Russ Hepworth-Sawyer is a member of the Audio Engineering Society and co-founder of the UK Mastering Section there. A former board member of Music Producers Guild, Russ helped form their Mastering Group. Through MOTTOsound (www.mottosound.co.uk), Russ now works freelance in the industry as a mastering engineer, writer and consultant. Russ currently lectures part-time for York St John University, UK and the University of Huddersfield, UK and has taught extensively in UK Higher. He contributes from time to time in magazines such as MusicTech, Pro Sound News Europe, and Sound On Sound plus has written many titles for Focal Press and Routledge.Jay Hodgson is on faculty at Western University, Canada, where he primarily teaches songwriting and record production. He is also a mastering engineer at MOTTOsound. His masters have twice been nominated for Juno Awards and topped Beatport’s global techno and house charts. He was awarded a Governor General’s academic medal in 2006, primarily in recognition of his research on audio recording; and his second book, Understanding Records (2010), was recently acquired by the Reading Room of the Rock and Roll Hall of Fame. He has other books with Oxford University Press, Bloomsbury, Continuum, Wilfrid Laurier University Press, Focal Press and Routledge.Justin Paterson is Associate Professor of Music Technology in London College of Music, University of West London, UK. He has numerous research publications ranging through journal articles, conference presentations and book chapters, and is author of the Drum Programming Handbook. He is also an active music producer. Current research interests are 3D audio and interactive music, fields that he has investigated with prominent industrial organizations such as Warner Music Group. Together with Professor Rob Toulson of the University of Westminster, he developed the variPlay interactive music system.Rob Toulson is Professor of Creative Industries: Commercial Music at the University of Westminster, London. He was previously Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge, UK. Rob is a research leader in the field of commercial music, and he has collaborated with many international organizations in the music and audio industries. He is a successful music producer and studio engineer, as well as an experienced mobile app developer, having invented the novel iDrumTune percussion tuning application and the innovative variPlay interactive playback system, in collaboration with Professor Justin Paterson of the University of West London.

• PART ONE PERFORMANCE1 Transforming Musical Performance: The Audience as PerformerADRIAN YORK2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for ImprovisationTIM SAYER3 Press Play on Tape: 8-Bit Composition on the Commodore 64KENNY MCALPINE4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With ElectronicsMARC ESTIBEIRO5 Defining and Evaluating the Performance of Electronic MusicJENN KIRBY6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic MusicPAUL VANDEMAST-BELL AND JOHN FERGUSON7 Visual Agency and Liveness in the Performance of Electronic MusicTIM CANFER8 Liveness and Interactivity in Popular MusicSI WAITE9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko DrummingSTU LAMBERTPART TWO PRODUCTION10 Collective Creativity: A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980sDR. PAUL THOMPSON AND DR. PHIL HARDING11 Mix and Persona: Analyzing Rejected MixesDAN SANDERS12 Mixing Beyond the Box: Analyzing Contemporary Mixing PracticeALEX STEVENSON13 Optimizing Vocal Clarity in the MixKIRSTEN HERMES14 Plugging In: Exploring Innovation in Plugin Design and UtilizationANDREW BOURBON15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral SoundJENNA DOYLE16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio ProductionJOE WATSONPART THREE TECHNOLOGY17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-InstrumentNICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS18 MAMIC Goes Live: A Music Programming System for Non-specialist DeliveryMAT DALGLEISH AND CHRIS PAYNE19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic SpectrumJOE WRIGHT20 Translating Mixed Multichannel Electroacoustic Music With Acoustic Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge Gregorio García Moncada’s La Historia de NosotrosSIMON HALL21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and PerformanceBARTOSZ SZAFRANSKI22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology—The Laser Room and Other DevicesALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet PlayersANDY COOPER AND NEIL MARTIN24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High and Standard-Resolution Sample FrequenciesROB TOULSON25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNERPART FOUR BUSINESS26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative ReuseSTEPHEN PARTRIDGE27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop’s FutureMICHAIL EXARCHOS (A.K.A. STEREO MIKE)28 Anticipating the Cryptopirate: “Don’t Bury Treasure” and Other Potential Preventative MeasuresPATRICK TWADDLE29 Disruption as Contingency: Music, Blockchain, Wtf?MATTHEW LOVETT30 Can I Get a Witness? The Significance of Contracts in an Age of Musical AbundanceSALLY ANNE GROSS31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry StrategyCAROLA BOEHM

