Готові списки джерел за темами / Distributed music performance

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Добірка наукової літератури з теми "Distributed music performance"

Автор: Grafiati

Опубліковано: 9 січня 2025

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Статті в журналах з теми "Distributed music performance"

Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (October 30, 2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.

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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position their work on this continuum according to three motifs: composer–performer discourses and careers, genre and power relationships. I argue that the legal categories of joint or individual authorship, adaptation and performance protect most contributions to a musical work and align with the social understandings of different types of contributions. Yet I also note that, viewed more normatively, a recasting of the rights could help shift those social understandings and alter the inequalities inherent in both musical practices and the law.

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Krasnoskulov, Alexei V. "Distributed Performance: Principles, Space, Communication." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2015): 28–32. http://dx.doi.org/10.17674/1997-0854.2015.1.18.028-032.

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Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (April 1, 2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opportunities for social interaction, agency and an enhanced sense of community. Yet this participatory approach challenges the attentive listening mode embedded in the long-held conceptualization of classical music, and the new modes of performance and communication challenge established beliefs about the superiority of live performance over recording. Opportunities for creativity and audience experience and development are found in the notions of distributed creativity, distributed listening and the democratization of culture that are embedded in many of the practices of virtual music concerts. Analysing scholarly literature, music criticism, commentary and selected case studies, the article explores these ideas and opportunities through four episodes entitled to capture prominent themes: presence, absence and distance, intimacy and wonder.

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Shapiro, R. Benjamin, Annie Kelly, Matthew Ahrens, Ben Johnson, Heather Politi, and Rebecca Fiebrink. "Tangible Distributed Computer Music for Youth." Computer Music Journal 41, no. 2 (June 2017): 52–68. http://dx.doi.org/10.1162/comj_a_00420.

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Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these devices. We also describe our work with two middle-school teachers to codesign and deploy a curriculum for 11- to 13-year-old students. We draw on work with these students to evidence how computer music can support learning about computer science concepts and change students' perceptions of computing. We conclude by outlining some remaining questions around how computer music and computer science may best be linked to provide transformative educational experiences.

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Seo, Jiho, Jonghyeok Lee, Jaehyun Park, Hyungju Kim, and Sungjin You. "Distributed Two-Dimensional MUSIC for Joint Range and Angle Estimation with Distributed FMCW MIMO Radars." Sensors 21, no. 22 (November 16, 2021): 7618. http://dx.doi.org/10.3390/s21227618.

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To estimate range and angle information of multiple targets, FMCW MIMO radars have been exploited with 2D MUSIC algorithms. To improve estimation accuracy, received signals from multiple FMCW MIMO radars are collected at the data fusion center and processed coherently, which increases data communication overhead and implementation complexity. To resolve them, we propose the distributed 2D MUSIC algorithm with coordinate transformation, in which 2D MUSIC algorithm is operated with respect to the reference radar’s coordinate at each radar in a distributed way. Rather than forwarding the raw data of received signal to the fusion center, each radar performs 2D MUSIC with its own received signal in the transformed coordinates. Accordingly, the distributed radars do not need to report all their measured signals to the data fusion center, but they forward their local cost function values of 2D MUSIC for the radar image region of interest. The data fusion center can then estimate the range and angle information of targets jointly from the aggregated cost function. By applying the proposed scheme to the experimentally measured data, its performance is verified in the real environment test.

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Gibson, Ian. "A Wireless, Real-time, Distributed Music Composition and Performance System." International Journal of the Arts in Society: Annual Review 5, no. 1 (2010): 303–10. http://dx.doi.org/10.18848/1833-1866/cgp/v05i01/35814.

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Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (April 2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.

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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specific values that continue to motivate our artistic approach. These practical accounts inform our discussion of tactility, proximity, effort, friction and other attributes that have shaped our strategies for designing musical interactions. The positive role of ambiguity is elaborated in relation to distributed agency. Finally, we employ the concept of ‘feedthrough’ as a way of understanding the co-constitutive behaviour of communication networks, assemblages and performers.

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Simmons, Amy L. "Distributed Practice and Procedural Memory Consolidation in Musicians’ Skill Learning." Journal of Research in Music Education 59, no. 4 (November 15, 2011): 357–68. http://dx.doi.org/10.1177/0022429411424798.

