Conference Scope - Innovation In Music 2013
4-6 December 2013, York, UK
Innovation in Music seeks to welcome 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 including:
Innovative Music Creation:
Novel approaches to performance and composition, either electric or acoustic, and electroacoustic
Innovative instrument design
Algorithmic systems
Progressive AV Installations
Technology Innovation:
New hybrid systems and approaches
Interface design and control
Software bricolage
Music Production: - Past, Future and Present
Current trend towards HD Delivery
Novel historical perspectives
Techniques
Ontology of music production
Future concepts
Music Business Innovations:
Discussions for the future of digital delivery
Music business models
DIY culture
Revenue: from now to then
Implications of iTunes Radio
Knowledge Transfer between Music Industry and Academia:
Opportunity for dissemination of best practice collaborations
Discussion fora for symbiosis
Specialist Panels
Sound Engineering:
Developments in live music sound
The impact of modeling technologies, BSS and automated mixing on future practice
Multi-channel recording and playback; its future in realism and in art
Installation innovation
Mastering:
R-128 and beyond - loudness standards and issues
Mastering innovation and practices
The future for the Mastering house, post-CD
Post-production & Sound Design Innovation:
Future synthesis
3D audio; its implementation and its implications
Games Music & Sound Design:
New perspectives and integration
The evolution of stochastic audio playback
The implications of future media
Taxonomy of sound design for games
Niche and cultural identity
Cross-disciplinary themes are particularly welcome, purely for example:
Google Glass in music; discuss.
How future (re)production approaches might exploit tablet OS developments, with associated implications for copyright protection and listener experience.
The relationship between, and interaction of, audio engineering system design and beta-testing with practitioners of different cultural and experiential backgrounds.
How gesture-detection and sophisticated novel instruments such as the Eigenharp might influence studio praxis and subsequent interaction with the compositional process.
The headphone listening experience is increasingly widespread via portable devices. What are the implications of this for each stage of the production chain, their interaction and the requirements for the headphones of the future?
Submit a Paper