Russ Hepworth-Sawyer is a member of the Audio Engineering Society and co-founder of the UK Mastering Section there. A former board member of Music Producers Guild, Russ helped form their Mastering Group. Through MOTTOsound (www.mottosound.co.uk), Russ now works freelance in the industry as a mastering engineer, writer and consultant. Russ currently lectures part-time for York St John University, UK and the University of Huddersfield, UK and has taught extensively in UK Higher. He contributes from time to time in magazines such as MusicTech, Pro Sound News Europe, and Sound On Sound plus has written many titles for Focal Press and Routledge.Jay Hodgson is on faculty at Western University, Canada, where he primarily teaches songwriting and record production. He is also a mastering engineer at MOTTOsound. His masters have twice been nominated for Juno Awards and topped Beatport’s global techno and house charts. He was awarded a Governor General’s academic medal in 2006, primarily in recognition of his research on audio recording; and his second book, Understanding Records (2010), was recently acquired by the Reading Room of the Rock and Roll Hall of Fame. He has other books with Oxford University Press, Bloomsbury, Continuum, Wilfrid Laurier University Press, Focal Press and Routledge.Justin Paterson is Associate Professor of Music Technology in London College of Music, University of West London, UK. He has numerous research publications ranging through journal articles, conference presentations and book chapters, and is author of the Drum Programming Handbook. He is also an active music producer. Current research interests are 3D audio and interactive music, fields that he has investigated with prominent industrial organizations such as Warner Music Group. Together with Professor Rob Toulson of the University of Westminster, he developed the variPlay interactive music system.Rob Toulson is Professor of Creative Industries: Commercial Music at the University of Westminster, London. He was previously Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge, UK. Rob is a research leader in the field of commercial music, and he has collaborated with many international organizations in the music and audio industries. He is a successful music producer and studio engineer, as well as an experienced mobile app developer, having invented the novel iDrumTune percussion tuning application and the innovative variPlay interactive playback system, in collaboration with Professor Justin Paterson of the University of West London.

• PART ONE PERFORMANCE1 Transforming Musical Performance: The Audience as PerformerADRIAN YORK2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for ImprovisationTIM SAYER3 Press Play on Tape: 8-Bit Composition on the Commodore 64KENNY MCALPINE4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With ElectronicsMARC ESTIBEIRO5 Defining and Evaluating the Performance of Electronic MusicJENN KIRBY6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic MusicPAUL VANDEMAST-BELL AND JOHN FERGUSON7 Visual Agency and Liveness in the Performance of Electronic MusicTIM CANFER8 Liveness and Interactivity in Popular MusicSI WAITE9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko DrummingSTU LAMBERTPART TWO PRODUCTION10 Collective Creativity: A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980sDR. PAUL THOMPSON AND DR. PHIL HARDING11 Mix and Persona: Analyzing Rejected MixesDAN SANDERS12 Mixing Beyond the Box: Analyzing Contemporary Mixing PracticeALEX STEVENSON13 Optimizing Vocal Clarity in the MixKIRSTEN HERMES14 Plugging In: Exploring Innovation in Plugin Design and UtilizationANDREW BOURBON15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral SoundJENNA DOYLE16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio ProductionJOE WATSONPART THREE TECHNOLOGY17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-InstrumentNICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS18 MAMIC Goes Live: A Music Programming System for Non-specialist DeliveryMAT DALGLEISH AND CHRIS PAYNE19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic SpectrumJOE WRIGHT20 Translating Mixed Multichannel Electroacoustic Music With Acoustic Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge Gregorio García Moncada’s La Historia de NosotrosSIMON HALL21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and PerformanceBARTOSZ SZAFRANSKI22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology—The Laser Room and Other DevicesALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet PlayersANDY COOPER AND NEIL MARTIN24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High and Standard-Resolution Sample FrequenciesROB TOULSON25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNERPART FOUR BUSINESS26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative ReuseSTEPHEN PARTRIDGE27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop’s FutureMICHAIL EXARCHOS (A.K.A. STEREO MIKE)28 Anticipating the Cryptopirate: “Don’t Bury Treasure” and Other Potential Preventative MeasuresPATRICK TWADDLE29 Disruption as Contingency: Music, Blockchain, Wtf?MATTHEW LOVETT30 Can I Get a Witness? The Significance of Contracts in an Age of Musical AbundanceSALLY ANNE GROSS31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry StrategyCAROLA BOEHM