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This research was designed to determine whether musicians’ learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were observed in Session 2 only in the group whose sessions were separated by 24 hr. There were significant increases in performance speed in Session 2 in all three practice conditions, results which likely were attributable to the inclusion of all Session 1 data in the analysis. Additional significant speed increases were observed in Session 3 only in the groups whose sessions were separated by 6 and 24 hr. These results suggest that sleep-based procedural memory consolidation may enhance performance accuracy in music skill learning, whereas enhancements in performance speed may be attributable to both wake- and sleep-based consolidation processes.

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R, Dr Naveenkumar. "An Empirical Research Approach on Confusion Matrix Using Existing Musical Industry Dataset." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (April 24, 2024): 1–5. http://dx.doi.org/10.55041/ijsrem31385.

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This paper analyzes the sales of existing music albums from 1973 to 2019. The data shows that the music industry has experienced many changes over the years, with the most significant change being the introduction of digital platforms. Digital platforms have disrupted the traditional music industry model, leading to a decline in sales of physical albums. The paper also analyzes the sales of each medium through which music was distributed worldwide with different machine learning algorithm classifiers consistently exhibiting inadequate predictive power. the lack of a good prognosis highlights a fundamental failure toward well-infected persons in a class. the presence of non-zero false positive rates indicates negative data are distributed among positive errors. analysis of the data reveals worrying inefficiencies in classifier performance Keywords: Precession, Recall, Accuracy, Track, Digital industry, Cost efficiency and confusion matrix

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Chang, Chialun. "The Design and Implementation of the Curriculum for the Collegiate Group Piano Course at the Comprehensive Universities in China." Journal of Higher Education Research 3, no. 4 (August 5, 2022): 356. http://dx.doi.org/10.32629/jher.v3i4.956.

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The music education in China is unevenly distributed. Well known music conservatories in cosmopolitan cities offers high quality training both in theory and performance. On the other hand, general comprehensive universities, especially in the rural areas have limited resources and qualified teachers, and often require students a minimum of music training prior to college admission. Piano is the most versatile instrument to train music fundamentals, consequently, piano become mandatory course for a music degree in a comprehensive university. Many music departments offer group piano course to accommodate as many students. This essay will evaluate the course design of the collegiate group piano in China, and offer suggestions for implementation.

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Більше джерел

Дисертації з теми "Distributed music performance"

Arango, Julian Jaramillo. "Network Music: criação e performance musical colaborativa no âmbito das redes de informação." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-100111/.

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Esse estudo examina criticamente uma série de práticas sonoras e musicais que tiram proveito das redes de informação para elaborar contextos de colaboração. Essas praticas dão lugar a um repertório de obras (composições, performances, sites, instalações entre outros), denominado durante o trabalho como Network Music. Os trabalhos podem ser localizados entre a segunda metade da década de 1990 e o final da década de 2000, no entanto uma série de antecedentes musicais são também discutidos. O repertório não se distingue por obedecer a um estilo ou linguagem musical particular, mas por fortalecer e reformular os vínculos tradicionais entre compositores, intérpretes, ouvintes através de conexões eletrônicas. O objeto de estudo é abordado de quatro perspectivas diferentes. O primeiro capítulo aborda aspectos teóricos confrontando conceitos vigentes na música do século XX com modalidades de comunicação em Internet. O imediatismo é proposto como elemento de coesão de conceitos como ao vivo e comunicação online. O segundo capítulo examina o repertório de trabalhos musicais em Internet, enfatizando aspectos incorporados da produção da Arte das Telecomunicações. São identificadas duas vertentes na produção de Network Music, segundo a acentuação de aspectos comunicacionais e composicionais. O levantamento apresentado discute estratégias e metodologias de criação musical dentro de configurações de interação remota enfatizando o tema da distância. O terceiro capítulo cobre aspectos de performance e se concentra no tema da colaboração. Conceitos, recursos e metodologias de trabalho musical com as redes digitais são sugeridos ao intérprete que pretende realizar performances com parceiros remotos através da Internet. No quarto capítulo é discutido o projeto NetConcert, realizado ao longo da pesquisa no seio do grupo Mobile da ECA/USP
This survey critically looks at a series of sound and musical practices that take advantage of information networks to create collaborative contexts. These practices give rise to a repertoire of works (compositions, performances, websites, installations among others) called Network Music. These works can be located between the late 1990s and the late 2000s; however, a number of musical antecedents are also discussed. The repertoire is distinguished by not following a particular style or musical language, but by strengthening and reshaping the traditional links among composers, performers and listeners through electronic connections. Network Music practices are covered in four different parts. The first chapter deals with theoretical aspects confronting current concepts in twentieth-century music with modes of communication on the Internet. Immediacy is proposed as a cohesive element that gathers concepts such as live and online. The second chapter part examines the repertoire of musical works on the Internet, highlighting some aspects incorporated from Art-Telecom productions. Two strands are identified in producing Network Music, according to the emphasis on communication or compositional aspects. The text discusses strategies and methods for music creation within remote interaction settings enphasizing the subject of distance. The third chapter covers musical performance aspects and focuses on the topic of collaboration. Concepts, resources and methodologies are suggested to the musician who intends to accomplish performances with remote partners via the Internet. The final chapter discusses the NetConcert project carried out during the research period as a member of the ECA/USP Mobile group.

