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 under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.


part One|139 pages


chapter 1|21 pages

Transforming Musical Performance

The Audience as Performer
ByAdrian York

chapter 3|15 pages

Press Play on Tape

8-Bit Composition on the Commodore 64
ByKenny McAlpine

chapter 4|25 pages

Composing With Microsound

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

chapter 5|10 pages

Defining and Evaluating the Performance of Electronic Music

ByJenn Kirby

chapter 8|16 pages

Liveness and Interactivity in Popular Music

BySi Waite

part Two|125 pages


chapter 10|17 pages

Collective Creativity

A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980s
ByPaul Thompson, Phil Harding

chapter 11|13 pages

Mix and Persona

Analyzing Rejected Mixes
ByDan Sanders

chapter 12|18 pages

Mixing Beyond the Box

Analyzing Contemporary Mixing Practice
ByAlex Stevenson

chapter 13|20 pages

Optimizing Vocal Clarity in the Mix

ByKirsten Hermes

chapter 14|15 pages

Plugging In

Exploring Innovation in Plugin Design and Utilization
ByAndrew Bourbon

chapter 16|18 pages

Committing to Tape

Questioning Progress Narratives in Contemporary Studio Production
ByJoe Watson

part Three|142 pages


chapter 17|14 pages

Harnessing Ancillary Microgestures in Piano Technique

Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument
ByNiccolò Granieri, James Dooley, Tychonas Michailidis

chapter 18|18 pages

MAMIC Goes Live

A Music Programming System for Non-specialist Delivery
ByMat Dalgleish, Chris Payne

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
BySimon Hall

chapter 21|20 pages

Score Scroll

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

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
ByAlayna Hughes, Pierluigi Barberis Figueroa

chapter 25|10 pages

Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)

ByMark Sheppard, Rob Toulson, Jörg Fachner

part Four|103 pages


chapter 26|26 pages

Can Music Samples Be Cleared More Easily?

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

chapter 27|18 pages

(Re)Engineering the Cultural Object

Sonic Pasts in Hip-Hop’s Future
ByMichail Exarchos, a.k.a. Stereo Mike

chapter 28|12 pages

Anticipating the Cryptopirate

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

chapter 29|14 pages

Disruption as Contingency

Music, Blockchain, Wtf?
ByMatthew Lovett

chapter 30|13 pages

Can I Get a Witness?

The Significance of Contracts in an Age of Musical Abundance
BySally Anne Gross

chapter 31|18 pages

The End of a Golden Era of British Music?

Exploration of Educational Gaps in the Current UK Creative Industry Strategy
ByCarola Boehm