ABSTRACT

Innovation in Music: Performance, Production, Technology and Business is an exciting collection comprising of cutting-edge articles on a range of topics, presented under the main themes of artistry, technology, production and industry. Each chapter is written by a leader in the field and contains insights and discoveries not yet shared.

Innovation in Music

covers new developments in standard practice of sound design, engineering and acoustics. It also reaches into areas of innovation, both in technology and business practice, even into cross-discipline areas. This book is the perfect companion for professionals and researchers alike with an interest in the Music industry.

Chapter 31 of this book is freely available as a downloadable Open Access PDF at https://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license. 

part One|139 pages

Performance

chapter 1|21 pages

Transforming Musical Performance

The Audience as Performer

chapter 3|15 pages

Press Play on Tape

8-Bit Composition on the Commodore 64

chapter 4|25 pages

Composing With Microsound

An Approach to Structure and Form When Composing for Acoustic Instruments With Electronics

part Two|125 pages

Production

chapter 10|17 pages

Collective Creativity

A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980s

chapter 11|13 pages

Mix and Persona

Analyzing Rejected Mixes

chapter 12|18 pages

Mixing Beyond the Box

Analyzing Contemporary Mixing Practice

chapter 14|15 pages

Plugging In

Exploring Innovation in Plugin Design and Utilization

chapter 16|18 pages

Committing to Tape

Questioning Progress Narratives in Contemporary Studio Production

part Three|142 pages

Technology

chapter 17|14 pages

Harnessing Ancillary Microgestures in Piano Technique

Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument

chapter 18|18 pages

MAMIC Goes Live

A Music Programming System for Non-specialist Delivery

chapter 20|15 pages

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

chapter 21|20 pages

Score Scroll

Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and Performance

chapter 22|10 pages

Everything Is Musical

Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology—The Laser Room and Other Devices

part Four|103 pages

Business

chapter 26|26 pages

Can Music Samples Be Cleared More Easily?

Development of an Automated Process to Clear Music Samples for Legal Creative Reuse

chapter 27|18 pages

(Re)Engineering the Cultural Object

Sonic Pasts in Hip-Hop’s Future

chapter 28|12 pages

Anticipating the Cryptopirate

“Don’t Bury Treasure” and Other Potential Preventative Measures

chapter 29|14 pages

Disruption as Contingency

Music, Blockchain, Wtf?

chapter 30|13 pages

Can I Get a Witness?

The Significance of Contracts in an Age of Musical Abundance

chapter 31|18 pages

The End of a Golden Era of British Music?

Exploration of Educational Gaps in the Current UK Creative Industry Strategy