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Xiong, Wenmeng. "Localisation de sources dispersées : Performances de MUSIC en présence d'erreurs de modèle et estimation parcimonieuse à rang faible." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLC076/document.

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Cette thèse porte sur la localisation de sources spatialement distribuées. Premièrement, des résultats théoriques ont été établis concernant les performances des méthodes à haute résolution en présence d'erreurs de modèle dues à la distribution angulaire de source. Ainsi, le biais d'estimation et l'erreur quadratique moyenne sont exprimées en fonction des paramètres liés à l'erreur de modèle. De plus, les performances ont été étudiées en fonction de la géométrie de l'antenne afin de déterminer les configurations les plus robustes aux sources dispersées.Les résultats théoriques ont été validés par des simulations numériques. Dans un deuxième temps, une nouvelle approche non paramétrique a été proposée pour la localisation de sources distribuées : cette approche exploite les propriétés de parcimonie et de rang-faible de la matrice de covariance spatiale des sources. Cette méthode permet en outre d'estimer la forme de la distribution spatiale des sources. Les résultats de simulations ont permis de mettre en avant l'intérêt de l'hypothèse rang faible par rapport aux critères exploitant uniquement la parcimonie
This thesis focuses on the distributed source localization problem. In a first step, performance of high resolution methods in the presence of model errors due to the angular distribution of source has been studied. Theoretical expressions of the estimation bias and the mean square error of the direction of arrival of sources have been established in terms of model error. The impacts of the array geometry on the performances have studied in order to optimize the robustness of the array to the model error due to distributed sources.Theoretical results have been validated by numerical simulations.In a second step, a new approach for the localization of spatially distributed source has been proposed: the approach is based on the sparsity and low-rank property of the spatial covariance matrix of the sources. The proposed method provides also an estimation of the distribution shapes of the sources. Simulation results exhibit the advantages of exploiting the sparsity and the low rank properties

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Книги з теми "Distributed music performance"

Redhead, Lauren, and Glover Richard. Collaborative and distributed processes in contemporary music-making. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2018.

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Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.

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Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes. Organized into three parts, thirteen chapters and twelve shorter Interventions present diverse perspectives on distributed and collaborative creativity in music, on a range of collaborations between composers and performers, and on the place of improvisation within contemporary music, broadly defined. The thirteen chapters provide more substantial discussions of a variety of conceptual frameworks and particular projects, while the twelve Interventions provide more informal contributions from a variety of practitioners (composers, performers, improvisers), giving direct insights into the pleasures and problems of working creatively in music in collaborative and improvised ways.

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Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2022.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Gable, Christopher. The Words and Music of Sheryl Crow. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798216038542.

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Offering commentary, musical analysis, and detailed interpretation of her songs’ lyrics, this book examines the qualities of Sheryl Crow’s music that have served to establish the artist’s success and popularity. Sheryl Crow continues to be celebrated for her legacy as a singer-songwriter and pop culture icon. This book provides an introduction to Sheryl Crow’s entire music catalog. Organized into chronological periods of time, the author weaves biographical facts throughout a narrative rich with details about her songs: how they were created, recorded, distributed, and modified in live performance. Accompanying commentary features song analysis—including song structure, chord progression, and melody—and provides fascinating insights into the lyrical content of Crow’s songwriting. The work begins with Crow’s upbringing, her musical roots and influences, and how they manifested themselves in her later career. Subsequent sections delve into her road to success and eventual stardom, revealing how her rise to fame and widespread popularity was littered with broken friendships, acrimony, and suicide. The last several chapters follows her life after a diagnosis of breast cancer and the adoption of her sons. The work also includes a chapter on B-sides and rare songs by Crow.

