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PART ONE PERFORMANCE 1 Transforming Musical Performance: The Audience as Performer ADRIAN YORK 2 Using Electroencephalography to Explore Cognitive-Cultural Networks and Ecosystemic Performance Environments for Improvisation TIM SAYER 3 Press Play on Tape: 8-Bit Composition on the Commodore 64 KENNY MCALPINE 4 Composing With Microsound: An Approach to Structure and Form When Composing for Acoustic Instruments With Electronics MARC ESTIBEIRO 5 Defining and Evaluating the Performance of Electronic Music JENN KIRBY 6 Perspectives on Musical Time and Human-Machine Agency in the Development of Performance Systems for Live Electronic Music PAUL VANDEMAST-BELL AND JOHN FERGUSON 7 Visual Agency and Liveness in the Performance of Electronic Music TIM CANFER 8 Liveness and Interactivity in Popular Music SI WAITE 9 How Algorithmic Composition Prompts Innovative Movement Design in Full-Body Taiko Drumming STU LAMBERT PART TWO PRODUCTION 10 Collective Creativity: A 'Service' Model of Commercial Pop Music Production at PWL in the 1980s DR. PAUL THOMPSON AND DR. PHIL HARDING 11 Mix and Persona: Analyzing Rejected Mixes DAN SANDERS 12 Mixing Beyond the Box: Analyzing Contemporary Mixing Practice ALEX STEVENSON 13 Optimizing Vocal Clarity in the Mix KIRSTEN HERMES 14 Plugging In: Exploring Innovation in Plugin Design and Utilization ANDREW BOURBON 15 Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral Sound JENNA DOYLE 16 Committing to Tape: Questioning Progress Narratives in Contemporary Studio Production JOE WATSON PART THREE TECHNOLOGY 17 Harnessing Ancillary Microgestures in Piano Technique: Implementing Microgestural Control Into an Expressive Keyboard-Based Hyper-Instrument NICCOLÒ GRANIERI , JAMES DOOLEY AND TYCHONAS MICHAILIDIS 18 MAMIC Goes Live: A Music Programming System for Non-specialist Delivery MAT DALGLEISH AND CHRIS PAYNE 19 Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic Spectrum JOE WRIGHT 20 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 Nosotros SIMON HALL 21 Score Scroll: Replacing Page-Based Notation With a Technology-Enhanced Solution in Composition and Performance BARTOSZ SZAFRANSKI 22 Everything Is Musical: Creating New Instruments for Musical Expression and Interaction With Accessible Open-Source Technology-The Laser Room and Other Devices ALAYNA HUGHES AND PIERLUIGI BARBERIS FIGUEROA 23 The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet Players ANDY COOPER AND NEIL MARTIN 24 Evaluating Analog Reconstruction Performance of Transient Digital Audio Workstation Signals at High and Standard-Resolution Sample Frequencies ROB TOULSON 25 Acoustic Transmission of Metadata in Audio Files Using Sonic Quick Response Codes (SQRC) MARK SHEPPARD , ROB TOULSON AND JÖRG FACHNER PART FOUR BUSINESS 26 Can Music Samples Be Cleared More Easily? Development of an Automated Process to Clear Music Samples for Legal Creative Reuse STEPHEN PARTRIDGE 27 (Re)Engineering the Cultural Object: Sonic Pasts in Hip-Hop's Future MICHAIL EXARCHOS (A.K.A. STEREO MIKE) 28 Anticipating the Cryptopirate: "Don't Bury Treasure" and Other Potential Preventative Measures PATRICK TWADDLE 29 Disruption as Contingency: Music, Blockchain, Wtf? MATTHEW LOVETT 30 Can I Get a Witness? The Significance of Contracts in an Age of Musical Abundance SALLY ANNE GROSS 31 The End of a Golden Era of British Music? Exploration of Educational Gaps in the Current UK Creative Industry Strategy CAROLA BOEHM

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