Innovation in music : performance, production, technology, and business /

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<P><B>PART ONE PERFORMANCE</P><P>1 Transforming Musical Performance: The Audience as Performer</P></B><P>ADRIAN YORK</P><B><P>2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for Improvisation</P></B><P>TIM SAYER</P><B><P>3 Press Play on Tape: 8-Bit Composition on the Commodore 64</P></B><P>KENNY MCALPINE</P><B><P>4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With Electronics</P></B><P>MARC ESTIBEIRO</P><B><P>5 Defining and Evaluating the Performance of Electronic Music</P></B><P>JENN KIRBY</P><B><P>6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic Music</P></B><P>PAUL VANDEMAST-BELL AND JOHN FERGUSON</P><B><P>7 Visual Agency and Liveness in the Performance of Electronic Music</P></B><P>TIM CANFER<B></P><P>8 Liveness and Interactivity in Popular Music</P></B><P>SI WAITE</P><B><P>9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko Drumming</P></B><P>STU LAMBERT</P><B><P>PART TWO PRODUCTION</P><P>10 Collective Creativity: A 'Service' Model of Commercial Pop Music Production at PWL in the 1980s</P></B><P>DR. PAUL THOMPSON AND DR. PHIL HARDING</P><B><P>11 Mix and Persona: Analyzing Rejected Mixes</P></B><P>DAN SANDERS</P><B><P>12 Mixing Beyond the Box: Analyzing Contemporary Mixing Practice</P></B><P>ALEX STEVENSON</P><B><P>13 Optimizing Vocal Clarity in the Mix</P></B><P>KIRSTEN HERMES</P><B><P>14 Plugging In: Exploring Innovation in Plugin Design and Utilization</P></B><P>ANDREW BOURBON</P><B><P>15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral Sound</P></B><P>JENNA DOYLE</P><B><P>16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio Production</P></B><P>JOE WATSON</P><B><P>PART THREE TECHNOLOGY</P><P>17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument</P></B><P>NICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS</P><B><P>18 MAMIC Goes Live: A Music Programming System for Non-specialist Delivery</P></B><P>MAT DALGLEISH AND CHRIS PAYNE</P><B><P>19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic Spectrum</P></B><P>JOE WRIGHT</P><B><P>20 Translating Mixed Multichannel Electroacoustic Music With Acoustic Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge Gregorio García Moncada's <I>La Historia de Nosotros</I></P></B><P>SIMON HALL</P><B><P>21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and Performance</P></B><P>BARTOSZ SZAFRANSKI</P><B><P>22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology-The Laser Room and Other Devices</P></B><P>ALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA</P><B><P>23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet Players</P></B><P>ANDY COOPER AND NEIL MARTIN</P><B><P>24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High and Standard-Resolution Sample Frequencies</P></B><P>ROB TOULSON</P><B><P>25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)</P></B><P>MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNER</P><B><P>PART FOUR BUSINESS</P><P>26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative Reuse</P></B><P>STEPHEN PARTRIDGE</P><B><P>27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop's Future</P></B><P>MICHAIL EXARCHOS (A.K.A. STEREO MIKE)<B></P><P>28 Anticipating the Cryptopirate: "Don't Bury Treasure" and Other Potential Preventative Measures</P></B><P>PATRICK TWADDLE</P><B><P>29 Disruption as Contingency: Music, Blockchain, Wtf?</P></B><P>MATTHEW LOVETT</P><B><P>30 Can I Get a Witness? The Significance of Contracts in an Age of Musical Abundance</P></B><P>SALLY ANNE GROSS</P><B><P>31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry Strategy</P></B><P>CAROLA BOEHM</P>Description based on CIP data; resource not viewed.