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awareness. “Each player must not only be conscious of his or her own part, but also of the parts of other musicians. The other musicians' gestures, facial expressions and bodily movements, as well as the sounds emitted by their instruments clues to meanings and intentions of others”. Research has indicated that musicians are also very sensitive to the acoustic response of the environment in which they are performing. Ideally a networked music performance system would facilitate the high level of awareness that performers experience in a traditional performance setting.
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milliseconds, the bound of human perception. If there is too much delay in the system, it will make performance very difficult since musicians adjust their playing to coordinate the performance based on the sounds they hear created by other players. However, the characteristics of the piece being played, the musicians, and the types of instruments used ultimately define the tolerance. Synchronization cues may be used in a network music performance system that is designed for long latency situations.
25:
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compositional strategies. A group of artists and researchers has emerged around this field of distributed creativity at SARC and this has helped create a broader knowledge base and focus for activities. As a result, since 2007 SARC has a dedicated team of staff and students with knowledge and experience of network performance, which SARC refers to as "
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sound localization as well as HD or DV video projected onto wide screen displays to create an immersive virtual space. There are interaction sites set up at various locations on the
University of Southern California campus and at several partner locations such as the New World Symphony in Miami Beach, Florida.
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The
Distributed Immersive Performance project is based at the Integrated Media Systems Center at the University of Southern California. Their experiments explore the challenges of creating a seamless environment for remote, synchronous collaboration. The experiments use 3D audio with correct spatial
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The DIAMOUSES project is coordinated by the Music
Informatics Lab at the Technological Education Institution of Crete in Hellas. It supports a wide range of networked music performance scenarios with a customizable platform that handles the broadcasting and synchronization of audio and video signals
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The SoundWIRE research group explores several research areas in the use of networks for music performance including: multi-channel audio streaming, physical models and virtual acoustics, the sonification of network performance, psychoacoustics, and networked music performance practice. The group has
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Workspace awareness in a face-to-face situation is gathered through consequential communication, feedthrough, and intentional communication. A traditional music performance setting is an example of very tightly-coupled, synergistic collaboration in which participants have a high level of workspace
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data connections and specialized collaborative software tools. While not intended to be a replacement for traditional live stage performance, networked music performance supports musical interaction when co-presence is not possible and allows for novel forms of music expression. Remote audience
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The A3Lab team at
UniversitĂ Politecnica delle Marche conducts research on the use of the wireless medium for uncompressed audio networking in the NMP context. A mix of open source software, ARM platforms and dedicated wireless equipment have been documented, especially for outdoor use, where
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has been a major player in carrying out network performances since 2006 and has been active in the use of networks as both collaborative and performance tools. The network team at SARC is led by Prof Pedro Rebelo and Dr
Franziska Schroeder with varying set-ups of performers, instruments and
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One of the major issues with networked music performance is that latency is introduced into the audio as it is processed by a participant's local system and sent across the network. For interaction in a networked music performance to feel natural, the latency generally must be kept below 30
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to distributed locations. However, “ it was more difficult than imagined to debug all of the software problems on each of the different machines with different operating systems and CPU speeds in different cities”. In 1998, there was a three-way audio-only performance between musicians in
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In the late 1970s, as personal computers were becoming more available and affordable, groups like the League of
Automatic Music Composers began to experiment with linking multiple computers, electronic instruments, and analog circuitry to create novel forms of music.
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Alexandraki, C.; Koutlemanis, P.; Gasteratos, P.; Valsamakis, N.; Akoumianakis, D.; Milolidakis, G.; Vellis, G.; Kotsalis, D. (2008). "Towards the implementation of a generic platform for networked music performance: The DIAMOUSES approach".
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Bandwidth demand, latency sensitivity, and a strict requirement for audio stream synchronization are the factors that make networked music performance a challenging application. These factors are described in more detail below.
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dubbed “Mélange à trois”. The early distributed performances all faced problems such as network delay, issues synchronizing signals, echo, and troubles with the acquisition and rendering of non-immersive audio and video.
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that enables musicians in different locations to perform as if they were in the same room. These interactions can include performances, rehearsals, improvisation or jamming sessions, and situations for learning such as
199:, made high quality audio links possible beginning in the early 2000s. One of the first research groups to take advantage of the improved network performance was the SoundWIRE group at Stanford University's
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Both end systems and networks must synchronize multiple audio streams from separate locations to form a consistent presentation of the music. This is a challenging problem for today's systems.
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High definition audio streaming, which is used to make a networked music performance as realistic as possible, is considered to be one of the most bandwidth-demanding uses of today's networks.
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buildings of historical importance or difficult environments (e.g. sea) can be explored for the performance. A premiere of the system have been conducted with musicians playing a
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Lazzaro, J.; Wawrzynek, J. (2001). "Proceedings of the 11th international workshop on
Network and operating systems support for digital audio and video - NOSSDAV '01".
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It should support workspace awareness that allows participants to be aware of the actions of others in the virtual workspace and facilitate all forms of communication
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313:, as well as with the University of SĂŁo Paulo, have helped strengthen this emerging community of researchers and practitioners. The field is related to research on
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Sawchuk, A.; Chew, E.; Zimmermann, R.; Papadopoulos,C.; Kyriakakis,C. (2003). "Proceedings of the 2003 ACM SIGMM workshop on
Experiential telepresence - ETP '03".
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developed a software system, JackTrip, that supports multi-channel, high quality, uncompressed streaming audio for networked music performance over the internet.
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composition on different boats over the coast in Ancona, Italy. The project also aims at shifting music computing from laptops to embedded devices.
