GNMISS: A scoring system for Internet2 electroacoustic music

2014 ◽  
Vol 19 (3) ◽  
pp. 244-259 ◽  
Author(s):  
Ian Whalley
Keyword(s):  
Scoring System ◽  
Electroacoustic Music ◽  
The Internet ◽  
Prior Work ◽  
Clock Time ◽  
Frequency Information ◽  
Primary Basis ◽  
Networked Music ◽  
Inside Layer

The ‘comprovisation’ (Dudas 2010) of electroacoustic music in an affective manner through Internet2, using a directed dramaturgy approach, poses unique scoring problems. Building on prior work (Whalley 2009, 2012c), GNMISS (Graphic Networked Music Interactive Scoring System) was developed to address this. The system has four visual layers that illustrate the structure of works, represented on a circle with parts for each player. One layer maps emotions to colours based on associated words as a primary basis for gesture and timbre representation. A second layer gives musical motives and frequency information for participants to follow. A third allows for more detailed indications of gesture and sound archetypes through representative symbols. Finally, an inside layer represents macro key centres. For timing, the circle score turns in clock time with the current playing position always at noon, and a central metronome shows speed independent of clock time. Technically, client programs sit on distributed machines across the Internet, with data being coordinated by an OSC Server. Distributed scores can be built by a composer or by a team, and all content can be altered simultaneously across client machines. Two works are discussed as initial examples of its implementation: Sensai na Chikai and SymbolAct.

Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM

2006 ◽  
Vol 11 (2) ◽  
pp. 125-129 ◽  
Author(s):  
ÉVELYNE GAYOU
Keyword(s):  
Research Work ◽  
Electroacoustic Music ◽  
Theoretical Research ◽  
The Internet ◽  
Primary Concern ◽  
Internet Site ◽  
Multimedia Documents ◽  
Multimedia Tools ◽  
Musical Works ◽  
The 1950S

Portraits polychromes are a series of books associated with multimedia documents presented on the Internet site of the GRM since 2001. In releasing this collection, our primary concern was to increase awareness of the electroacoustic repertoire and the reserves in the GRM archives. The GRM, being a pioneering centre of electroacoustics, is fortunate to possess a consistent and significant reserve dating back to the beginning of the 1950s. At present, the catalogue contains around 2,000 works, accompanied with supplementary documents: composer's biographies, reviews, photographs, documentary movies, radio broadcasts, recorded public lectures, theoretical research work, transcriptions and analyses. In addition to the heritage value of the GRM's collection, the enterprise of the Portraits polychromes, with the aid of multimedia tools, aims to advance the progress of research on analysis and the transcription of musical works.

scholarly journals Networked music: bridging real and virtual space

2001 ◽  
Vol 6 (2) ◽  
pp. 107-110 ◽  
Author(s):  
John P. Young
Keyword(s):  
World Wide ◽  
Physical Space ◽  
Virtual Space ◽  
The Internet ◽  
Web Page ◽  
Interactive Music ◽  
Virtual Interface ◽  
The World ◽  
Networked Music ◽  
The Web

This paper describes an exploration of utilising the World Wide Web for interactive music. The origin of this investigation was the intermedia work Telemusic #1, by Randall Packer, which combined live performers with live public participation via the Web. During the event, visitors to the site navigated through a virtual interface, and while manipulating elements, projected their actions in the form of triggered sounds into the physical space. Simultaneously, the live audio performance was streamed back out to the Internet participants. Thus, anyone could take part in the collective realisation of the work and hear the musical results in real time. The underlying technology is, to our knowledge, the first standards-based implementation linking the Web with Cycling '74 MAX. Using only ECMAScript/JavaScript, Java, and the OTUDP external from UC Berkeley CNMAT, virtually any conceivable interaction with a Web page can send data to a MAX patch for processing. The code can also be readily adapted to work with Pd, jMAX and other network-enabled applications.

Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

2012 ◽  
Vol 17 (1) ◽  
pp. 4-15 ◽  
Author(s):  
Ian Whalley
Keyword(s):  
Digital Video ◽  
Careful Consideration ◽  
Electroacoustic Music ◽  
Video Communication ◽  
Prior Work ◽  
Decision Space ◽  
Prior Model ◽  
Sonic Art ◽  
Art Forms ◽  
Multi Agent

Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.

scholarly journals Electroacoustic Music and the Digital Future

2010 ◽  
Vol 13 (1) ◽  
pp. 21-26
Author(s):  
Barry Truax
Keyword(s):  
Digital Technology ◽  
Electroacoustic Music ◽  
Economic Situation ◽  
The Internet ◽  
Digital Audio ◽  
Artistic Practice ◽  
Digital Audio Workstation ◽  
The Creation ◽  
Definition Of

This article outlines the author's views on the contemporary social and economic situation of electroacoustic music and digital technology in general. The dominance of commercial interests in shaping the listener, the artist, and the definition of culture is examined. Issues associated with digital technology, such as standardization, de-skilling, and upgrades, are discussed with respect to artistic practice. It is argued that marginalized artforms such as electroacoustic music have benefited from the windsurfer availability of the digital audio workstation (DAW) for production and the Internet for distribution, but no analogous avenue exists for the creation of the consumer.

A Methodology to Analyze the Quality of Health Information on the Internet

2014 ◽  
Vol 41 (1) ◽  
pp. 95-105 ◽  
Author(s):  
Sundeep Chumber ◽  
Jörg Huber ◽  
Pietro Ghezzi
Keyword(s):  
American Medical Association ◽  
Medical Association ◽  
Health Information ◽  
Scoring System ◽  
The Internet ◽  
Quality Of Information ◽  
Patient Groups ◽  
Assess Quality ◽  
Available Information

Purpose The purpose of this work was to evaluate the criteria used to assess the quality of information on diabetic neuropathy on the Internet. Methods Different search engines (Google, Yahoo, Bing, and Ask) and 1 governmental health website (MedlinePlus) were studied. The websites returned (200 for each search engine) were then classified according to their affiliation (eg, commercial, professional, patient groups). A scoring system was devised from the literature to assess quality of information. Websites were also analyzed using the 2 most widely used instruments for assessing the quality of health information, the Journal of the American Medical Association (JAMA) scoring system and the Health On the Net Foundation (HON) certification. Results Professional websites or health portals scored better according to most criteria. Google and MedlinePlus returned results scoring significantly higher than other engines in some of the criteria. The use of different instruments gave different results and indicates that the JAMA score and the HON certification may not be sufficient ones. Conclusions This methodology could be used to evaluate the reliability and trustworthiness of information on the Internet on different topics to identify topic areas or websites where the available information is not appropriate.

scholarly journals Improvising Inside a House of Cards: New performance and music-making through a collective networked instrument

2021 ◽  
Vol 26 (3) ◽  
pp. 378-389
Author(s):  
Trond Engum ◽  
Thomas Henriksen ◽  
Carl Haakon Waadeland
Keyword(s):  
Present Article ◽  
Music Performance ◽  
Electroacoustic Music ◽  
Artistic Practice ◽  
House Of Cards ◽  
Music Making ◽  
Somatic Transformation ◽  
Musical Interaction ◽  
Networked Music ◽  
Musical Communication

This article presents experiences and reflections related to performing improvised, live processed electroacoustic music within a context of networked music performance. The musical interaction is performed through a new collective networked instrument, and we report how the ensemble ‘Magnify the Sound’, consisting of two of the authors of this article, meets the instrument in different networked performance situations, and how this is related to the affordance of the instrument. In our performances the network is inherent to our artistic practice, and we experience a phenomenological and somatic transformation in our roles as musicians, from individual instrumentality to shared instrumentality. The instrument invites new forms of music-making and contributes in fundamental ways to the ensemble’s musical communication and artistic expression. In the present article we outline our methods of working artistically with the networked instrument, and we point at some artistic results. We then discuss how the collective instrument has facilitated new performance and musical practice within the network.

