timin
consistency in live EDM: The Performable Recordings Model
3. The Space is
the Place: Interplay and Interaction in an Extreme Location
4. Composing
Without Keys: The LFO as a Composition Tool
5. Exploring a Network Setup for
Music Experimentation
6. Performance Mapping and Control; Enhanced Musical
Connections and a Strategy to Optimise Flow-State
7. Hacking the Concert
Experience: Exploring Co-Creative Audience Interaction at a Chiptune Live
Performance
8. Exploring Cell-Based Dynamic Music Composition to Create
Non-Linear Musical Works
9. A Deepened Sense of Place: Ecologies of Sound
and Vibration in Urban Settings and Domesticated Landscapes Part 2:
Technology and Innovation
10. Yesterdays Charm, Todays Precision: Martin
B. Kantola and the Design of a New Classic Microphone (Nordic Audio Labs
NU-100K)
11. Audio Beyond Demand: Creative Reinventions of the Broadcast
Listening Experience
12. Towards a Standard for Interactive Music
13.
Transforming Performance with HASGS: Research-led Artistic Practice with an
Augmented Instrument
14. Waveforms as Means of Time Tinkering
15. Levelling
up Chiptune: Nostalgic Retro Games Console Sounds for the ROLI Seaboard
16.
Forceful Action and Interaction in Non-Haptic Music Interfaces
17. Artificial
Creativity and Tools for Understanding: Music, Creative Labour and AI
18.
From Digital Assistant to Digital Collaborator
19. Analyse! Development and
Integration of Software-Based Tools for Musicology and Music Theory
20. A New
Morphology: Strategies for Innovation in Live Electronics Performance
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 Fantōme 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).
