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Innovation in Music : Technology and Creativity
- 2024
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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Innovation in Music : Cultures and Contexts.
- 2024. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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Innovation in Music 2022 : Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 2022
- 2022. - 01
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music 2022FRIDAY 2022-06-17 Welcome to Innovation in music 2022! - 15:30 1C103 - Lilla salen 1Keynote 1: Armen Shaomian - 15:45 - 1C103 - Lilla salen 1Panel 1: Entrepreneurship, Copyright, & Innovation in Music: Linda Portnoff, Christian Råsmark, Thomas Arctaedius & Örjan Strandberg 15:30 - 1C103 - Lilla salen 1Seminar with online presenters 17:30 - Lilla salen Paul Novotny: How to Put Together a Premium DIY Dolby Atmos 'Tiny Studio' on a Budget Anders Lind: Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers 2Pedro Miguel Ferreira: Road(ies) To Nowhere? A Portuguese live music perspective, Eirik Askerøi: Sonic Markers in Popular Music: Innovation - Trend - Tradition, Ola Buan Øien: The Dialogue of Mr. Question Mark and Sylvia Massy: Challenging norms at the intersection of crafts and creativity in music recording contexts 3SATURDAY 2022-06-18 Welcome with music: Henry Mikkonen & Martin Åberg 08:45 - Lilla salen 4Seminar with online presenters 09:00 - Lilla salen 4Yuxiang Cai, Rui Liu and Xuefeng Zhou: An investigation of piano timbre preference based on employing equalizer to adjust the harmonic loudness, Martin Koszolko: Connecting across borders: communication tools, group structures and practices of remote music collaborators, Hussein Boon: Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship 5Yngvar Kjus, Ragnhild Brøvig-Hanssen & Solveig Wang: Encountering new technology: A study of how female creators explore DAWs, Scott Stickland, Nathan Scott & Rukshan Athauda: The DAW Collaboration Framework: Improving Creative Opportunities and Authenticity in Collaborative Online Audio Mixing 6Samuel Lynch & Helen English, Jon Drummond, Nathan Scott: Exploring Dynamic Music Methods to Extend Compositional Outcomes 7Session 1 A 10:20-12.00 - 1C103 (Lilla salen) Ingvild Koksvik: Staging Notions of Space: Developing a Practice-Based Model for Realizing Compositional Intention in 3D and Stereo Record Production 8Grzegorz Trela: The sound from behind the Iron Curtain: Record production in the Polish People's Republic 8Marc Estibeiro: An interactive chamber work for two classical guitars and electronics which uses the natural sound of the acoustic instruments as both source material for electronic processing and as a means of controlling the electronic part 9Stephen Bruel: Remastering Elton John's Goodbye Yellow Brick Road 9Session 1 B 10:20-12.00 (1D221) 9Claus Sohn Andersen: The space is the place - Interplay and interaction in an extreme location 9Matthew Lovett: Artificial creativity and tools for understanding: music, creative labour and AI 10Tony Dupé: Self Production as a Creative Practice 10Leigh Shields: Exploring the history of distortion in Drum and Bass 11Session 1 C 10:20-12.00 (1E207) 11Matthias Jung & Vegard Kummen: Hacking the concert experience - exploring co-creative audience interaction at a chiptune live performance 11Haoran Jiang: A History of Taiwan's Recording Industry: Production and Promotion Strategies of Campus Song Records by Synco Corporation 12Mat Dalgleish: Unconventional Inputs: The Modular Synthesizer as One-Handed Instrument 12Shib Shankar Chowdhury: Autoethnography and composition for Innovative music creation about Pandemic with reference to "I Am Virus" 13Keynote 2: Susanne Rosenberg 13:00-13:50 - 1C103 (Lilla salen) 13Session 2 A 14:00-15:40 - 1C103 (Lilla salen) 14Håkan Lindberg: Innovation solving problems with vocal recordings 14Emil Kraugerud: Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy 