WIJAM: a mobile collaborative improvisation platform under Master-players Paradigm

Music jamming is an extremely difficult task for musical novices. Trying to extend this meaningful and highly enjoyable activity to a larger recipient group, we present WIJAM, a mobile application for an ad-hoc group of musical novices to perform improvisation along with a music master. In this master-players' paradigm, the master offers a music backing, orchestrates the musical flow, and gives feedbacks to the players; the players improvise by tapping and sketching on their smartphones. We argue that this paradigm can be a significant contribution to the possibility of music playing by a group of novices with no instrumental training leading to decent musical results.published_or_final_versio

Musique Concrète Choir: An Interactive Performance Environment for Any Number of People

Presented at the 2nd Web Audio Conference (WAC), April 4-6, 2016, Atlanta, Georgia.Using the Web Audio API, a roomful of smartphones becomes a platform on which to create novel musical experiences. As seen at WAC 2015, composers and performers are using this platform to create clouds of sound distributed in space through dozens of loudspeakers. This new platform offers an opportunity to reinvent the roles of audience, composer, and performer. It also presents new technology challenges; at WAC 2015 some servers crashed under load. We also saw difficulties creating and joining private WiFi networks. In this piece, building on the lessons of WAC 2015, we load all our sound resources onto each phone at the beginning of the piece from a stable, well-known web host. Where possible, we use the new Service Worker API to cache our resources locally on the phone. We also replace real-time streaming control of roomful of phones with real-time engagement of the audience members as performers

Border: A Live Performance Based on Web AR and a Gesture-Controlled Virtual Instrument

International audienceRecent technological advances, such as increased CPU/GPU processing speed, along with the miniaturization of devices and sensors, have created new possibilities for integrating immersive technologies in music and performance art. Virtual and Augmented Reality (VR/AR) have become increasingly interesting as mobile device platforms, such as up-to-date smartphones, with necessary CPU resources entered the consumer market. In combination with recent web technologies, any mobile device can simply connect with a browser to a local server to access the latest technology. The web platform also eases the integration of collabora-tive situated media in participatory artwork. In this paper , we present the interactive music improvisation piece 'Border,' premiered in 2018 at the Beyond Festival at the Center for Art and Media Karlsruhe (ZKM). This piece explores the interaction between a performer and the audience using web-based applications-including AR, real-time 3D audio/video streaming, advanced web audio, and gesture-controlled virtual instruments-on smart mobile devices

BioSync: An Informed Participatory Interface for Audience Dynamics and Audiovisual Content Co-creation using Mobile PPG and EEG

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ARCAA: a framework to analyse the artefact ecology in computer music performance

This paper presents ARCAA (Actors, Role, Context, Activity, Artefacts), a framework that supports designers in understanding the artefact ecology in the music performance scenario, in particular, allowing to frame the role of the different actors. The ARCAA framework is the result of the combination of two different areas of HCI: artefact ecology concept, and design framework for digital musical instruments. The model borrows three categories from MINUET an established design framework and rethinks them from an ecological perspective. In ARCAA, these three categories are used as three lenses to connect each human actor to her artefact ecology. Finally, the framework allows comparing how the various artefacts create connections among the different people involved. The second part of the paper describes a case study that shows a practical adoption of the framework

Frontiers: Expanding Musical Imagination With Audience Participation

This paper introduces Performance Without Borders and Embodied iSound, two sound installations performed at the 2016 Peninsula Arts Contemporary Music Festival at Plymouth University. Sharing in common the use of smartphones to afford real-time audience participation, two bespoke distributed computer systems (Sherwell and Levinsky Music, respectively). Whilst the first one implements a cloud-based voting system, the second implements movement tracking and iBeacon-based indoor-positioning to control the choice of soundtracks, audio synthesis, and surround sound positioning, among other parameters. The general concepts of the installations, in particular design and interactive possibilities afforded by the computer systems are presented

Understanding the experience of attending a modern music concert

This research aims to uncover valuable insights that can be used in the development of innovative products, services or systems, after deeply understanding the experience of the modern music concert attendees, concretely in small-medium indoor venues. Although the overarching goal is to improve the concert experience, the main objective for this research is to focus on exploring the most profound aspects of the experience, usually hidden, which lead to the detection of deep and significant user needs. A qualitative research which applies a hermeneutical phenomenological approach is the method used to achieve the expected goal. Different steps, such as immersing myself into the experience or exploring other’s feelings and impressions through intense non-structured interviews, help me to collect all the data required for a proper research. The SEEing method is a systematic process useful to analyse the qualitative raw material, acquiring an advantageous understanding of the deeper meaning layers of the lived experience. As an output of this research process, a clear picture of the experience of attending a modern music concert in small-medium venues appears. A simple read to the seven category stories that sharply define the experience, is enough for a non-expert in the field to plainly understand the experience insights. Moreover, these experience insights are used in the development of numerous questions that immediately lead to plenty of innovative design and business opportunities for engineers, designers and Music Industry stakeholders. Finally, another outcome of this work is the revelation of five innovative ideas and concepts, which are presented as a way to illustrate how to use this valuably gained information, showing the right procedure to move from qualitative research to design.Outgoin