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Abstracts and Presenting Authors

The following abstracts have been accepted for inclusion in the conference programme at Innovation In Music 2019. Presentations will be 15 minutes long with 5 minutes allocated for audience Q&A.

Richard Lightman - Contextual and Cultural Mediation in the Recording Studio - Two producers, two artists, two cultures

Michael Trommer - Points Further North: An Acoustemological Cartography of Non-Place 

Darrell Mann - Oblique StrateTRIZ: Sparking Compositional Breakthrough

Luis Ramirez - The Online Composer-Audience Collaboration

Stephen Partridge - Immersive social experiences for large audiences

Alayna Hughes and Pierluigi Barberis - Mixed Reality Applications for Musical Performance

Clara-Franziska Petry - The anonymous construction of a star in the case of pop singer Sia

Clara Colotti - A review of contemporary practices incorporating digital technologies with live classical music

Nino Auricchio and Paul Borg - Modular synthesisers and performance practice

Jeffrey Levison -The Floating Sound Lab: A New Hybrid Immersive Audio Studio

Adrian York - Transforming musical performance: the audience as digital collaborators

Matthew Evans - Hearing and Feeling Memories: Exploring Pixel Data Sonification and Haptic Feedback to Create a Multisensory Experience of Photographs

Erica Smith - The Impact of Organisation Governance on the Achievement of Organisational Goals: The Case of the Collective Management Organisations

Alenka Barber-Kersovan and Volker Kirchberg - Chamber Orchestras as the Innovation Motor of Classical Music in Germany

Alicja Sulkowska - BTS’ “Speak Yourself” World Tour as an intermedial spectacle of attachment: outcomes and future possibilities for popular music

Agata Kubiak - New Instrument as Creativity Trigger in Composer-Performer Collaboration

Giusy Caruso, Luc Nijs and Marc Leman - “My avatar and me”: technology-enhanced mirror in monitoring music performance practice

Zachary Diaz - “Dilla Says Go:” Innovations in Digital Sampling Techniques in J Dilla’s Donuts and Hip-Hop Production in the “Post-Dilla” Era

Robert Ek and Jörgen Normark - Music in Motion - Using movement qualities in multimodal performances

John McMillan - The Importance of Technology for a Contemporary Composer

Atharva Kasar - Analyzing the Effect of a Percussive Backbeat on Alpha, Beta, Theta, and Delta Binaural Beats

Joe Wright - Concepts and Issues for the Design of Accessible Music Technology 

Carsten Wernicke - Musical Interface Designs: Materiality, Agency and Potentials of MusickingThings in Artistic-creative Practices

Christos Moralis - The ‘Performable Recordings’ model: Bridging the gap between studio and live performance in popular electronic music

Niccolò Granieri, James Dooley and Tychonas Michailidis - Retaining pianistic virtuosity: exploring pre-existing gestural nuances for live sound modulation

Mat Dalgleish and Sarah Whitfield - Sound Objects: Exploring Embedded Computing for Procedural Audio in Theatre

Hussein Boon - Improvising Songwriting and Composition Within A Hybrid Modular Synthesis System

Samuel Hunt - Automated algorithmic representation of music structure using the Interactive Generative Music Environment software

Corey Ford - Codetta: Can Block-Based Programming Support Child Educator’s Confidence in Teaching Music?

Chris Rhodes - Viano: Electromyographic Data as a Gestural Tool for Music Composition within Game-Engines

David Haberfeld - Composing Real-Time Electronic Dance Music: How studio and performance based-practices combine to create Acid

Shib Shankar Chowdhury - Innovative music creation and songwriting

Paula Wolfe - Women in The Studio: creativity, control and gender in popular music production 

Craig Hamilton and Nicholas Gebhardt - Mobilising Festival Audiences

Kirsten Hermes - Creative considerations for on-screen visuals in electronic pop music performances

Jon Pigott and Antti Saario - Speaker Park: An Intersection of loudspeaker design and post-acousmatic composition

Stan Erraught - Outsourcing Taste: Are Algorithms Doing all the Work?

