Innovation in Music: Technology and Creativity

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).

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. “Yesterday’s Charm, Today’s 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