Abstracts and Presenting Authors
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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.
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Richard Lightman - Contextual and Cultural Mediation in the Recording Studio - Two producers, two artists, two cultures
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Michael Trommer - Points Further North: An Acoustemological Cartography of Non-Place
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Darrell Mann - Oblique StrateTRIZ: Sparking Compositional Breakthrough
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Luis Ramirez - The Online Composer-Audience Collaboration
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Stephen Partridge - Immersive social experiences for large audiences
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Alayna Hughes and Pierluigi Barberis - Mixed Reality Applications for Musical Performance
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Clara-Franziska Petry - The anonymous construction of a star in the case of pop singer Sia
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Clara Colotti - A review of contemporary practices incorporating digital technologies with live classical music
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Nino Auricchio and Paul Borg - Modular synthesisers and performance practice
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Jeffrey Levison -The Floating Sound Lab: A New Hybrid Immersive Audio Studio
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Adrian York - Transforming musical performance: the audience as digital collaborators
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Matthew Evans - Hearing and Feeling Memories: Exploring Pixel Data Sonification and Haptic Feedback to Create a Multisensory Experience of Photographs
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Erica Smith - The Impact of Organisation Governance on the Achievement of Organisational Goals: The Case of the Collective Management Organisations
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Alenka Barber-Kersovan and Volker Kirchberg - Chamber Orchestras as the Innovation Motor of Classical Music in Germany
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Alicja Sulkowska - BTS’ “Speak Yourself” World Tour as an intermedial spectacle of attachment: outcomes and future possibilities for popular music
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Agata Kubiak - New Instrument as Creativity Trigger in Composer-Performer Collaboration
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Giusy Caruso, Luc Nijs and Marc Leman - “My avatar and me”: technology-enhanced mirror in monitoring music performance practice
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Zachary Diaz - “Dilla Says Go:” Innovations in Digital Sampling Techniques in J Dilla’s Donuts and Hip-Hop Production in the “Post-Dilla” Era
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Robert Ek and Jörgen Normark - Music in Motion - Using movement qualities in multimodal performances
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John McMillan - The Importance of Technology for a Contemporary Composer
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Atharva Kasar - Analyzing the Effect of a Percussive Backbeat on Alpha, Beta, Theta, and Delta Binaural Beats
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Joe Wright - Concepts and Issues for the Design of Accessible Music Technology
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Carsten Wernicke - Musical Interface Designs: Materiality, Agency and Potentials of MusickingThings in Artistic-creative Practices
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Christos Moralis - The ‘Performable Recordings’ model: Bridging the gap between studio and live performance in popular electronic music
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Niccolò Granieri, James Dooley and Tychonas Michailidis - Retaining pianistic virtuosity: exploring pre-existing gestural nuances for live sound modulation
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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
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Samuel Hunt - Automated algorithmic representation of music structure using the Interactive Generative Music Environment software
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Corey Ford - Codetta: Can Block-Based Programming Support Child Educator’s Confidence in Teaching Music?
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Chris Rhodes - Viano: Electromyographic Data as a Gestural Tool for Music Composition within Game-Engines
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David Haberfeld - Composing Real-Time Electronic Dance Music: How studio and performance based-practices combine to create Acid
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Shib Shankar Chowdhury - Innovative music creation and songwriting
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Paula Wolfe - Women in The Studio: creativity, control and gender in popular music production
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Craig Hamilton and Nicholas Gebhardt - Mobilising Festival Audiences
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Kirsten Hermes - Creative considerations for on-screen visuals in electronic pop music performances
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Jon Pigott and Antti Saario - Speaker Park: An Intersection of loudspeaker design and post-acousmatic composition
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Stan Erraught - Outsourcing Taste: Are Algorithms Doing all the Work?
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Trish Rooney - The evolution of popular music education: the effects of the implementation of electronic music devices into formal pedagogical practices
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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
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Nicholls Sam and Paul Thompson - Music: Leeds - Supporting a Regionalised Music Sector and Scene
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Giovanni Santini - Composition as an embodied act: a framework for the gesture-based creation of Augmented Reality action scores
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Jan-Olof Gullö, Hans Gardemar and David Thyrén - Artists, musicians and music producers: similarities and differences?
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Dave Fortune - Transparency and Authenticity in the Live Arena: An Exploration of Electronic Music Performance Techniques
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Dan Banks - Sonification As a Non-Normative Moderator in Free Jazz
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Duncan Werner, Bruce Wiggins and Emma Fitzmaurice - Development of an Ambisonic Guitar System
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Jeffrey Lupker and William J. Turkel - Observing Mood Based Patterns & Commonalities in Music
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Tychonas Michailidis, Balandino Di Donato and Christopher Dewey - SoundSculpt: sculpting sound objects through mid-air haptics and holographic image
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Matt Gooderson and David Sheppard - Eno Un-Caged: Exploring New Practice-Based Paradigms in Music Production
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Eugenio Donati and Christos Chousidis - Electroglottography-based real-time voice-to-MIDI controller
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Simon Connor - Multimodal Landscapes: The Creative Affordances of Head-Tracked Binaural Ambisonics to the Soundscape Composer
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Matthew Lovett - Towards a quantum theory of musical creativity
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Greg Smith - Electronic Space: Real-time Parameter Transitions and Ambisonic Performance Panning for Live DAW-less Electronic Music
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Michail Exarchos - Making records within records: Manufacturing phonographic ‘otherness’ in sample-based hip-hop production
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Paul McGeechan - Music Technology past and present. The Digital Audio Workstation and other mediated processes
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Carl Flattery, Justin Morey and Paul Ratcliff - 'Tales from Topographic Audio’: Considering the Use of Location Recordings in Electronica
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Scott Harker - Mastering for Streaming: Exploring Accurate Translation
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Alex Stevenson - Post-Digital Musicians?: The influence of digital audio aesthetics on musical performance
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Jez Nash - Motormouth: Sonic Recontextualisation
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Andrea Succi - Defining and developing a sonic signature in music mixing through a modern-day apprenticeship method and a practice-based approach
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Paul Ferguson and Dave Hook - Breaking geographical barriers to music production
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Tim Hughes - ‘Individualised Music: Todd Rundgren’s Interactive Album, No World Order
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Andy Farnell -Cyber-security in the creative industry: Why Radiohead got hacked
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Hervé Zénouda - Digital scenographies of contemporary music: between didactics and spectacularization
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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
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Lena Mohr - Voice Activation in Music Consumption How consumers use the technology today and will tomorrow
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Yannis Iliopoulos - The application of Gift Economy to the Administration of Intellectual Property in the Creative Industries
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Rune Palving - Immersive Audio in Narrative Space
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Notes for Presenters and Authors
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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 info@musicinnovation.co.uk 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: http://bit.ly/InMusicPaperTemplate
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