14Bjørnar Sandvik: Sample, Slice, and Stretch! Four Innovative Moments in the History of Waveform Representation 14Antti Sakari Saario: “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the design of a new ‘classic’ microphone (Nordic Audio Labs NU-100K) 15Session 2 B 14:00-15:40 (1D221) 16Florian Hollerweger: Audio beyond Demand: Creative Reinventions of the Broadcast Listening Experience 16Sven Ubik, Jakub Halak, Martin Kolbe & Jiri Melnikov: Comfortable playing together over distance 16Mattias Petersson: A new morphology – Strategies for innovation in live electronics performance 16Zachary Diaz: Signifyin(g) Producers: The Roland SP-404 and The Evolution of Live Instrumental Hip-Hop Performance 17Session 2 C 14:00-15:40 (1E207) 17Kirsten Hermes: Levelling up chiptune: nostalgic retro games console sounds for the ROLI Seaboard 17Ambrose Field & Ling Ding: Innovation and music business: a new approach for international partnership in music 18Egor Poliakov & Martin Pfleiderer and Christon-Ragavan Nadar: Analyze! Development and integration of software-based tools for musicological and music theoretical needs 18Christos Moralis: The ‘Performable Recordings’ model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance 19Session 3 A 16:00-17:15 (1C103 Lilla salen) 19Scott L. Miller & Carla Rees: Telematic Performance and Recording of Interactive Electroacoustic Chamber Music 19Henrik Langemyr: Music(al) Production: To Compose and Produce Musical for Recorded Medium: Based on the Perspective of Music, and Media Production 20Session 3 B 16:00-17:15 (1D221) 20Phil Harding: Transforming A Pop Song: The Journey of the Extended Club Remix 20M. Nyssim Lefford & Gary Bromham and David Moffat: From Intelligent Digital Assistant to Intelligent Digital Collaborator 21Brendan Williams: Creative Potentials for Dolby Atmos: Presenting the self-balancing acoustic ensemble 21Session 3 C 16:00-17:15 (1E207) 22Henrique Portovedo & Ângelo Martingo: Transforming Performance with HASGS: research-led artistic practice in augmented instruments 22Ambrose Field: Rethinking the relationships between space, performance and composition in notated acoustic composition: Quantaform Series 22Hans Lindetorp: Gesture-controlled synths with WebAudioXML 22Panel 2: How to get published? And Book releases Chair: Rob Toulson 23Keynote 3: Sven Ahlbäck, Christian Råsmark & Rob Toulson 23SUNDAY 2022-06-19 Welcome with music: Henry Mikkonen & Martin Åberg - 08:45 Lilla salen 23Panel 3: Exploring Dolby Atmos: Past Present and Future Chair: Daniel Pratt 23Session 4 A 10:20-12:00 - 1C103 (Lilla salen) 23Enric Guaus & Alex Barrachina, Gabriel Saber, Víctor Sanahuja, Josep Comajuncosas: Exploring a network setup for music experimentation 23Paul Thompson, Mcnally Kirk & Toby Seay: Multiple Takes: Multitrack Audio as a Musical, Cultural, and Historical Resource 24Jo Lord & Michail Exarchos: Dynamic meta-spatialisation: Narrative and recontextualisation implications of spatial stage stacking 24Stefan Östersjö, Thanh Thuy Nguyen & Matthew Wright: Yellow music in diaspora: Re-inventing the sound of pre-1975 record production in Sài Gòn 25Session 4 B 10:20-12:00 (1D221) 25Hans Lindetorp: Towards a standard for interactive music 25Jessica Edlom, Jenny Karlsson & Linda Ryan Bengtsson: Innovating music experiences – Creativity in pandemic times 25Alicja Sulkowska: Before Our Spring – towards the concept of intermedial authenticity in a curated K-pop industry. On the example of Kim Jonghyun’s “Blue Night Radio” 26Dave Fortune: Composing Without Keys: The LFO as a Composition Tool 27Session 4 C 10:20-12:00 (1E207) 27Mads Walther-Hansen & Anders Eskildsen: Forceful Action and Interaction in Non-Haptic User Interfaces for Music Production 27Charles Norton, Justin Paterson & Daniel Pratt: Musical connections and enhanced performance control, a strategy to reduce complexity 28Kjell Andreas Oddekalv: Rap as composite auditory streams: Techniques and approaches for layered vocal production