Dynamic Cues for Network Music Interactions

This paper provides an overview of a cueing system, the Master Cue Generator (MCG) used to trigger performers (humans or computers) over an IP-based network. The performers are scattered in several locations and receive cues to help them interact musically over the net- work. The paper proposes a classification of cues that dynamically evolve and reshape as the performance takes place. This begets the explo- ration of various issues such as how to represent and port a hierarchy of control over a net- worked music performance (NMP) and also takes into account parameters inherent to a net- work such as latency and distance. This ap- proach is based on several years of practice-led research in the field of NMP, a discipline that is gaining grounds within the music technology community both as a practice and through the development of tools and strategies for interact- ing over disparate locations

Network Latency Adaptive Tempo in the Public Sound Objects System

In recent years Computer Network-Music has increasingly captured the attention of the Computer Music Community. With the advent of Internet communication, geographical displacement amongst the participants of a computer mediated music performance achieved world wide extension. However, when established over long distance networks, this form of musical communication has a fundamental problem: network latency (or net-delay) is an impediment for real-time collaboration. From a recent study, carried out by the authors, a relation between network latency tolerance and Music Tempo was established. This result emerged from an experiment, in which simulated network latency conditions were applied to the performance of different musicians playing jazz standard tunes. The Public Sound Objects (PSOs) project is web-based shared musical space, which has been an experimental framework to implement and test different approaches for on-line music communication. This paper describe features implemented in the latest version of the PSOs system, including the notion of a network-music instrument incorporating latency as a software function, by dynamically adapting its tempo to the communication delay measured in real-time

Enabling Live Presence: Dynamic Video Compression for the Telematic Arts

Telematic performance, connecting performing artists in different physical locations in a single unified ensemble, places extreme demands on the supporting media. High audio and video quality plays a fundamental role in enabling inter-artist communication and collaboration. However, currently available video solutions are either inadequate to the task or pose extreme technical requirements. A new solution is presented, vipr (videoimage protocol), which exposes a number of popular, robust video compression methods for real-time use in Jitter and Max. This new software has successfully enabled several inter-continental performances and presents exciting potentials for creative, telematic artists, musicians, and dancers

Ritmo musical adaptável à latência de rede no sistema public sound objects

Quando estabelecidos sobre redes informáticas de longa distância os sistemas de criação musical colaborativos comportam um problema critico: a latência da rede, que é um impedimento à comunicação musical em tempo real. Num estudo recente, foi estabelecida a relação entre tolerância à latência e o ritmo musical. Este resultado emergiu de uma experiência levada a cabo pelos autores deste artigo, na qual foram aplicadas condições simuladas de latência de rede à performance de diferentes músicos enquanto tocavam temas clássicos de Jazz. O projecto Public Sound Objects – PSOs é um espaço musical partilhado na web, que tem constituído um paradigma experimental para implementação e teste de diferentes abordagens para a comunicação musical on-line. Este artigo descreve a implementação da última versão do sistema PSOs, incluindo uma componente para instrumentos de música em rede que incorpora a latência como uma funcionalidade de software, que adapta dinamicamente o seu ritmo à latência de comunicação medida em tempo real

Designing and Composing for Interdependent Collaborative Performance with Physics-Based Virtual Instruments

Interdependent collaboration is a system of live musical performance in which performers can directly manipulate each other’s musical outcomes. While most collaborative musical systems implement electronic communication channels between players that allow for parameter mappings, remote transmissions of actions and intentions, or exchanges of musical fragments, they interrupt the energy continuum between gesture and sound, breaking our cognitive representation of gesture to sound dynamics. Physics-based virtual instruments allow for acoustically and physically plausible behaviors that are related to (and can be extended beyond) our experience of the physical world. They inherently maintain and respect a representation of the gesture to sound energy continuum. This research explores the design and implementation of custom physics-based virtual instruments for realtime interdependent collaborative performance. It leverages the inherently physically plausible behaviors of physics-based models to create dynamic, nuanced, and expressive interconnections between performers. Design considerations, criteria, and frameworks are distilled from the literature in order to develop three new physics-based virtual instruments and associated compositions intended for dissemination and live performance by the electronic music and instrumental music communities. Conceptual, technical, and artistic details and challenges are described, and reflections and evaluations by the composer-designer and performers are documented