New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art

2001 ◽  
Vol 6 (2) ◽  
pp. 103-105 ◽  
Author(s):  
Simon Emmerson
Keyword(s):  
Electronic Music ◽  
Electroacoustic Music ◽  
Human Interaction ◽  
The Internet ◽  
Practical Application ◽  
Concert Hall ◽  
Sonic Art ◽  
Live Electronic Music ◽  
Acousmatic Music ◽  
Sampling Approach

The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.

scholarly journals Web Browser Vulnerabilities and Weakness Descriptive Analysis: Is it Chrome Keep Dominant?

2018 ◽  
Vol 7 (4.44) ◽  
pp. 242
Author(s):  
Abdullah Fajar ◽  
Setiadi Yazid ◽  
. . ◽  
. .
Keyword(s):  
Scoring System ◽  
Descriptive Analysis ◽  
The Other ◽  
The Internet ◽  
Web Browser ◽  
Comparison Approach ◽  
Internet Explorer ◽  
The Difference ◽  
Architectural Development ◽  
System Calculation

Web Browser play the important mandatory role in accessing the application through the internet and may carry malicious content to the system hence  threatening the system from the attacker. Google Chrome is one of popular browser since released on 2008 as one of product of Chromium Project at Google. Chrome is fourth ranking in Common Vulnerabilities Enumeration website and the first ranking among browser that have most of vulnerabilities reported. This paper describe a Descriptive analysis of weakness and vulnerabilities of Chrome browser. The analysis use comparison approach to other popular browser such as Safari and Firefox. The analysis also use main reference and database from mitre.org which have common weakness enumeration database and scoring system calculation for vulnerability. This work cover responsiveness rate among them regarding weakness and vulnerabilities update duration and severity rate. The validation has performed using Descriptive test regarding weakness and vulnerability behavior. According to Architectural, Development and Research Conceptual weakness reported, the browsers has not significantly indicate the difference except between Chrome and Firefox in research conceptual weakness. The severity of browser vulnerabilities shown by Firefox and the best responsiveness to update browser weakness shown by Chrome, followed by Safari. Using Descriptive analysis, Chrome will keep dominant against the other browser, while Firefox and Safari potentially become unpopular such as Internet Explorer for upcoming time. 

Syneme: Live

2012 ◽  
Vol 17 (1) ◽  
pp. 86-95 ◽  
Author(s):  
Kenneth Fields
Keyword(s):  
Social Networks ◽  
High Speed ◽  
Music Performance ◽  
Electroacoustic Music ◽  
Research Network ◽  
The Internet ◽  
Speed Of Light ◽  
Music Practice ◽  
Network Music ◽  
Canada Research Chair

Network music foregrounds the materials and processes of communication and in so doing repositions the acousmatic and other strata of electroacoustic music practice. The type of network music considered in this paper, at base defines a member of its category as music which undergoes an electrical-optical conversion, referring to its transport over fibre-optic research network backbones. A more compelling motivation for us is the realisation that network music entails the exploration of disjunct chronotopic frames (stated less poetically as ‘latency in the network’) using probes of sonic material travelling near the speed of light. This article is an overview of a three-year project investigating music performance over high-speed research networks, a project funded by the Canada Research Chair programme (Syneme). The aim of the project was fourfold: to investigate aspects of physical and social networks in the production of network music (The Network); to investigate a branch of study continuing but critically distinct from Internet music as marked by ingenious strategies mounted to overcome the conditions of slow networks (Liveness); to embed ourselves in new practices (Telemusic Studio) and technologies (Artsmesh); and to compose network music pieces (Net Works). Our narrative picks up from where high-speed P2P networking crosses a threshold producing a successor to the Internet akin to the methodological shift that occurred in electroacoustics when CPUs achieved rendering speeds that allowed for real-time audio.

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