in hip-hop and their aesthetic and philosophical implications 28Liucija Fosseli: Music Business Present and Future Innovations. Perspectives of international songwriters and producers working towards Chinas´market 29Keynote 4: Håkan Lidbo 13:00-13:50 - 1C103 (Lilla salen) 29Session 5 A 14:00-15:40 - 1C103 (Lilla salen) 29Stefan Östersjö & Jan Berg, Anders Hultqvist: A Deepened ‘Sense of Place’: ecologies of sound and vibration in urban settings and domesticated landscapes 29Andy Visser & Justin Paterson: HAPPIE: The Haptic Audio-Production Pipeline – A novel method for accomplishing audio-production tasks using haptic feedback within a Mixed Reality [MR] environment 30Jon Marius Aareskjold-Drecker & Ragnhild Brøvig-Hanssen: Vocal Chops: Balancing the Uncanny Valley 30Jacob Westberg: Ludonarrative Harmony: Music production through the lens of game design 31Session 5 B 14:00-15:40 (1D221)Thomas Bårdsen: Improving the republishing process of legacy music productions through documented source selection and reformatting 31Toivo Burlin: Mobile Classical Music – Recording, Innovation and Mediatization. Three Swedish case studies from the 1940’s to 2021 31David Thyrén, Jan-Olof Gullö, Per-Henrik Holgersson & Thomas Florén: Icebreakers and clusters within the Swedish music wonder 32Russ Hepworth-Sawyer, Rob Toulson & John-Paul Braddock: UDPi Mastering Protocol 32Session 5 C 14:00-15:40 (1E207) 33Mads Walther-Hansen: Music Production Entrepreneurship – Between Art and Business 33Thomas Arctaedius, Martin Q Larsson, Emilie Lidgard & Madeleine Jonsson Gill: Experiences from a Learning Lab – Cross Innovation in Music/Arts 33Daniel Pratt & Toby Seay: Time, place, and reflexivity: the recording space as an instrument 34Samantha Talbot: Song Worlds: Spontaneity, Intimacy, and Immersion. Music Video from Glencoe 34Concert & Paper presentation Henrik Frisk: Literate programming and documentation of artistic processes . Lilla salen 16:00 34Panel 4: Final reflections & Future perspectives 16:40 35
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- Thyrén, David, 1967-, et al.
(författare)
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Kluster och isbrytare inom det svenska musikundret
- 2021
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Ingår i: Musikforskning idag 2021 15–16 juni 2021. - Huddinge. ; , s. 21-
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Konferensbidrag (refereegranskat)abstract
- Inom vårt pågående projekt Searching for Sophia in Music Production utforskas faktorer som varit av stor betydelse för det svenska musikundret. I detta sammanhang åsyftas att identifiera viktiga aktörer inom olika genrer som banat väg för svenska internationella musikframgångar. En hypotes vi arbetat med är att ett fåtal mindre ”kluster” centrerade kring skivbolag med några enstaka personer som agerat som ”isbrytare” varit av stor betydelse. Här presenteras analyser av klustren Polar Music International AB, Mariann Records, Prim Records och Cheiron med isbrytare som Stig ”Stikkan” Anderson (1931–1997), Bert Karlsson (f. 1945), Svante Bengtsson (f. 1944) och Dag Volle ”Denniz PoP” (1963–1998).Studien bygger metodologiskt på litteraturstudier och inventering av källmaterial samt intervjuer med nyckelpersoner inom svenskt musikliv. Teoretiska perspektiv inkluderar Jennifer Lena och Richard Petersons (2008) modell för genrers livscykler med skapelse, utveckling, konservering och stagnation, Paul Thompsons modell för kreativitet vid skivproduktion (2019) och Mats Trondmans teorier om folkliga musikaliska uttryck (1999). Dessutom används i analysen även teorier inom motivationsforskning (Deci & Ryan, 2000) och entreprenörsforskning med relevans för musik och musikbranschutveckling (Tschmuck, 2006; Östman 2018).Vår analys visar tydligt att enskilda teorier inte kan förklara alla väsentliga delar i det svenska musikundret. Det behövs därför en kombination av flera teorier och förklaringsmodeller. I vår panel diskuteras kärnfrågor kring just detta.
