scholarly journals Temporal Coordination in Piano Duet Networked Music Performance (NMP): Interactions Between Acoustic Transmission Latency and Musical Role Asymmetries

2021 ◽  
Vol 12 ◽  
Author(s):  
Auriel Washburn ◽  
Matthew J. Wright ◽  
Chris Chafe ◽  
Takako Fujioka
Keyword(s):  
Joint Action ◽  
Music Performance ◽  
Acoustic Transmission ◽  
Pitch Range ◽  
Internet Technologies ◽  
Relative Independence ◽  
Ensemble Performance ◽  
Coordination Patterns ◽  
Networked Music ◽  
Related Personality

Today’s audio, visual, and internet technologies allow people to interact despite physical distances, for casual conversation, group workouts, or musical performance. Musical ensemble performance is unique because interaction integrity critically depends on the timing between each performer’s actions and when their acoustic outcomes arrive. Acoustic transmission latency (ATL) between players is substantially longer for networked music performance (NMP) compared to traditional in-person spaces where musicians can easily adapt. Previous work has shown that longer ATLs slow the average tempo in ensemble performance, and that asymmetric co-actor roles and empathy-related traits affect coordination patterns in joint action. Thus, we are interested in how musicians collectively adapt to a given latency and how such adaptation patterns vary with their task-related and person-related asymmetries. Here, we examined how two pianists performed duets while hearing each other’s auditory outcomes with an ATL of 10, 20, or 40 ms. To test the hypotheses regarding task-related asymmetries, we designed duets such that pianists had: (1) a starting or joining role and (2) a similar or dissimilar musical part compared to their co-performer, with respect to pitch range and melodic contour. Results replicated previous clapping-duet findings showing that longer ATLs are associated with greater temporal asynchrony between partners and increased average tempo slowing. While co-performer asynchronies were not affected by performer role or part similarity, at the longer ATLs starting performers displayed slower tempos and smaller tempo variability than joining performers. This asymmetry of stability vs. flexibility between starters and joiners may sustain coordination, consistent with recent joint action findings. Our data also suggest that relative independence in musical parts may mitigate ATL-related challenges. Additionally, there may be a relationship between co-performer differences in empathy-related personality traits such as locus of control and coordination during performance under the influence of ATL. Incorporating the emergent coordinative dynamics between performers could help further innovation of music technologies and composition techniques for NMP.

Facilitating Open Source Software and Standards to Assembly a Platform for Networked Music Performance

2016 ◽  
pp. 334-365
Author(s):  
Panagiotis Zervas ◽  
Chrisoula Alexandraki
Keyword(s):  
Open Source ◽  
Open Source Software ◽  
System Development ◽  
Music Performance ◽  
Video Streams ◽  
Network Resources ◽  
Ensemble Performance ◽  
Musical Interactions ◽  
Media Interaction ◽  
Networked Music

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.

Relationships between Motivation Variables and Selected Criterion Measures of High School Band Directing Success

1981 ◽  
Vol 29 (3) ◽  
pp. 183-198 ◽  
Author(s):  
Florentino J. Caimi
Keyword(s):  
High School ◽  
Teacher Effectiveness ◽  
Music Performance ◽  
Performance Criterion ◽  
Ethical Values ◽  
Band Director ◽  
High School Band ◽  
Ensemble Performance ◽  
School Band

The level of musicianship achieved by the high school band is often attributed to the director. The personality subcategory referred to as motivation is increasingly becoming recognized as an important factor in teacher effectiveness. Motivational characteristics that contribute to the success of the high school band director are unclear. The purpose of this study was to investigate relationships between eight motivational vari ables and three criteria of high school band directing success. The criteria of band directing success were: (1) ensemble musicianship, (2) ensemble music performance, and (3) students' ratings of their director. A combination of two motivational vari ables–conscious concern for security and subconscious concern for home and parents–were statistically significant predictors of the ensemble performance criterion, while subconscious concern with ethical values was a statistically significant predictor of the ensemble musicianship criterion. The number of students in the high school was also found to be a statistically significant predictor of band directing success.

scholarly journals An Overview on Networked Music Performance Technologies

IEEE Access ◽  
2016 ◽  
Vol 4 ◽  
pp. 8823-8843 ◽  
Author(s):  
Cristina Rottondi ◽  
Chris Chafe ◽  
Claudio Allocchio ◽  
Augusto Sarti
Keyword(s):  
Music Performance ◽  
Networked Music

scholarly journals The constraints, aesthetic implications, and creative strategies of composing for networked music performance

