Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-26T08:02:49.440Z Has data issue: false hasContentIssue false
  • English
  • Français

Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments*

Published online by Cambridge University Press:  14 February 2012

Owen Vallis ,
Dimitri Diakopoulos ,
Jordan Hochenbaum  and
Ajay Kapur
Owen Vallis*
Affiliation:
New Zealand School of Music, Victoria University, PO Box 2332, Wellington, New Zealand
Dimitri Diakopoulos*
Affiliation:
California Institute of the Arts, 24700 McBean Parkway, Valencia, CA 91355, USA
Jordan Hochenbaum*
Affiliation:
California Institute of the Arts, 24700 McBean Parkway, Valencia, CA 91355, USA
Ajay Kapur*
Affiliation:
California Institute of the Arts, 24700 McBean Parkway, Valencia, CA 91355, USA
*
E-mail: †vallisowen@myvuw.ac.nz; ‡ddiakopoulos@calarts.edu; §hochenjord@myvuw.ac.nz; akapur@calarts.edu
E-mail: †vallisowen@myvuw.ac.nz; ‡ddiakopoulos@calarts.edu; §hochenjord@myvuw.ac.nz; akapur@calarts.edu
E-mail: †vallisowen@myvuw.ac.nz; ‡ddiakopoulos@calarts.edu; §hochenjord@myvuw.ac.nz; akapur@calarts.edu
E-mail: †vallisowen@myvuw.ac.nz; ‡ddiakopoulos@calarts.edu; §hochenjord@myvuw.ac.nz; akapur@calarts.edu
Get access Rights & Permissions [Opens in a new window]

Abstract

Historically, network music has explored the practice and theory of interconnectivity, utilising the network itself as a creative instrument. The Machine Orchestra (TMO) has extended this historical idea by developing the custom software suite Signal, and creating a shared, social instrument consisting of musical robotics. Signal is a framework for musical synchronisation and data sharing, designed to support the use of musical robotics in an attempt to more fully address ideas of interconnectivity and embodied performance. Signal, in combination with musical robotics, also facilitates the exploration of interaction contexts, such as at the note level, score level and sound-processing level. In this way, TMO is simultaneously building upon the historical contributions and developing aesthetics of network music.

Type
Articles
Information
Organised Sound , Volume 17 , Issue 1: Networked Electroacoustic Music , 14 February 2012 , pp. 62 - 72
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

The authors would like to thank all the computer network ensembles that have laid the foundation on which we have built our research. We would also like to thank Perry Cook, Curtis Bahn, Charlie Burgin, Meason Wiley and Jim Murphy for their exceptional musicianship in realising the pieces described in this article. Additionally, we would like to thank the reviewers at Organised Sound and Rory Vallis for their efforts in helping with the realisation of this article.

References

Barbosa, A. 2003. Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation. Leonardo Music Journal 13: 53–59.CrossRefGoogle Scholar
Barbosa, A., Cardoso, J., Geiger, G. 2005. Network Latency Adaptive Tempo in the Public Sound Objects System. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME). Vancouver, Canada.Google Scholar
Bischoff, J., Gold, R., Horton, J. 1978. Music for an Interactive Network of Microcomputers. Computer Music Journal 2(3): 24–29.CrossRefGoogle Scholar
Brown, A.R. 2010. Network Jamming: Distributed Performance using Generative Music. Proceedings of the 2010 New Interfaces for Musical Expression (NIME). Sydney.Google Scholar
Cáceres, J.-P., Chafe, C. 2010. JackTrip: Under the Hood of an Engine for Network Audio. Journal of New Music Research 39(3): 183–187.CrossRefGoogle Scholar
Cáceres, J.-P., Hamilton, R., Iyer, D., Chafe, C., Wang, G. 2008. To the Edge with China: Explorations in Network Performance. Proceedings of the 2008 4th International Conference on Digital Arts. Portuguese Catholic University, Porto.Google Scholar
Cerqueira, M. 2010. Synchronization over Networks for Live Laptop Music Performance. Thesis, Princeton University.Google Scholar
Chafe, C., Gurevich, M. 2004. Network Time Delay and Ensemble Accuracy: Effects of Latency, Asymmetry. Proceedings of the 2004 117th AES Convention. San Francisco, CA.Google Scholar
Diakopoulos, D., Kapur, A. 2011. HIDUINO: A Firmware for Building Driverless USB-MIDI Devices using the Arduino Microcontroller. Proceedings of the 2011 New Interfaces for Musical Expression (NIME). Oslo.Google Scholar
Driessen, P.F., Darcie, T.E., Pillay, B. 2011. The Effects of Network Delay on Tempo in Musical Performance. Computer Music Journal 35(1): 76–89.CrossRefGoogle Scholar
Gresham-Lancaster, S. 1998. The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music. Leonardo Music Journal 8: 39–44.CrossRefGoogle Scholar
Kane, B. 2007. Aesthetic Problems of Net Music. Proceedings of the 2007 Spark Festival, University of Minnesota.Google Scholar
Kapur, A., Darling, M., Diakopoulos, D., Murphy, J.W., Hochenbaum, J., Vallis, O., Bahn, C. 2011. The Machine Orchestra: An Ensemble of Human Laptop Performers and Robotic Musical Instruments. Computer Music Journal 35(4): 49–63.CrossRefGoogle Scholar
Lazzaro, J., Wawrzynek, J. 2001. A Case for Network Musical Performance. Proceedings of the 2001 International Workshop on Network and Operating Systems Support for Digital Audio and Video. Port Jefferson, NY: ACM.Google Scholar
Schmeder, A., Freed, A.A. 2008. Implementation and Applications of Open Sound Control Timestamps. Proceedings of the 2008 International Computer Music Conference (ICMC). Belfast: ICMA.Google Scholar
Smallwood, S., Trueman, D., Cook, P.R., Wang, G. 2008. Composing for Laptop Orchestra. Computer Music Journal 32(1): 9–25.CrossRefGoogle Scholar
Toussaint, G. 2005. The Euclidean Algorithm Generates Traditional Musical Rhythms. Proceedings of the 2005 Bridges Mathematical Connections in Art, Music, and Science, Alberta, Canada.Google Scholar
Wanderley, M.M., Orio, N. 2002. Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI. Computer Music Journal 26(3): 62–76.CrossRefGoogle Scholar
Wang, G., Cook, P.R. 2003. ChucK: A Concurrent, On-the-fly Audio Programming Language. Proceedings of the 2003 International Computer Music Conference (ICMC), Singapore.CrossRefGoogle Scholar
Weinberg, G. 2002. The Aesthetics, History, and Future Challenges of Interconnected Music Networks. Proceedings of the 2002 International Computer Music Conference (ICMC). San Francisco, CA.Google Scholar
Weinberg, G. 2005. Interconnected Musical Networks: Toward a Theoretical Framework. Computer Music Journal 29(2): 23–39.CrossRefGoogle Scholar
Whalley, I. 2010. Networked Electronics Music, Machines & Internet2: A Conceptual Framework and Some Artistic Issues/Responses. New Zealand Electroacoustic Music Symposium 2010, Auckland, New Zealand.Google Scholar
Wright, M. 2005. Open Sound Control: An Enabling Technology for Musical Networking. Organised Sound 10(3): 193–200.CrossRefGoogle Scholar