Innovation in Music: Performance, Production, Technology and Business

540 Pages·2019·21.81 MB·English

by  Russ Hepworth-Sawyer, Jay Hodgson, Justin Paterson, Rob Toulson

Innovation in Music
Innovation in Music: Performance, Production, Technology and Business is an exciting
collection comprising 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.
Following are the co-founders of the Innovation in Music Conference (www.
musicinnovation.co.uk), who also acted as editors for this volume.
Russ Hepworth-Sawyer is a member of the Audio Engineering Society and co-founder
of the UK Mastering Section there. A former board member of the Music Producers Guild,
Russ helped form their Mastering Group. Through MOTTOsound (www.mottosound.
co.uk), Russ now works freelance in the industry as a mastering engineer, writer and
consultant. Russ currently lectures part-time for York St John University, UK, and the
University of Huddersfield, UK, and has taught extensively in UK Higher Education. He
occasionally contributes in magazines such as MusicTech, Pro Sound News Europe, and
Sound On Sound, and has written many titles for Focal Press and Routledge.
Jay Hodgson is on faculty at Western University, Canada, where he primarily teaches
songwriting and record production. He is also a mastering engineer at MOTTOsound. His
masters have twice been nominated for Juno Awards and topped Beatport’s global techno
and house charts. He was awarded a Governor General’s academic medal in 2006, primarily
in recognition of his research on audio recording; and his second book, Understanding
Records (2010), was recently acquired by the Reading Room of the Rock and Roll Hall of
Fame. He has other books with Oxford University Press, Bloomsbury, Continuum, Wilfrid
Laurier University Press, Focal Press and Routledge.
Justin Paterson is Associate Professor of Music Technology in London College of Music,
University of West London, UK. He has numerous research publications ranging through
journal articles, conference presentations and book chapters, and is author of the Drum
Programming Handbook. He is also an active music producer. Current research interests
are 3D audio and interactive music, fields that he has investigated with prominent industrial
organizations such as Warner Music Group. Together with Professor Rob Toulson of the
University of Westminster, he developed the variPlay interactive music system.
Rob Toulson is Professor of Creative Industries: Commercial Music at the University of
Westminster, London. He was previously Director of the Cultures of the Digital Economy
Research Institute at Anglia Ruskin University, Cambridge, UK. Rob is a research
leader in the field of commercial music, and he has collaborated with many international
organizations in the music and audio industries. He is a successful music producer and
studio engineer, as well as an experienced mobile app developer, having invented the novel
iDrumTune percussion tuning application and the innovative variPlay interactive playback
system, in collaboration with Professor Justin Paterson of the University of West London.
Perspectives on Music Production Series
Series Editors
Russ Hepworth-Sawyer
Jay Hodgson
Mark Marrington
Titles in the Series
Mixing Music
Edited by Russ Hepworth-Sawyer and Jay Hodgson
Audio Mastering: The Artists
Discussions from Pre-Production to Mastering
Edited by Russ Hepworth-Sawyer and Jay Hodgson
Producing Music
Edited by Russ Hepworth-Sawyer, Jay Hodgson, and Mark Marrington
Innovation in Music
Performance, Production, Technology and Business
Edited by Russ Hepworth-Sawyer, Jay Hodgson, Justin Paterson and
Rob Toulson
Innovation in Music
Performance, Production, Technology
and Business
Edited by Russ Hepworth-Sawyer,
Jay Hodgson, Justin Paterson and
Rob Toulson
First published 2019
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2019 Taylor & Francis
The right of Russ Hepworth-Sawyer, Jay Hodgson, Justin Paterson and
Rob Toulson to be identified as the authors of the editorial material, and of
the authors for their individual chapters, has been asserted in accordance
with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
With the exception of Chapter 31, no part of this book may be reprinted
or reproduced or utilised in any form or by any electronic, mechanical, or
other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system, without
permission in writing from the publishers.
Chapter 31 of this book is available for free in PDF format as Open Access
from the individual product page at www.routledge.com. It has been made
available under a Creative Commons Attribution-Non Commercial-No
Derivatives 4.0 license.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Hepworth-Sawyer, Russ. | Hodgson, Jay. | Paterson, Justin. |
Toulson, Rob.
Title: Innovation in music : performance, production, technology, and
business / edited by Russ Hepworth-Sawyer, Jay Hodgson, Justin
Paterson, and Rob Toulson.
Description: New York, NY : Routledge, 2019. | Series: Perspectives on
music production series | Includes index.
Identifiers: LCCN 2018058031 (print) | LCCN 2019000227 (ebook) |
ISBN 9781351016704 (pdf) | ISBN 9781351016681 (mobi) | ISBN
9781351016698 (epub) | ISBN 9781138498211 (hardback) | ISBN
9781138498198 (pbk.) | ISBN 9781351016711 (ebook)
Subjects: LCSH: Music and technology. | Music—Performance. | Sound
recordings—Production and direction. | Music trade.
Classification: LCC ML55 (ebook) | LCC ML55 .I57 2019 (print) | DDC
780.9/05—dc23
LC record available at https://lccn.loc.gov/2018058031
ISBN: 978-1-138-49821-1 (hbk)
ISBN: 978-1-138-49819-8 (pbk)
ISBN: 978-1-351-01671-1 (ebk)
Typeset in Times New Roman
by Apex CoVantage, LLC
Contents
Preface ix
PART ONE PERFORMANCE
1 Transforming Musical Performance:
The Audience as Performer 3
ADRIAN YORK
2 Using Electroencephalography to Explore
Cognitive-Cultural Networks and Ecosystemic
Performance Environments for Improvisation 24
TIM SAYER