2021 ◽  
Author(s):  
◽  
Rebekah Wilson
Keyword(s):  
New Technologies ◽  
Music Performance ◽  
Network Services ◽  
Musical Score ◽  
Public Network ◽  
Public Networks ◽  
Performance Techniques ◽  
And Performance ◽  
Private Network ◽  
Networked Music

<p>Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to—and make cumbersome—the performance of tightly synchronised music, which traditionally depends on the conditions of transmission stability, ultra-low latency, and shared presence. These conditions are experienced optimally only when musicians perform at the same time and in the same place. Except for specialized private network services, public networks are inherently latent and unstable, which disrupts musicians’ ability to achieve precise vertical synchronisation and create an environment where approaches to music performance and composition must be reconsidered. It is widely considered that these conditions mean that networked music performance is a future genre for when network latencies and throughput improve, or one that is currently reserved for high-end heavily optimised networks afforded by institutions and not individuals, or one that is primarily reserved for improvisatory or aleatoric composition and performance techniques. I disagree that networked music is dependent on access to advanced Internet technologies and suggest that music compositions for networked music performance can be highly successful over regular broadband conditions when the composer considers the limitations as opportunities for new creative strategies and aesthetic approaches. In this exegesis, I outline the constraints that prove that while networked music performance is latent, asynchronous, multi-located, multi-authorial, and hopelessly, intrinsically, and passionately digitally mediated, these constraints provide rich creative opportunities for the composition and performance of synchronised and resonant music. I introduce four aesthetic approaches, which I determine as being critical towards the development of networked music: 1) postvertical harmony, where the asynchronous arrival of signals ruptures the harmonic experience; 2) new timbral fusions created through multi-located resonant sources; 3) a contribution to performative relationships through the generation and transmission of vital information in the musical score and through the development of new technologies for facilitating performer synchronisation; and 4) the post-digital experience, where all digital means of manipulation are permitted and embraced, leading to new ways of listening to and forming reproduced realities. Each of these four aesthetic approaches are considered individually in relation to the core constraints, through discussion of the present-day technical conditions, and how each of these approaches are applied to my musical portfolio through practical illustration.</p>

scholarly journals The constraints, aesthetic implications, and creative strategies of composing for networked music performance

2021 ◽  
Author(s):  
◽  
Rebekah Wilson
Keyword(s):  
New Technologies ◽  
Music Performance ◽  
Network Services ◽  
Musical Score ◽  
Public Network ◽  
Public Networks ◽  
Performance Techniques ◽  
And Performance ◽  
Private Network ◽  
Networked Music

<p>Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to—and make cumbersome—the performance of tightly synchronised music, which traditionally depends on the conditions of transmission stability, ultra-low latency, and shared presence. These conditions are experienced optimally only when musicians perform at the same time and in the same place. Except for specialized private network services, public networks are inherently latent and unstable, which disrupts musicians’ ability to achieve precise vertical synchronisation and create an environment where approaches to music performance and composition must be reconsidered. It is widely considered that these conditions mean that networked music performance is a future genre for when network latencies and throughput improve, or one that is currently reserved for high-end heavily optimised networks afforded by institutions and not individuals, or one that is primarily reserved for improvisatory or aleatoric composition and performance techniques. I disagree that networked music is dependent on access to advanced Internet technologies and suggest that music compositions for networked music performance can be highly successful over regular broadband conditions when the composer considers the limitations as opportunities for new creative strategies and aesthetic approaches. In this exegesis, I outline the constraints that prove that while networked music performance is latent, asynchronous, multi-located, multi-authorial, and hopelessly, intrinsically, and passionately digitally mediated, these constraints provide rich creative opportunities for the composition and performance of synchronised and resonant music. I introduce four aesthetic approaches, which I determine as being critical towards the development of networked music: 1) postvertical harmony, where the asynchronous arrival of signals ruptures the harmonic experience; 2) new timbral fusions created through multi-located resonant sources; 3) a contribution to performative relationships through the generation and transmission of vital information in the musical score and through the development of new technologies for facilitating performer synchronisation; and 4) the post-digital experience, where all digital means of manipulation are permitted and embraced, leading to new ways of listening to and forming reproduced realities. Each of these four aesthetic approaches are considered individually in relation to the core constraints, through discussion of the present-day technical conditions, and how each of these approaches are applied to my musical portfolio through practical illustration.</p>

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