Innovation In Music 2017 – Hosted by the University of Westminster

Keynotes and Panel Speakers

Imogen Heap

Photo Credit: Fiona Garden

Imogen Heap is a Grammy Award winning songwriter, recording artist, producer and engineer, who is well known for her pioneering use of emerging technologies in music performance, production and business. Imogen is founder and creator of MiMu, her gestural music glove-based system, and Mycelia, which is a non-profit organisation that focuses on collaborations between music and technology stakeholders for enabling a fair and sustainable music industry ecosystem. Imogen is also Chief Executive Officer of the Featured Artists Coalition, which campaigns for the protection of UK performers’ and musicians’ rights.

http://imogenheap.com

Talvin Singh OBE

Talvin Singh is a celebrated percussionist, composer and producer. He is today the most versatile Tabla player who has given the instrument a contemporary style by amalgamating diverse aspects of the repertoire of Tabla. Singh’s Tablatronica sessions brought inspiration to a whole new generation of percussionists through his unconventional approach including contemporary Tabla projects such as Tabla Beat Science. Talvin has always pushed the boundaries of Indian Music and yet has been focused and dedicated to the practice and art of Tabla. His debut album “Ok” won the 1999 Mercury Prize. Talvin has also been awarded the South Bank Music prize and was awarded an OBE in 2015 for Services to Music.

http://www.talvinsingh.com

Peter Oxendale

Peter Oxendale studied at the Royal Academy of Music and King’s College, London. He has enjoyed a long and varied career in music and has been active and successful as a session musician, record producer, arranger, conductor and programmer. He is considered to be one of the world’s leading forensic musicologists. His client list extends to the UK, The Republic of Ireland, Europe, South Africa, India, Scandinavia, Australia, New Zealand and the USA. He has given evidence at trials in the UK, the Republic of Ireland and the USA and receives an average of around 450 new instructions per year.

http://www.oxendale-music.co.uk

Jonathan Bailey

Jonathan Bailey is a technologist and musician with over a decade of experience building innovative products. As CTO at iZotope, Jonathan leads the design, research and development teams in the strategy, planning and delivery work for iZotope’s award-winning line of products, including Ozone, RX, Neutron and Iris. Jonathan also works in close collaboration as part of iZotope’s executive leadership team to catalyze and drive organizational and personnel development within the fast-growing company. Prior to joining iZotope, Jonathan served as CTO at Curious Brain and as lead developer at Sonik Architects. With degrees in Computer Science from Stanford University and Electronic Music Production from Berklee College of Music, Jonathan is also a prolific performer and composer.

www.izotope.com

Mandy Parnell

Mandy Parnell is a Grammy Award winning Mastering Engineer who is also the current UK MPG Mastering Engineer of the Year. She studied music and music technology through her school and college years, then trained and worked in recording studios until landing an internship at The Exchange Mastering Studios where she became a world renowned mastering engineer. She moved to Electric Mastering, further establishing her name in the music industry. After Electric, Mandy decided to launch her own facility Black Saloon Studios in London. Her many years of experience have allowed her to discover and develop her philosophies in analogue and digital audio, while working with an almost endless list of artists including Bjork, Aphex Twin, Annie Lennox, Jungle and The XX.

http://blacksaloonstudios.com

Ken Scott

Ken Scott has garnered Gold, Platinum, and Diamond sales awards, Grammy nominations and a Clio (for the classic Coke ad “I’d Like To Teach The World To Sing”). Ken Scott started his career at the age of 16 in the tape library of EMI Recording Studios, now Abbey Road Studios. He quickly moved through the positions of assistant engineer and mastering engineer after which his next promotion led to his becoming one of the five main engineers for the Beatles, as well as engineering Elton John, Pink Floyd, Procol Harum, Mahavishnu Orchestra, Duran Duran, the Jeff Beck Group and many more. As a producer, Scott is noted for his work with David Bowie, Supertramp, Devo, Kansas, the Tubes and Level 42, among others.

http://www.leedsbeckett.ac.uk/ken-scott

Innovation Panel

A special Innovation Panel to be held at Innovation In Music 2017 brings together a number of practitioners at the cutting edge of music technology and sound innovation, including:

Jon Eades – Innovation Manager, Abbey Rd Studios. www.abbeyroad.com/red

Hakan Lidbo – Music Producer, Sound Artist. www.hakanlidbo.com

Josh Saunders – Head Of Technical & Creative for Warner Music Group UK. www.wmg.com

Adam John Williams – Digital Artist, Hardware Hacker. www.adamjohnwilliams.co.uk

About #InMusic17

Innovation In Music (InMusic) is a European music industry conference building on the success of previous conferences in 2013 and 2015. InMusic brings together researchers and professionals interested in the future of the music industry, from the artist through to the consumer.