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Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conductor to ensemble. But such a perspective oversimplifies the conductor’s relationship with the ensemble, the relationships between the musicians, and the strategies that the latter must employ when working in large ensembles. Conceptualizing the ensemble as a complex system of interrelated components, where leadership and creative agency are distributed and developed through rehearsal to achieve what audiences assume to be a unified whole, yields new understanding of the work of large ensembles. This chapter examines these components of the creative process in orchestral and choral rehearsal and performance, the internal and external forces shaping and constraining that process, and the approaches that individual musicians and conductors could adopt in response to the changing contexts in which such creativity might be manifested.

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Частини книг з теми "Distributed music performance"

Payne, Emily, and Floris Schuiling. "Music Notation and Distributed Creativity: The Textility of Score Annotation." In Performance and Posthumanism, 261–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74745-9_13.

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Bussotti, P., and F. Pirri. "Orchestra !: an Internet service for distributed musical sessions and collaborative music development and engineering." In High Performance Networking, 455–69. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-0-387-35388-3_26.

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Lyu, Meiyu, and Ziqian Zhang. "Research and Design of Interactive Performance of Confucian Music Instruments Based on VR." In Distributed, Ambient and Pervasive Interactions, 260–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60012-8_16.

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Nakamura, Mia, and Hazuki Kosaka. "Facilitation-Based Distributed Creativity: The Inari Chorus Performance at the Itoshima International Art Festival." In Creativity in Music Education, 137–50. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2749-0_11.

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Thompson-Bell, Jacob. "6. Working Together Well." In Teaching Music Performance in Higher Education, 165–80. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.08.

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This chapter interrogates some of the foundational assumptions of student-centred learning environments (SCLEs), with a view to expanding conventional pedagogical models to account for the “distributive” agency of groups of learners assembled in a classroom. In the first part, the author proposes that learner groups be treated as distributive agential networks, braiding together intrinsic, extrinsic and intratrinsic (i.e. motivation distributed between multiple learners) forms of motivation, thereby to sustain both individual and collective forms of agency. It is argued that greater awareness of how motivation emerges across such multi-dimensional agential networks within the learning environment can enable student-teacher and student-student relationships to be established on a more flexible and equitable basis, so that inventive ways of working can be collectively imagined. In the next part, these distributive agential networks are illustrated with reference to the author’s own teaching practice, working with multidisciplinary groups of music students across conservatoire and university settings in the United Kingdom. This section takes the form of an impressionistic vignette outlining a peer-to-peer feedback session using the Critical Response Process (CRP), a group feedback framework for creative work in any media, originally developed by choreographers Liz Lerman and John Borstel. This classroom situation is then analysed as a classroom “assemblage”, to illustrate how pedagogical models such as CRP draw together the bodies and accumulated beliefs of learner groups into a distributive agential network. The chapter concludes with a reflection on how these approaches can lead to a reappraisal of such fundamental academic principles as freedom of expression and equity between learners. Ultimately, it is proposed that the pursuit of creative and expressive freedoms requires that careful attention is paid to the ways in which individual students and teachers can be assembled to form a learner collective.

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Louzeiro, Pedro. "Distributed Scores and Audio on Mobile Devices in the Music for a Multidisciplinary Performance." In Lecture Notes in Computer Science, 329–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_22.

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Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution." In Springer Series in Media Industries, 273–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.

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Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.

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Marizza, Paolo. "Servant Leadership and the Spirituality of Music in Crisis Management." In Key Factors and Use Cases of Servant Leadership Driving Organizational Performance, 170–201. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8820-8.ch007.

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The ways in which organizations manage crises can find significant analogies in the musician's process of improvisation, involving a continuous leader-follower interaction that displays the typical traits of servant leaders fueled by spirituality. The analogy with musical improvisation is the thread that runs through this chapter, which analyzes servant leadership in organizational orchestration with reference to current issues such as distributed work. The conditions that can enable the development of servant organizations are identified, modeling the different contextual dimensions with reference to organizational performance, also with respect to other leadership styles. These enabling factors are also declined with respect to agile management practices and the convergence between spiritual leadership and servant leadership. New research directions are identified: this transformative historical moment offers a unique opportunity to develop in-depth causal inferences about how servant leadership creates ethical and organizational value.

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Bonini Baraldi, Filippo. "Toward an anthropological approach to musical empathy." In Roma Music and Emotion, translated by Margaret Rigaut, 263–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.003.0015.

