Performing Audiences: Composition Strategies for Network Music using Mobile Phones

With the development of web audio standards, it has quickly become technically easy to develop and deploy software for inviting audiences to participate in musical performances using their mobile phones. Thus, a new audience-centric musical genre has emerged, which aligns with artistic manifestations where there is an explicit inclusion of the public (e.g. participatory art, cinema or theatre). Previous research has focused on analysing this new genre from historical, social organisation and technical perspectives. This follow-up paper contributes with reflections on technical and aesthetic aspects of composing within this audience-centric approach. We propose a set of 13 composition dimensions that deal with the role of the performer, the role of the audience, the location of sound and the type of feedback, among others. From a reflective approach, four participatory pieces developed by the authors are analysed using the proposed dimensions. Finally, we discuss a set of recommendations and challenges for the composers-developers of this new and promising musical genre. This paper concludes discussing the implications of this research for the NIME community

Mobilizing learning: mobile Web 2.0 scenarios in tertiary education

Based upon three years of mobile learning (mlearning) projects, a major implementation project has been developed for integrating the use of mobile web 2.0 tools across a variety of departments and courses in a tertiary education environment. A participatory action research methodology guides and informs the project. The project is based upon an explicit social constuctivist pedagogy, focusing on student collaboration, and the sharing and critique of student-generated content using freely available web 2.0 services. These include blogs, social networks, location aware (geotagged) image and video sharing, instant messaging, microblogging etc… Students and lecturers are provided with either an appropriate smartphone and/or a 3G capable netbook to use as their own for the duration of the project. Keys to the projects success are the level of pedagogical and technical support, and the level of integration of the tools into the courses – including assessment and lecturer modelling of the use of the tools. The projects are supported by an intentional community of practice model, with the researcher taking on the role of the “technology steward”. The paper outlines three different scenarios illustrating how this course integration is being achieved, establishing a transferable model of mobile web 2.0 integration and implementation. The goal is to facilitate a student-centred, collaborative, flexible, context-bridging learning environment that empowers students as content producers and learning context generators, guided by lecturers who effectively model th

Information and communication in a networked infosphere: a review of concepts and application in social branding

This paper aims at providing a contribution to the comprehensive review of the impact of information and communication, and their supporting technologies, in the current transformation of human life in the infosphere. The paper also offers an ex- ample of the power of new social approaches to the use of information and commu- nication technologies to foster new working models in organizations by presenting the main outcomes of a research project on social branding. A discussion about some trends of the future impact of new information and communication technologies in the infosphere is also included

Sonic City: Prototyping a wearable experience

Sonic City is a project exploring mobile interaction and wearable technology for everyday music creation. A wearable system has been developed that creates electronic music in real-time based on sensing bodily and environmental factors - thus, a personal soundscape is co-produced by physical movement, local activity, and urban ambiance simply by walking through the city. Applying multi-disciplinary methods, we have developed the wearable from a scenario-driven, aesthetic and lifestyle perspective. A garment has been crafted for 'trying on' interaction and wearabilty options with users on-site in the city. With this prototype, we have been able to expore and rapidly iterate context and content, social and human factors of the wearable application

Projecting the voice : audience responses to ICT-mediated contemporary opera

This paper examines how audiences experience live opera performance and the behaviours they exhibit during live-streaming of the performance. It aims to contribute to our understanding of how audiences, who increasingly inhabit an environment saturated with digital media, respond to contemporary opera performance. Based on a comparative study of audience experiences and behaviours during a live opera performance and the streamed opera screening, we investigate whether digital mediation affects audience appreciation, and whether streaming live opera means the same thing to an audience as the unmediated performance. We firstly outline the conception, design and performance of a contemporary opera and its simultaneous streaming to nearby digital screens. Then, we report the evaluation of the project as measured by a mix of qualitative and quantitative methods during the rehearsals, the live performance and the screening. As one of the few social studies of contemporary classical music in Britain, our study of opera audience behaviours sheds light on the challenges and opportunities afforded by digital technologies for opera companies. Understanding how audiences appreciate digital operas offers practical advice on how theatres and opera companies could respond to new forms of digital activities

