Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation

Abstract

The introduction of various collaborative tools, made possible by the expansion of computer network systems and communications technology, has led to new methods of musical composition and improvisation. The author describes a number of recent music and sound art projects involving the use of network systems that enable geographically displaced creators to collaboratively generate shared soundscapes. Various system designs, ideas and concepts associated with this interaction paradigm are presented and classified by the author.

Exploring Social Interaction With a Tangible Music Interface

“…Audiovisual feedback, and in particular, the use of the auditory channel sound in TUIs, seems to strengthen not only co-located synchronous, but also co-located asynchronous musical collaboration, because visitors can hear others' work and modify it later in time. This fills a gap in Barbosa (2003)'s classification of computer-supported collaborative music, based on user's location and performance synchronicity. We here expand the term local inter-connected musical networks, classified by Barbosa from just synchronous co-located collaboration in networked systems, to include also asynchronous co-located collaboration, within the context of CSCW for music: a collaborative musical installation, in this case a particular configuration of tangible objects on the Reactable, can be modified over time, not only synchronously (generally within groups), but also asynchronously (generally between groups).…”

“…Figure 5 illustrates the three strategies of liminality and cross-group musical interaction from a musical patch perspective. The continuist-continuist approach between groups, including both synchronous and asynchronous interaction, aligns with co-located collaboration in collaborative music systems (Barbosa, 2003), and represents an instance of collaboration. Co-located collaboration refers to a mode in which musicians are located in the same physical space (e.g.…”

“…Barbosa (2003)). Continuist interaction with a musical interactive tabletop in a public setting can be seen as a form of collaboration between strangers because there is a follow-up of a work developed by a previous group, which can be heard and seen by a new group, with a lapse of time in some cases.…”

Tech report: Orchestrating your cloud orchestra: Model driven development of cloud deployment and orchestration for distributed computer music instruments

“…Barbosa et al [3] provide a survey of networked computer music. They demonstrate that networked computer music is not a new idea and has been discussed since the 1970s.…”

The Giver: A Case Study of The Impact of Remote Music Collaboration Software on Music Production Process

“…There is a body of academic work on early, networked music collaboration (Barbosa 2003;Duckworth 2005;Hugill 2005), as well as developments in the area of synchronous networked music performances (Alexandraki and Valsamakis 2009;Whalley and Fields 2012;Whalley 2016). RMCS-based music production, while utilizing networked musical environments, is primarily concerned with the music recording and production process.…”