Russ Hepworth-Sawyer is a member of the Audio Engineering Society and co-founder of the UK Mastering Section there. A former board member of Music Producers Guild, Russ helped form their Mastering Group. Through MOTTOsound (www.mottosound.co.uk), Russ now works freelance in the industry as a mastering engineer, writer and consultant. Russ currently lectures part-time for York St John University, UK and the University of Huddersfield, UK and has taught extensively in UK Higher. He contributes from time to time in magazines such as MusicTech, Pro Sound News Europe, and Sound On Sound plus has written many titles for Focal Press and Routledge.Jay Hodgson is on faculty at Western University, Canada, where he primarily teaches songwriting and record production. He is also a mastering engineer at MOTTOsound. His masters have twice been nominated for Juno Awards and topped Beatport’s global techno and house charts. He was awarded a Governor General’s academic medal in 2006, primarily in recognition of his research on audio recording; and his second book, Understanding Records (2010), was recently acquired by the Reading Room of the Rock and Roll Hall of Fame. He has other books with Oxford University Press, Bloomsbury, Continuum, Wilfrid Laurier University Press, Focal Press and Routledge.Justin Paterson is Associate Professor of Music Technology in London College of Music, University of West London, UK. He has numerous research publications ranging through journal articles, conference presentations and book chapters, and is author of the Drum Programming Handbook. He is also an active music producer. Current research interests are 3D audio and interactive music, fields that he has investigated with prominent industrial organizations such as Warner Music Group. Together with Professor Rob Toulson of the University of Westminster, he developed the variPlay interactive music system.Rob Toulson is Professor of Creative Industries: Commercial Music at the University of Westminster, London. He was previously Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge, UK. Rob is a research leader in the field of commercial music, and he has collaborated with many international organizations in the music and audio industries. He is a successful music producer and studio engineer, as well as an experienced mobile app developer, having invented the novel iDrumTune percussion tuning application and the innovative variPlay interactive playback system, in collaboration with Professor Justin Paterson of the University of West London.

• PART ONE PERFORMANCE1 Transforming Musical Performance: The Audience as PerformerADRIAN YORK2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for ImprovisationTIM SAYER3 Press Play on Tape: 8-Bit Composition on the Commodore 64KENNY MCALPINE4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With ElectronicsMARC ESTIBEIRO5 Defining and Evaluating the Performance of Electronic MusicJENN KIRBY6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic MusicPAUL VANDEMAST-BELL AND JOHN FERGUSON7 Visual Agency and Liveness in the Performance of Electronic MusicTIM CANFER8 Liveness and Interactivity in Popular MusicSI WAITE9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko DrummingSTU LAMBERTPART TWO PRODUCTION10 Collective Creativity: A ‘Service’ Model of Commercial Pop Music Production at PWL in the 1980sDR. PAUL THOMPSON AND DR. PHIL HARDING11 Mix and Persona: Analyzing Rejected MixesDAN SANDERS12 Mixing Beyond the Box: Analyzing Contemporary Mixing PracticeALEX STEVENSON13 Optimizing Vocal Clarity in the MixKIRSTEN HERMES14 Plugging In: Exploring Innovation in Plugin Design and UtilizationANDREW BOURBON15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral SoundJENNA DOYLE16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio ProductionJOE WATSONPART THREE TECHNOLOGY17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-InstrumentNICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS18 MAMIC Goes Live: A Music Programming System for Non-specialist DeliveryMAT DALGLEISH AND CHRIS PAYNE19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic SpectrumJOE WRIGHT20 Translating Mixed Multichannel Electroacoustic Music With Acoustic Soloist to the Personal Stereophonic Listening Space: A Case Study in Jorge Gregorio García Moncada’s La Historia de NosotrosSIMON HALL21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and PerformanceBARTOSZ SZAFRANSKI22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology—The Laser Room and Other DevicesALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet PlayersANDY COOPER AND NEIL MARTIN24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High and Standard-Resolution Sample FrequenciesROB TOULSON25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC)MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNERPART FOUR BUSINESS26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative ReuseSTEPHEN PARTRIDGE27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop’s FutureMICHAIL EXARCHOS (A.K.A. STEREO MIKE)28 Anticipating the Cryptopirate: “Don’t Bury Treasure” and Other Potential Preventative MeasuresPATRICK TWADDLE29 Disruption as Contingency: Music, Blockchain, Wtf?MATTHEW LOVETT30 Can I Get a Witness? The Significance of Contracts in an Age of Musical AbundanceSALLY ANNE GROSS31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry StrategyCAROLA BOEHM