Transforming musical performance: activating the audience as digital collaborators

Digital technologies have transformed the performance practice, recording and distribution technologies, economy and sonic landscape of music in a process of change that began in the early 1980s. Recent technological developments have opened up the possibility of embodied interaction between audiences and performers, reframing music performance as a collaborative improvisatory space that affords Interactive Musical Participation. The research in this practice-based thesis looks at the relationship and experience of audience members and musicians exploring Interactive Musical Participation within the wide stylistic framework of contemporary jazz. It also studies the potential for the creation of compositional, technological and performance protocols to enable successful Interactive Musical Participation. This has been achieved through a process of mapping the methodology behind the composition, technical infrastructure, performances and post-performance analysis of a series of musical artefacts. Cook (2001 and 2009) suggests that researchers in this field should “Make a piece, not an instrument or controller” and this dictum has influenced the development of the technical infrastructure for this research. Easily accessible and low-cost digital audio workstations Ableton Live (2017) and Logic Pro X (Apple, 2019) as well as the digital protocols Open Sound Control (OSC) (Opensoundcontrol.org) have been utilised to deliver the programming and networking requirements. A major innovation stemming from this project has been the development of the Deeper Love Soundpad App, a sample playback app for Apple smartphones and iPads, in collaboration with Dr. Rob Toulson. The theoretical background to this research has been informed by actornetwork theory, the sociological approach developed by Bruno Latour (2005), Michel Callon (1986) and John Law (1992). Actor-network theory (ANT) provides a framework for understanding the mechanics of power and organisation within heterogeneous non-hierarchical networks. Mapping and analysing the ANT networks and connections created by the research performances has provided valuable data in the Interactive Musical Participatio

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

Open band: Audience Creative Participation Using Web Audio Synthesis

This work investigates a web-based open environment enabling collaborative music experiences. We propose an artifact, Open Band, which enables collective sound dialogues in a web “agora”, blurring the limits between audience and performers. The systems relies on a multi-user chat system where textual inputs are translated to sounds. We depart from individual music playing experiences in favor of creative participation in networked music making. A previous implementation associated typed letters to pre-composed samples. We present and discuss in this paper a novel instance of our system which operates using Web Audio synthesis

Towards a Practitioner Model of Mobile Music

This practice-based research investigates the mobile paradigm in the context of electronic music, sound and performance; it considers the idea of mobile as a lens through which a new model of electronic music performance can be interrogated. This research explores mobile media devices as tools and modes of artistic expression in everyday contexts and situations. While many of the previous studies have tended to focus upon the design and construction of new hardware and software systems, this research puts performance practice at the centre of its analysis. This research builds a methodological and practical framework that draws upon theories of mobile-mediated aurality, rhetoric on the practice of walking, relational aesthetics, and urban and natural environments as sites for musical performance. The aim is to question the spaces commonly associated with electronic music – where it is situated, listened to and experienced. This thesis concentrates on the creative use of existing systems using generic mobile devices – smartphones, tablets and HD cameras – and commercially available apps. It will describe the development, implementation and evaluation of a self-contained performance system utilising digital signal processing apps and the interconnectivity of an inter-app routing system. This is an area of investigation that other research programmes have not addressed in any depth. This research’s enquiries will be held in dynamic and often unpredictable conditions, from navigating busy streets to the fold down shelf on the back of a train seat, as a solo performer or larger groups of players, working with musicians, nonmusicians and other participants. Along the way, it examines how ubiquitous mobile technology and its total access might promote inclusivity and creativity through the cultural adhesive of mobile media. This research aims to explore how being mobile has unrealised potential to change the methods and experiences of making electronic music, to generate a new kind of performer identity and as a consequence lead towards a practitioner model of mobile music

Open Symphony: Creative Participation for Audiences of Live Music Performances

This work is partly supported by the FAST-IMPACt EPSRC project (EP/L019981/1), the Centre for Digital Music EPSRC Platform Grant (EP/E045235/1), the EU H2020 Audio Commons project (688382), QMUL's Centre for Public Engagement, the China Scholarship Council, and Arts Council England (Sound and Music Organisation Audience Labs)