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| 6. |
- Thyrén, David, 1967-, et al.
(författare)
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Musikindustri i förvandling : Isbrytare och kluster inom det svenska musikundret
- 2021
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Ingår i: <em>Press play:</em><em>efter den stora pausen</em>. - Stockholm. ; , s. 6-
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Konferensbidrag (refereegranskat)abstract
- Inom vårt pågående projekt Searching for Sophia in Music Production utforskas faktorer som varit av stor betydelse för det svenska musikundret. I detta sammanhang åsyftas att identifiera viktiga aktörer inom olika genrer som banat väg för svenska internationella musikframgångar. En hypotes vi arbetar med är att ett fåtal mindre ”kluster” centrerade kring skivbolag med några enstaka personer som agerat som ”isbrytare” varit av stor betydelse. Här exemplifieras ett urval musikaliska isbrytare och kluster som framgångsrikt men på olika sätt bidragit till det svenska musikundret: Stig ”Stikkan” Anderson och Polar Music International AB, Bert Karlsson och Mariann Records, Ola Håkansson med Sonet och Ten Music Group, Robert von Bahr med BIS Records, Per-Olof ”Pelle” Karlsson och Prim Records samt Dag Volle ”Denniz PoP” med Cheiron Studios. Studien bygger metodologiskt på litteraturstudier och inventering av källmaterial samt intervjuer med nyckelpersoner inom svenskt musikliv. Teoretiska perspektiv inkluderar Jennifer Lena och Richard Petersons (2008) modell för genrers livscykler med skapelse, utveckling, konservering och stagnation, Paul Thompsons modell för kreativitet vid skivproduktion (2019) och Mats Trondmans teorier om folkliga musikaliska uttryck (1999). Dessutom används i analysen även teorier inom motivationsforskning (Deci & Ryan, 2000) och entreprenörsforskning med relevans för musik och musikbranschutveckling (Tschmuck, 2006; Östman 2018).
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| 7. |
- Thyrén, David, 1967-, et al.
(författare)
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The Denniz PoP Model : Core Leadership Skills in Music Production as Learning Outcomes in Higher Education
- 2021
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Ingår i: Summit Proceedings - 2020 Academic Papers Presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 - Virtual Summit. - Nashville : Music & Entertainment Industry Educators Association. ; , s. 64-72
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Konferensbidrag (refereegranskat)abstract
- Over the last two decades, many Swedish songwriters and music producers have been internationally successful. During this time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding, and reason. Previous research clearly shows a variety of competences that are demonstrated and needed among musicians, music producers, and others active in the art of music production. Leadership is a very important aspect of music production and that’s why we explore what we can learn from Denniz PoP’s (1963-1998) leadership when he collaborated with his closest colleagues, and multiple award-winning songwriter/producer Max Martin. The empirical source material includes interviews as well as radio and television programs, literature, and an extensive inventory of Swedish music industry and consumer magazines. The results include a seven-step model for music production but also indicate that Denniz PoP’s true expertise was his ability to make others in a team grow and perform well. That which best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.
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- Gullö, Jan-Olof, 1961-, et al.
(författare)
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50 years of ”Smoke on the Water” in Music Education
- 2022
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Ingår i: Nordic Network for Research in Music Education 2022 Conference - Book of Abstracts. - Jyväskylä : University of Jyväskylä.
