Innovation in Music

Matthew Lovett is Head of the School of Creative Arts at Bath Spa University, UK, an award-winning creative musician and a published researcher.Jan-Olof Gullö is Professor in Music Production, Royal College of Music, Academy of Folk Music, Jazz and Music and Media Production, Stockholm, Sweden.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.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.Justin Paterson is Professor of Music Production at London College of Music in the University of West London, UK, where he leads the MA Advanced Music Technology.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. Object-Oriented Discography: Collaboration, Creativity and the Music Hyperobject; 2. Redividing the Octave for Expanded Tonal Spaces: Further Practical Explorations of Formalised Approaches to (Poly)Microtonal Composition; 3. Composing with waves: An empirical ontology of electromagnetism; 4. Spatial composition: existing concepts and new applications; 5. Intentional Decision Making: Exploring What Improvising Composers Want Their Musical Choices to Do; 6. There is music in your noise: composition as a denoising process of experimental results; 7. Emotionally Adaptive Music: Towards human composer agency in music composition with automated text/dialogue using multi-dimensional sentiment analysis; 8. An exploratory user study of tablature software: perspectives on popular music creativity with algorithmic tools; 9. Bring Machines: Observations and Proposed Frameworks for Improvised Electronic Music Performance; 10. Recasting mixed music with live electronics: towards a performance-based approach; 11. The Post-Musical Performer: creative and performative challenges in works for saxophone; 12. Understanding and Emulating Time: Analyzing and Simulating Musical Microrhythm Timing with the beat_it Toolbox; 13. Evolving music theory for emerging musical languages Part 2: Case Studies 14. ‘Let the smile always be independent of nationality’: Creating Space for Migrant Voices through Participatory Art; 15. “Drunk” post-rebetiko blues: Anatomising two “dírla” intercultural songs; 16. Liquidation as Quotation: Adventures in Folk Music and Deconstructive Compositional Technique; 17. Organising ‘The Croydon Concert’: How Ornette Coleman re-started his career; 18. “Let the Dance Contest Begin!”: Varying Interpretations of Metric Modulation within Chinese Man’s ‘Step Back’; 19. Kokoronaki / Minimo Awarewa/ Shirarekeri / Shigitatsu Sawano / Akino Yugure: Exploring Cross-Cultural Composition and Cultural Identity; 20. Let's Hear It: Unspoken Codes of Collaborative Creation in Songwriting Camps; 21. Creating Cross-Genre Fusions: A Practice-as-Research Approach; 22. Bike Voyage II Apple: Björn J.son Lindh’s innovative flute playing in a new context; 23. Increasing Student Composer Diversity and Visibility: The BBC Television Programme Boarders As An Innovation Case Study; Index