Designing instruments towards networked music practices

It is commonly noted in New Interfaces for Musical Expression (NIME) research that few of these make it to the mainstream and are adopted by the general public. Some research in Sound and Music Computing (SMC) suggests that the lack of humanistic research guiding technological development may be one of the causes. Many new technologies are invented, however without real aim else than for technical innovation, great products however emphasize the user-friendliness, user involvement in the design process or User-Centred Design (UCD), that seek to guarantee that innovation address real, existing needs among users. Such an approach includes not only traditionally quantifiable usability goals, but also qualitative, psychological, philosophical and musical such. The latter approach has come to be called experience design, while the former is referred to as interaction design. Although the Human Computer Interaction (HCI) community in general has recognized the significance of qualitative needs and experience design, NIME has been slower to adopt this new paradigm. This thesis therefore attempts to investigate its relevance in NIME, and specifically Computer Supported Cooperative Work (CSCW) for music applications by devising a prototype for group music action based on needs defined from pianists engaging in piano duets, one of the more common forms of group creation seen in the western musical tradition. These needs, some which are socio-emotional in nature, are addressed through our prototype although in the context of computers and global networks by allowing for composers from all over the world to submit music to a group concert on a Yamaha Disklavier in location in Porto, Portugal. Although this prototype is not a new gestural controller per se, and therefore not a traditional NIME, but rather a platform that interfaces groups of composers with a remote audience, the aim of this research is on investigating how contextual parameters like venue, audience, joint concert and technologies impact the overall user experience of such a system. The results of this research has been important not only in understanding the processes, services, events or environments in which NIME’s operate, but also understanding reciprocity, creativity, experience design in Networked Music practices.É de conhecimento generalizado que na área de investigação em novos interfaces para expressão musical (NIME - New Interfaces for Musical Expression), poucos dos resultantes dispositivos acabam por ser popularizados e adoptados pelo grande público. Algum do trabalho em computação sonora e musical (SMC- Sound and Music Computing) sugere que uma das causas para esta dificuldade, reside numalacuna ao nível da investigação dos comportamentos humanos como linha orientadora para os desenvolvimentos tecnológicos. Muitos dos desenvolvimentos tecnológicos são conduzidos sem um real objectivo, para além da inovação tecnológica, resultando em excelentes produtos, mas sem qualquer enfâse na usabilidade humana ou envolvimento do utilizador no processo de Design (UCDUser Centered Design), no sentido de garantir que a inovação atende a necessidades reais dos utilizadores finais. Esta estratégia implica, não só objectivos quantitativos tradicionais de usabilidade, mas também princípios qualitativos, fisiológicos, psicológicos e musicológicos. Esta ultima abordagem é atualmente reconhecida como Design de Experiência (Experience Design) enquanto a abordagem tradicional é vulgarmente reconhecida apenas como Design de Interação (Interaction Design). Apesar de na área Interação Homem-Computador (HCI – Human Computer Interaction) as necessidades qualitativas no design de experiência ser amplamente reconhecido em termos do seu significado e aplicabilidade, a comunidade NIME tem sido mais lenta em adoptar este novo paradigma. Neste sentido, esta Tese procura investigar a relevância em NIME, especificamente nu subtópico do trabalho cooperativo suportado por Computadores (CSCW – Computer Supported Cooperative Work), para aplicações musicais, através do desenvolvimento de um protótipo de um sistema que suporta ações musicais coletivas, baseado nas necessidades especificas de Pianistas em duetos de Piano, uma das formas mais comuns de criação musical em grupo popularizada na tradição musical ocidental. Estes requisitos, alguns sócioemocionais na sua natureza, são atendidos através do protótipo, neste caso aplicado ao contexto informático e da rede de comunicações global, permitindo a compositores de todo o mundo submeterem a sua música para um concerto de piano em grupo num piano acústico Yamaha Disklavier, localizado fisicamente na cidade do Porto, Portugal. Este protótipo não introduz um novo controlador em si mesmo, e consequentemente não está alinhado com as típicas propostas de NIME. Trata-se sim, de uma nova plataforma de interface em grupo para compositores com uma audiência remota, enquadrado com objectivos de experimentação e investigação sobre o impacto de diversos parâmetros, tais como o espaço performativo, as audiências, concertos colaborativos e tecnologias em termos do sistema global. O resultado deste processo de investigação foi relevante, não só para compreender os processos, serviços, eventos ou ambiente em que os NIME podem operar, mas também para melhor perceber a reciprocidade, criatividade e design de experiencia nas práticas musicais em rede

Music mime & metamorphosis: interdisciplinary intersections, interactions and influences between music, mime and corporate communication. Doctoral project 2 (of 3): Music, mime & metamorphosis

[Abstract]: With confirmation by Kurosawa & Davidson’s (2005) research that, ‘little investigation has been undertaken to explore the nonverbal information specified in a musical performance and its functions’ (p. 112), this paper seeks to both address that lack of investigation, and simultaneously explore areas where such ‘nonverbal information’ may be highlighted, stylised and exploited, in the interests of enhancing performer/audience communication, performance confidence and stage presence in the musical context. This paper is presented in conjunction with, refers to, and supports a series of VODcasts which constitute the primary source for this analysis/discussion, and which: a) catalogue an artistic process termed by the author, ‘Blind Collaboration’, in the recording of a contemporary music album b) provide an analysis of the effects of the non-musical aspects of live musical performance in the solo acoustic performance context c) explore the application of Mime performance techniques to the music performance context with a view to enhancing stage presence, performance confidence and the performer/audience relationship. Supplementary to and supporting the VODcasts (numbered 00 to 33 inclusive, ranging in duration from approximately 0:50 – 2:00 minutes), is the inclusion of written analyses of a variety of professional Concert performances (Appendix 2), both DVD and Live, providing both broad contextual information and specific examples. This analysis also includes performances by the author (Appendix 3)