3 Press Play on Tape: 8-Bit Composition on the
Commodore 64 37
KENNY MCALPINE
4 Composing With Microsound: An Approach to
Structure and Form When Composing for Acoustic
Instruments With Electronics 52
MARC ESTIBEIRO
5 Defining and Evaluating the Performance of
Electronic Music 77
JENN KIRBY
6 Perspectives on Musical Time and Human-Machine
Agency in the Development of Performance Systems
for Live Electronic Music 87
PAUL VANDEMAST-BELL AND JOHN FERGUSON
7 Visual Agency and Liveness in the Performance
of Electronic Music 100
TIM CANFER
v
vi Contents
8 Liveness and Interactivity in Popular Music 113
SI WAITE
9 How Algorithmic Composition Prompts Innovative
Movement Design in Full-Body Taiko Drumming 129
STU LAMBERT
PART TWO PRODUCTION
10 Collective Creativity: A ‘Service’ Model of Commercial
Pop Music Production at PWL in the 1980s 143
PAUL THOMPSON AND PHIL HARDING
11 Mix and Persona: Analyzing Rejected Mixes 160
DAN SANDERS
12 Mixing Beyond the Box: Analyzing Contemporary
Mixing Practice 173
ALEX STEVENSON
13 Optimizing Vocal Clarity in the Mix 191
KIRSTEN HERMES
14 Plugging In: Exploring Innovation in Plugin Design
and Utilization 211
ANDREW BOURBON
15 Mixing and Recording a Small Orchestral Ensemble
to Create a Large Orchestral Sound 226
JENNA DOYLE
16 Committing to Tape: Questioning Progress Narratives
in Contemporary Studio Production 248
JOE WATSON
PART THREE TECHNOLOGY
17 Harnessing Ancillary Microgestures in Piano Technique:
Implementing Microgestural Control Into an Expressive
Keyboard-Based Hyper-Instrument 269
NICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS
18 MAMIC Goes Live: A Music Programming System
for Non-specialist Delivery 283
MAT DALGLEISH AND CHRIS PAYNE
Contents vii
19 Interaction-Congruence in the Design of Exploratory
Sonic Play Instruments With Young People on the
Autistic Spectrum 301
JOE WRIGHT
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 323
SIMON HALL
21 Score Scroll: Replacing Page-Based Notation With a
Technology-Enhanced Solution in Composition and
Performance 338
BARTOSZ SZAFRANSKI
22 Everything Is Musical: Creating New Instruments for
Musical Expression and Interaction With Accessible
Open-Source Technology—The Laser Room and Other
Devices 358
ALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA
23 The Impact of a Prototype Acoustically Transparent
Headphone System on the Recording Studio
Performances of Professional Trumpet Players 368
ANDY COOPER AND NEIL MARTIN
24 Evaluating Analog Reconstruction Performance of
Transient Digital Audio Workstation Signals at High-
and Standard-Resolution Sample Frequencies 385
ROB TOULSON
25 Acoustic Transmission of Metadata in Audio Files
Using Sonic Quick Response Codes (SQRC) 399
MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNER
PART FOUR BUSINESS
26 Can Music Samples Be Cleared More Easily? Development
of an Automated Process to Clear Music Samples for Legal
Creative Reuse 411
STEPHEN PARTRIDGE
27 (Re)Engineering the Cultural Object: Sonic Pasts in
Hip-Hop’s Future 437
MICHAIL EXARCHOS (A.K.A. STEREO MIKE)
viii Contents
28 Anticipating the Cryptopirate: “Don’t Bury Treasure”
and Other Potential Preventative Measures 455
PATRICK TWADDLE
29 Disruption as Contingency: Music, Blockchain, Wtf? 467
MATTHEW LOVETT
30 Can I Get a Witness? The Significance of Contracts in
an Age of Musical Abundance 481
SALLY ANNE GROSS
31 The End of a Golden Era of British Music? Exploration
of Educational Gaps in the Current UK Creative Industry
Strategy 494
CAROLA BOEHM
Index 512
Preface
The Innovation in Music network brings together practitioners, experts
and academics in the rapidly evolving and connected disciplines of music
performance, music production, audio technologies and music business.
The Innovation in Music Conference in 2017 (InMusic17) was held at
the University of Westminster, Regent St, London and included keynote
interviews, performances and panel discussions with Imogen Heap, Tal-
vin Singh, Mandy Parnell, Ken Scott and Peter Oxendale, among others.
The network and conference acts as a forum for industry experts and pro-
fessionals to mix with researchers and academics to report on the latest
advances and exchange ideas, crossing boundaries between music disci-
plines and bridging academia with industry. After the conference, con-
tributors were invited to submit articles for this book, Innovation in Music:
Performance, Production, Technology and Business, in order to capture
the innovative research and practices that were showcased at the event.
This book therefore gives a broad and detailed overview of modern and
cross-disciplinary innovations in the world of music.
The book is divided into four parts, representing innovations around
each of music performance, production, technology and business. In Part
One, innovative examples of music performance, stagecraft and compo-
sition are presented, with respect to different music genres from jazz to
electronica. Part Two discusses innovation in music production, incor-
porating models for collaboration and creativity, and identifying toolsets
and workflows for enabling innovative creative practice in the studio. Part
Three presents a number of new technologies within the music and audio
engineering realm, from experimentation with new interfaces and instru-
ment designs to analysis of high-resolution audio and advanced methods
for storing musical metadata. Finally, Part Four evaluates contemporary
issues around music business, copyright, publishing and ownership, while
also giving broad examples of the connections between enterprise and cre-
ativity, and collaboration bridging academia and industry.
We thank all chapter authors, conference speakers and delegates for their
support, and intend that the chapters of this book will be a lasting record
of contemporary music innovations and a resource of research information
for the future.
Russ Hepworth-Sawyer, Jay Hodgson,
Justin Paterson and Rob Toulson (Editors)
ix