The 2017 Innovation In Music Conference will be held at the University of Westminster’s Regent Street campus in the heart of Central London on 6-8 September 2017.

InMusic 17 will provide an outstanding opportunity for all those interested in the fast-moving changes taking place in the music industry to mix with experts in the field, exchange experiences and learn about the latest trends and innovative developments. Participants can also achieve a peer reviewed publication in the conference proceedings.

Innovation In Music welcomes academics, artists, producers, engineers, music industry professionals and manufacturers to come together and submit abstracts or proposals for consideration on a wide range of topics.

Conference themes include:

– Music production: past, present and future
– Performance and composition: human and beyond
– Innovation in music business
– Music consumer behaviour: the changing psychology and perceived value of music
– Technologies for remuneration and data management
– Platforms for music sale, streaming and broadcast
– Studio technology innovation
– Innovative music creation and songwriting
– Sound engineering: audio and acoustics
– Mastering commercial music
– Hi-res audio and future music formats
– Piracy in 2017 and beyond
– Post production innovation: plugins, workstations, automated mixing
– Sound design and music for video games
– Knowledge transfer between music industry and academia
– Cross-disciplinary topics around music and innovation

Conference Registration

the conference attendance fee will is £295 per delegate and includes attendance at the conference banquet.

Registration is now open, book your place at bit.ly/InMusic17register

Equality and Diversity

All involved in the organisation of Innovation In Music are committed to encouraging fairness, equality and diversity throughout our event, in terms of the organisational structure, the invited participants and in the encouragement of presenters and paper authors. We welcome anyone interested in the conference themes to engage with us and join us in building a sustainable conference that can represent all corners of the music related industries.

Papers and Abstracts

The following academic papers will be presented at InMusic17. Presentations will be 15 minutes long with an additional 5 minutes available for Q&A after each. Paper abstracts and further detail can be seen in the Paper Abstracts for Innovation In Music 2017 document:

Acoustic transmission of metadata in audio files using Sonic Quick Response Codes (SQRC) – Mark Sheppard, Rob Toulson & Jorg Fachner

Acoustically transparent headphones – Neil Martin

Anticipating the cryptopirate: don’t bury treasure and other potential preventative measures – Patrick Twaddle

Can I get a witness? the impact of contracting in the music ecosphere – Sally Gross

Can Twitter create music? – Jeffrey Lupker

Collective creativity: a service‚ model of creativity in commercial pop music – Phill Harding & Paul Thompson

Composing with microsound: an approach to structure and form when composing for acoustic instruments with electronics – Marc Estibeiro

Data & composition – Bartosz Szafranski

#DIAD: do dull dials dream of being desirable? – Scott Hewitt

Disruption as contingency: music, blockchain, wtf. – Matthew Lovett

Enhancing creativity through research: testing a novel spectral clarity measurement tool in the mix process – Kirsten Hermes

Everything is musical: Creating new instruments for musical expression and interaction – Alayna Hughes & Pierluigi Figueroa

Exploring innovation in plugin design and utilization – Andrew Bourbon

How algorithmic composition prompts innovative movement design in full-body Taiko drumming – Stu Lambert

Improvising through the senses: a performance approach with an indirect use of technology – Tychonas Michailidis et al.

Interactive music software: developing music technology for an interactive exhibition – Hans Lindetorp

Interactivity and liveness in popular music – Si Waite

Learning to satisfy your musical needs: competitive advantage in the music streaming market – Jack Webster

MAMIC goes LIVE: A portable music visual programming system for the non- expert practitioner – Chris Payne & Mat Dalgleish

Metal in the box: the DAW and the domain of authentic metal music practice since the mid-2000s – Mark Marrington

Microgestural implementation for the creation of an expressive keyboard interface – Niccol Granieri, James Dooley & Tychonas Michailidis

Mix and persona – Dan Sanders

Mixing and recording a small orchestral ensemble to create a large orchestral sound – Jenna Donnelly