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This chapter proposes an anthropological approach to musical empathy, relying on Alfred Gell’s notion of agency. It is claimed that: (1) musical emotions are best approached as empathetic phenomena, as opposed to cognitive acts involving the decoding of a message; (2) it is possible to distinguish between different types of musical empathy, depending on the type of agency relationship: “empathy with the musical being,” “empathy with the artist,” “empathy with musical memory-images,” and “intersubjective musical empathy”; (3) the representation of a network of agency can reveal the role played by the performance context in the emotions attributed to music; (4) The notion of agency makes it possible to consider “personal” tunes as “distributed persons,” as opposed to signs of persons; (5) the highly ornamented de jale (“sorrowful”) tunes can be seen as “sonic agents,” or “sonic beings” arousing in the listeners feelings of attachment, rapture, and loss.

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Zervas, Panagiotis, and Chrisoula Alexandraki. "Facilitating Open Source Software and Standards to Assembly a Platform for Networked Music Performance." In Advances in Multimedia and Interactive Technologies, 334–65. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-8850-6.ch011.

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This chapter presents our efforts towards developing a Networked Music Performance (NMP) system by tailoring and re-using open source software components. The chapter builds on the assumption that NMP and videoconferencing systems share common properties for real-time bidirectional media interaction. It is acknowledged that although NMP is a form of videoconferencing, it is a lot more demanding with respect to efficient distribution of network resources allowing fast and reliable communication of audio and video streams. Initially, an overview of NMP research is provided and the design criteria of NMP system development are clearly delineated. Following, the chapter describes the network protocols involved in videoconferencing. Then, a number of relevant open source software initiatives implementing these protocols are presented and compared for their suitability for NMP system development. Finally, the chapter describes a baseline NMP platform that can serve as a testbed for further research on distributed ensemble performance and remote musical interactions.

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Тези доповідей конференцій з теми "Distributed music performance"

Genovese, Andrea F., Marta Gospodarek, Zack Nguyen, Robert Pahle, and Agnieszka Roginska. "Locally Adapted Immersive Environments for Distributed Music Performances in Mixed Reality." In 2024 IEEE 5th International Symposium on the Internet of Sounds (IS2), 1–10. IEEE, 2024. http://dx.doi.org/10.1109/is262782.2024.10704217.

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Akoumianakis, Demosthenes, George Vellis, Ioannis Milolidakis, Dimitrios Kotsalis, and Chrisoula Alexandraki. "Distributed collective practices in collaborative music performance." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413700.

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Najim, O., P. Vallet, G. Ferre, and X. Mestre. "On the statistical performance of music for distributed sources." In 2016 IEEE Statistical Signal Processing Workshop (SSP). IEEE, 2016. http://dx.doi.org/10.1109/ssp.2016.7551724.

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Abramovich, Yuri I., Ben A. Johnson, and Olivier Besson. "Maximum likelihood and robust G-music performance in K-distributed noise." In 2015 23rd European Signal Processing Conference (EUSIPCO). IEEE, 2015. http://dx.doi.org/10.1109/eusipco.2015.7362687.

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Boren, Braxton, and Andrea Genovese. "Acoustics of Virtually Coupled Performance Spaces." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.017.

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Many different musical applications, including remote sonification, sound installation, augmented reality, and distributed/telematic music performance, make use of high speed Internet connections between different performance spaces. Most of the technical literature on this subject focuses on system latency, but there are also significant contributions from the acoustics of all rooms connected: specifically, smaller auxiliary rooms will tend to introduce spectral coloration, and the “main” larger volume will send more reverberation to the off-site performers. Measurements taken in two linked networked sites used in telematic performance show that both of these issues are present. Some improvements are suggested, including physical room alterations and equalization methods using signal processing.

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Manzolli, Jônatas, and Edelson Henrique Constantino. "grainBirds: Evolutionary granular synthesisers distributed in Fog Computing." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19432.

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The article presents the grainBIRD concept inspired by a distributed fog of grain sounds metaphor. Shortly, granular synthesizers are distributed in a mobile devices network. Applying Interactive Genetic Algorithm (IGA) and exchanging Open Sound Control (OSC) messages in a Virtual Private Network, grainBIRDs generate sound grains in standalone and network configurations. The grainBIRDs concept dialogues with the Internet of Things (IoT) paradigm since it was inspired by Cloud and Fog computing architectures. In this sense, this article presents the grainBIRD and grainBIRD Orchestra concepts, followed by a review on Computer Music and Network technologies related to the project. The article also discusses the computer implementation of the grainBIRD application using the Pure Data programming environment and concludes with performance tests of the network communication feasibility and the system sound generation capacities.

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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.

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