Innovation in Music: Innovative Creative Practice is a ground-breaking collection, bringing together contributions from instructors, researchers, and professionals, focussing on the joy of discovery in the context of music production, music technology and music performance.
With chapters on augmented creativity, single tonality chord songwriting, musical instruments as live samplers and playing field recordings in music production, this book is recommended reading for students, researchers, and professionals looking for global insights into the fields of music production, business, and technology.
Innovation in Music: Innovative Creative Practice is a ground-breaking collection, bringing together contributions from instructors, researchers and professionals, focussing on the joy of discovery in the context of music production, music technology and music performance.
Part 1: Augmenting Creativity
1. A Self-Portrait: Towards a Practice of
Plunderphonics in an Age of Musical Superabundance
2. Playing Field
Recordings in Music Production
3. Redividing the Octave for Expanded Tonal
Spaces: Preliminary Practical Explorations of Formalised Approaches to
Microtonal Composition
4. Messing About as Creative Process: Anti-Solutionist
Approaches in the Maker's Workshop, Home Studio and on Stage
5. Single
Tonality Chord Songwriting
6. We Only Have to Draw: Unearthing Parallels
Between Xenakis and Oram in the Design of KlangPad, a Learner-Focused
Graphic-Composition Tool
7. Composing an Immaterial Body: Deconstructing and
Reconnecting Vocal Expressions in SOPHIEs Immaterial
8. From Discovery to
Trend: Wrong or Unintended Use of Technology as a Basis for Musical
Development
9. Augmented Creativity: Does AI Help or Hinder Musicians'
Creative Processes?
10. The Sound(s) of Colour: Developing a Theory of
Cross-Modal Interpretation
11. Time After Time: Temporal Multiplicity as
Layers of Narrative Time in Transmedia Concept Albums Part 2: Technology in
Performance and Production
12. Haptics in Audio- and Music-Production
Processes
13. Transvariations: Radical Interpretations of a Classical Piece
by Means of Live Audio Processing
14. Love Your Latency: The Glitching
Spatiotemporality of Telematic Music Performances
15. Thoughts on Building a
Contemplative Modular System
16. Playing the Fader
17. SuperDuper Loopers and
the 'Free for Feedback' Release Model
18. Dual-Function Instruments: Musical
Instruments as Live Samplers
19. Creative Recording Experiments for Dolby
Atmos
20. Rediscovering Analogue Practice in Synthesizer Ensembles
21.
Rethinking Resonance: The Feedback Tuba
22. Don't Do This at Home: Re-Amping
the Norwegian Broadcasting Orchestra (KORK) for Nils Petter Molvær's
Certainty of Tides
Claus Sohn Andersen is an Assistant Professor and Head of Program for the BA in Sound Engineering and Music Production at Kristiania University College, Norway, where he teaches Music Production.
Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, and Visiting Professor at Linnaeus University, Sweden. His research interests include technical, entrepreneurial, and artistic aspects of creativity in music production.
Russ Hepworth-Sawyer is a Mastering Engineer with MOTTOsound, an Associate Professor at York St John University, UK, and the Managing Editor of the Perspectives on Music Production series for Routledge.
Mark Marrington is an Associate Professor in Music Production at York St John University, UK, 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).
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. His 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 2024 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 the University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University, UK. Rob is an author and editor of many books and articles, including Drum Sound and Drum Tuning (2021), published by Routledge.