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Konferensbidrag (refereegranskat)abstract
- The song "Smoke on the Water" was recorded by the British rock group Deep Purple and first released in 1972. The song had a global reach and contributed to Deep Purple's success and fandom. Smoke on the Water is also relevant to music education. The basic guitar riff in the song is easy to learn and has attracted many, especially boys and young men, to play guitar. And even today, 50 years later, it is common for pupils to know this riff and gladly show it to their teachers when they start taking music lessons. The purpose of the research project is therefore to analyse, problematize, and describe how and why Smoke on the Water has been important and how the song has contributed to music education and to get young people interested in guitar playing. The study finds its theoretical ground in the American psychologist Jerome Bruner’s nine tenets, all highly relevant to research in music education, complemented by other theories in pedagogy, economics, sociology, musicology, and gender studies. The empirical design includes interviews with music teachers, music leaders, music students and musicians in different countries as well as interviews with some original members of Deep Purple. The analysis confirms that it is a very well-known riff and that students in higher music education, still today, in general know the song Smoke on the Water well. Many also state that they have played the song in ensembles of various kinds. Many have also sung it. But despite this, most of the participating students in higher music education were ignorant to the lyrics, also among the singers who stated that they had performed the song. These findings are empirically surprising and leads to new questions and in-depth analyses. Why are the lyrics, for the students, clearly subordinate to the musical content? This, despite that previous research clearly shows that the lyrics, for many average listeners, can be just as, or even more, important as the music itself. Is this an example of an unspoken hierarchical value system in higher music education? These results indicate a field of tension, regarding what is important in a musical performance and in a piece of music, like Smoke on the Water, between those who perform and those who listen. The example above shows how this study can be used to clear the smoke and visualize areas with development potential within higher music education.
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| 9. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A comparative study of professional music production methods in theage of streaming
- 2020
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Konferensbidrag (refereegranskat)abstract
- Although Sweden is a small country, the Swedish music exports have been successful for many years. In our ongoing research project: Searching for Sophia in music production, we study how various aspects linked to music production may have contributed to the Swedish music industry´s international achievements. In this sub-study we focus on production methods available today, including digital production tools for music, and compare those with the production methods that were used before the age of streaming, in the late 1990s. Several previous studies focus on the technological development of digital music production tools. However, surprisingly little attention has been directed towards how such tools can affect professional musical creativity and productivity. This sub-study includes a case study of the Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle had some unique music producer skills and also developed new innovative music production methods. Previous research has so far largely ignored his works despite his importance for the success of Swedish music exports. Denniz PoP is also remembered as mentor of Martin Sandberg [Max Martin] and therefore we analyze how the new tools and methods, that have been added over the years, may have affected the creative process of Sandberg and other successful Swedish music producers. The empirical material includes published sources of various kinds as well as interviews, conversations and written communication with some of Volle's closest associates who still are internationally active as music producers. The results indicate, firstly, that digital tools can help but also hinder creativity, and secondly, that several of the most important aspects of Volle's strategy as a music producer, for example to be driven by intrinsic motivation and by implementing music productions through collaborative processes, are still very relevant today - in the age of streaming.
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| 10. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Challenging Changes for Future Music Production
- 2020
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Konferensbidrag (refereegranskat)abstract
- In recent years, there have been major changes in society on many levels. Such changes are of course of great importance to many urban residents. The changes we are referring to in this paper, are how people listen to music. On the streets and walkways in e.g. Stockholm, the capital of Sweden, large hordes of young men and women nowadays travel on electric scooters and almost everyone wears headphones and listens to music. Also on commuter trains, subways and buses, most of the travelers also wear headphones and listen to music. Thus, music is constantly present in these people's lives. But at the same time, music clubs and other music establishments, are often finding it increasingly difficult to achieve profitability due to a declining audience interest. Also traditionally successful music arenas such as the opera houses have problems to attract audiences, despite extensive and often very costly marketing. However, the big arena concerts with international artists still attract large crowds. This means that listening to music has evolved into something that usually happens entirely individually or on occasions in very large contexts, like e.g. at arena concerts. In this paper we highlight some of the challenges that young music producers face, due to the changing society, as they develop their artistic activities. The Swedish music industry has for many years been internationally successful and we present some core explanations of the success and also reflect on how societal development may need changes for future urban music development.
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