Innovation in Music: Performance, Production, Technology and Business

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Series
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Contents
Preface
Part One Performance
	1 Transforming Musical Performance: The Audience as Performer
	2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for Improvisation
	3 Press Play on Tape: 8-Bit Composition on the Commodore 64
	4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With Electronics
	5 Defining and Evaluating the Performance of Electronic Music
	6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic Music
	7 Visual Agency and Liveness in the Performance of Electronic Music
	8 Liveness and Interactivity in Popular Music
	9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko Drumming
Part Two Production
	10 Collective Creativity: A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980s
	11 Mix and Persona: Analyzing Rejected Mixes
	12 Mixing Beyond the Box: Analyzing Contemporary Mixing Practice
	13 Optimizing Vocal Clarity in the Mix
	14 Plugging In: Exploring Innovation in Plugin Design and Utilization
	15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral Sound
	16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio Production
Part Three Technology
	17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument
	18 MAMIC Goes Live: A Music Programming System for Non-specialist Delivery
	19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic Spectrum
	20 Translating Mixed Multichannel Electroacoustic Music With Acoustic Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge Gregorio García Moncada’s La Historia de Nosotros
	21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and Performance
	22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology—The Laser Room and Other Devices
	23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet Players
	24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High- and Standard-Resolution Sample Frequencies
	25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)
Part Four Business
	26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative Reuse
	27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop’s Future
	28 Anticipating the Cryptopirate: “Don’t Bury Treasure” and Other Potential Preventative Measures
	29 Disruption as Contingency: Music, Blockchain, Wtf?
	30 Can I Get a Witness? The Significance of Contracts in an Age of Musical Abundance
	31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry Strategy
Index