Trish Rooney - The evolution of popular music education: the effects of the implementation of electronic music devices into formal pedagogical practices

Paul Thompson and Sue Miller - An Alternative Take: Exploring the Production, Engineering and Performance Aesthetics of 1950s and 1960s Latin Dance Music in New York and Havana

Nicholls Sam and Paul Thompson - Music: Leeds - Supporting a Regionalised Music Sector and Scene

Giovanni Santini - Composition as an embodied act: a framework for the gesture-based creation of Augmented Reality action scores

Jan-Olof Gullö, Hans Gardemar and David Thyrén - Artists, musicians and music producers: similarities and differences?

Dave Fortune - Transparency and Authenticity in the Live Arena: An Exploration of Electronic Music Performance Techniques

Dan Banks - Sonification As a Non-Normative Moderator in Free Jazz

Duncan Werner, Bruce Wiggins and Emma Fitzmaurice - Development of an Ambisonic Guitar System 

Jeffrey Lupker and William J. Turkel - Observing Mood Based Patterns & Commonalities in Music

Tychonas Michailidis, Balandino Di Donato and Christopher Dewey - SoundSculpt: sculpting sound objects through mid-air haptics and holographic image

Matt Gooderson and David Sheppard - Eno Un-Caged: Exploring New Practice-Based Paradigms in Music Production

Eugenio Donati and Christos Chousidis - Electroglottography-based real-time voice-to-MIDI controller

Simon Connor - Multimodal Landscapes: The Creative Affordances of Head-Tracked Binaural Ambisonics to the Soundscape Composer

Matthew Lovett - Towards a quantum theory of musical creativity

Greg Smith - Electronic Space: Real-time Parameter Transitions and Ambisonic Performance Panning for Live DAW-less Electronic Music

Michail Exarchos - Making records within records: Manufacturing phonographic ‘otherness’ in sample-based hip-hop production

Paul McGeechan - Music Technology past and present. The Digital Audio Workstation and other mediated processes

Carl Flattery, Justin Morey and Paul Ratcliff - 'Tales from Topographic Audio’: Considering the Use of Location Recordings in Electronica

Scott Harker - Mastering for Streaming: Exploring Accurate Translation

Alex Stevenson - Post-Digital Musicians?: The influence of digital audio aesthetics on musical performance

Jez Nash - Motormouth: Sonic Recontextualisation

Andrea Succi - Defining and developing a sonic signature in music mixing through a modern-day apprenticeship method and a practice-based approach

Paul Ferguson and Dave Hook - Breaking geographical barriers to music production

Tim Hughes - ‘Individualised Music: Todd Rundgren’s Interactive Album, No World Order

Andy Farnell -Cyber-security in the creative industry: Why Radiohead got hacked

Hervé Zénouda - Digital scenographies of contemporary music: between didactics and spectacularization 

Stefan Lalchev and Paul Oliver - The Role of Contests and Talent Shows in the Artist Development within the Popular Music Genre and Their Place in the Music Business

Lena Mohr - Voice Activation in Music Consumption How consumers use the technology today and will tomorrow

Yannis Iliopoulos - The application of Gift Economy to the Administration of Intellectual Property in the Creative Industries

Rune Palving - Immersive Audio in Narrative Space

Notes for Presenters and Authors

Paper presentations should be 15 minutes long with an additional 5 minutes for questions. Please bring relevant laptop/tablet adaptors with you to connect to HDMI for both audio and video. Rooms are equipped with PCs with PowerPoint installed, so if you intend to just bring your presentation on a USB flash drive, please ensure that it is formatted to be readable on a PC. If you have additional technical requirements for your presentation then please email to discuss as soon as possible.


All accepted presenters are optionally invited to submit a full paper for peer review and consideration for publication in the Routledge Innovation In Music Conference Book. The book has a finite capacity, and following an editorial process, further peer-reviewed submissions might be published in on-line proceedings. The strict deadline for all such submissions is 02 December 2019, which will enable publication of the book prior to the 2020 UK Research Excellence Framework deadline. Full papers should be 4,000-6,000 words and discuss original research that has not previously been published elsewhere. It is essential that paper submissions use the InMusic Paper Template, which can be downloaded from: 


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