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Gabrielli, L; Bussolotto, M; Squartini, S (2014). "Reducing the
Latency in Live Music Transmission with the BeagleBoard xM Through Resampling".
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89:
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Chafe, C.; Wilson, S.; Leistikow, R.; Chisholm, D.; Scavone, G. (2000). "A simplified approach to high quality music and sound over IP".
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NOSSDAV '01: Proceedings of the 11th international workshop on
Network and operating systems support for digital audio and video
159:. The piece “used radio transistors as a musical instrument. The transistors were interconnected thus influencing each other.”
174:, which was formed by original members of The League of Automatic Composers, experimented in 1997 with sending MIDI data over
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203:. That was soon followed by projects such as the Distributed Immersive Performance experiments, SoundJack, and DIAMOUSES.
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Gutwin, C.; Greenberg, S. (2001). "The Importance of Awareness for Team Cognition in Distributed Collaboration".
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Gu, X.; Dick, M.; Noyer, U.; Wolf, L. (2004). "IEEE Global Telecommunications Conference Workshops, 2004. Globe
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Malhotra, V. (1981). "The Social Accomplishment of Music in a Symphony Orchestra: A Phenomenological Analysis".
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It should allow musicians and possibly audience members and/or a conductor to collaborate from remote locations
35:
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Kurtisi, Z; Gu, X.; Wolf, L. (2006). "Enabling network-centric music performance in wide-area networks".
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Information Sciences Institute began experimenting with networked music performance over the Internet.
138:. Participants may be connected by "high fidelity multichannel audio and video links" as well as
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Alexander, C; Renaud, A.; Rebelo, P. (2007). "Networked music performance: state of the art".
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One of the earliest examples of a networked music performance experiment was the 1951 piece: “
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It should create a realistic immersive virtual space for synchronous, interactive performance
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Global Telecommunications Conference Workshops, 2004. GlobeCom Workshops 2004. IEEE
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The 1990s saw several important experiments in networked performance. In 1993, The
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EProceedings of the ICMC 2008 International Computer Music Conference (ICMC 2008)
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Paper Presented at International Computer Music Conference (ICMC 2007), Denmark.
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ETP '03: Proceedings of the 2003 ACM SIGMM workshop on Experiential telepresence
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646:. Dept Computer Science, University of Calgary, Alberta, Canada. pp. 1–33.
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Regular performances, workshops and collaborations with institutions such as
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The development of high-speed internet over provisioned backbones, such as
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Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-00)
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The objectives of a networked music performance can be summarized as:
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771:"Addressing the Network: Performative Strategies for Playing Apart"
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Stanford University, and RPI, led by composer and performer
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Real-time interaction for musicians over a computer network
603:"SoundWIRE research group at CCRMA, Stanford University"
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members and possibly a conductor may also participate.
769:Schroeder, Franziska; Rebelo, Pedro (August 2007).
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Distributed Immersive Performance (DIP) experiments
256:Objectives of a networked music performance system
505:. ACM Press New York, NY, USA. pp. 110–120.
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428:. ACM Press New York, NY, USA. pp. 157–166.
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393:Comparison of Remote Music Performance Software
222:Technical issues in networked music performance
208:Streaming media § Late 1990s – early 2000s
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153:Imaginary Landscape No. 4 for Twelve Radios
797:"About Us – The Center For Deep Listening"
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293:The Sonic Arts Research Centre (SARC) at
109:Learn how and when to remove this message
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280:SoundWIRE at CCRMA, Stanford University
897:Network Music Bibliography at Mendeley
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374:codecs designed for these applications
45:Please improve this article by adding
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819:"Distributed Immersive Performance"
799:. Rensselaer Polytechnic Institute
129:is a real-time interaction over a
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543:AES 30th International Conference
168:University of Southern California
213:Awareness in musical performance
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859:"A3Lab - WeMUST Research page"
339:Wireless Music Studio (WeMUST)
289:The Sonic Arts Research Centre
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58:"Networked music performance"
47:secondary or tertiary sources
711:10.1109/GLOCOMW.2004.1417570
545:. Audio Engineering Society.
248:Audio stream synchronization
127:network musical performance
123:networked music performance
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295:Queen's University Belfast
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736:Communications of the ACM
880:EDERC 2014, Milan, Italy
576:Bischoff, J.; Brown, C.
748:10.1145/1167838.1167862
558:The Music Of John Cage
556:Pritchett, J. (1993).
315:distributed creativity
300:distributed creativity
34:relies excessively on
659:Qualitative Sociology
511:10.1145/982484.982506
434:10.1145/378344.378367
705:. pp. 176–185.
912:Computer networking
469:. pp. 251–258.
671:10.1007/bf00987214
644:Report 2001-696-19
335:across a network.
701:Workshops 2004".
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839:"DIAMOUSES"
578:"Crossfade"
346:Stockhausen
864:2015-02-24
844:2009-11-22
824:2009-11-23
613:2009-11-23
583:2009-11-26
520:1581137753
443:1581133707
404:References
206:See also:
99:April 2020
69:newspapers
36:references
803:31 August
781:31 August
777:: 133–140
679:145680081
398:SoundJack
330:DIAMOUSES
231:Bandwidth
197:Internet2
157:John Cage
906:Category
388:RTP-MIDI
352:See also
185:Helsinki
176:Ethernet
882:. IEEE.
756:1245128
383:Jamulus
239:Latency
147:History
83:scholar
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187:, and
181:Warsaw
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90:JSTOR
76:books
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715:ISBN
515:ISBN
438:ISBN
372:Opus
370:and
368:CELT
363:CSCW
189:Oslo
140:MIDI
62:news
744:doi
707:doi
699:Com
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