Mixing beyond the box: analysing contemporary recording studio practice – Alex Stevenson

Modulars, microchips and LSD: how psychedelics and spirituality shaped the electronic music ecosystem – Ryan Diduck

Music creativity today as a glimpse of all creativities tomorrow – David Gauntlett

Music in culture 3.0: mashing-up boundaries between music, academia, culture and curation – Carola Boehm

Music technology for those with complex needs – Asha Ward

New opportunities for production of church organ recordings – Jan-Olof Gullo

Perspectives on musical time and human/machine agency in the development of performance systems for live electronic music – John Ferguson & Paul Vandemast-Bell

Press play on tape: 8-bit composition and musical innovation through technical constraint – Kenny McAlpine

Questioning progress narratives in contemporary studio production – Joe Watson

Reconstruction of transient digital audio workstation signals at high-resolution sample frequencies – Rob Toulson

(Re)Engineering the cultural object: sonic pasts in hip-hop’s future – Mike Exarchos

Sample clearances, iTunes for samplers – Stephen Partridge

Sound, curiosity & autism: concepts for the design of inclusive musical instruments for exploratory sonic play – Joe Wright

The 12 bar blues array: how to get guitarists playing solos and code – Chris Payne & Mat Dalgleish

The convergence of music, disability and technology – Leon Clowes

The DAWs of perception: producer as improviser – Matt Gooderson & David Sheppard

The performance of electronic music – Jenn Kirby

Transforming musical performance: the audience as performer – Adrian York

Translating mixed multichannel electroacoustic music with acoustic soloist to the personal stereophonic listening space – Simon Hall

Using EEG to explore cognitive-cultural networks and eco-systemic performance environments – Tim Sayer

Visual energy and liveness in electronic music – Tim Canfer

After the conference, authors are invited to submit a Full Paper of 6000-8000 words for the conference proceedings. Papers will be peer-reviewed by at least two referees and must be of high quality, original, and not published elsewhere or submitted for publication during the review period.

The completed paper submission deadline for inclusion in the conference proceedings is Monday 16 October 2017. A style guide and formatting template will be provide for paper authors in due course.

Conference Schedule

An indicative conference schedule is shown below. The schedule is subject to change until the day of the conference, when delegates will receive the final schedule at the conference registration in their welcome packs.

The latest version of the schedule can also be downloaded as a pdf document:

Conference schedule pdf

Wednesday 6th September

Thursday 7th September

Friday 8th September

Conference Venue

Innovation In Music 2017 is hosted by the University of Westminster at their Regent Street campus in Central London. London is at the heart of the UK and Europe’s music industry, providing a thriving network of creative artists and technology innovators, as well as being the focal point of the music industry’s business economy. Being hosted in London enables some of the world’s most innovative individuals and organisations to engage with the conference and share discussions around innovation in music. The opening of Innovation In Music will be held in the historic and beautiful Fyvie Hall, which is part of the University of Westminster’s Regent Street campus.

The location for the Conference Banquet is at the nearby 100 Wardour St restaurant in Soho. 100 Wardour St is the site of the original Soho Marque Club, which has a rich musical heritage hosting shows for many of the world’s greatest musicians and artists.

There are many hotels in Central London and cheaper options with close public transport links to the Regent Street campus. The following suggested hotels are within walking distance of the conference venue:

Saint Georges Hotel
http://www.saintgeorgeshotel.com

The Courthouse Hotel
https://www.myhotelreservation.net/b/halonchl/HALONCHL/?f=2017-09-06&t=2017-09-07&i=INNOMUS17

Grange Langham Court Hotel
https://www.grangehotels.com/hotels-london/grange-langham-court/about-this-hotel/

Holiday Inn London Regent’s Park
http://www.hilondonregentsparkhotel.co.uk

The University of Westminster is home to one of the first music departments of its kind in the UK. With state-of-the-art studios and excellent research, Westminster offers innovative undergraduate and postgraduate programmes designed to educate and enhance students’ natural talents and prepare them for careers in the music industry. For more details on the University of Westminster’s Music department and courses visit https://www.westminster.ac.uk/courses/subjects/music

InMusic TV

YouTube films of keynote lectures and special sessions from the Innovation In Music 2015 Conference, held at Anglia Ruskin University in Cambridge, UK.

Tim Exile (Music Performance Keynote)