Music for an Interactive Network of Microcomputers

Bischoff, John; Gold, Rich; Horton, J.M.

doi:10.2307/3679453

Cited by 113 publications

(35 citation statements)

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“…Most early network-based music efforts therefore used synthesized sound that could be rendered locally on each machine or on a separate synthesizer [2,11]. The network then only had to transmit much more compact control information, usually in the form of MIDI.…”

Section: Chi 2006 · Work-in-progressmentioning

confidence: 99%

“…LOCAL VS. REMOTE Applications for LANs tend toward customized avantgarde performance systems [2,7]. Distributed applications can potentially include large numbers of users via the Internet, and provide radically new modes of interaction [10,16].…”

Section: Network Musicmentioning

confidence: 99%

“…The Internet is currently better-suited for non-real-time collaborative composition, artificially-synchronized pseudo-real-time performance [14], or real-time pieces with synthetic sound that can account for latency in their design [10,16]. Real-time jamming is mainly restricted to live performance systems on LANs [2,8].…”

Section: Network Musicmentioning

confidence: 99%

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JamSpace

Gurevich

2006

CHI '06 Extended Abstracts on Human Factors in Computing Systems

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Michael GurevichInstitute for Infocomm Research 21 Heng Mui Keng Terrace Singapore 119613 mgurevich@i2r.a-star.edu.sgThe motivation, design, implementation and analysis of a networked environment for real-time music collaboration are presented. JamSpace provides a simple hardware and software interface that allows novices to play music together anonymously from isolated locations connected by a local network. The low-latency conditions of a local network allow for realtime rhythmic collaboration. This in turn facilitates satisfaction of the design requirements of accessibility to novices as well as privacy and anonymity.

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Section: Chi 2006 · Work-in-progressmentioning

confidence: 99%

Section: Network Musicmentioning

confidence: 99%

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JamSpace

Gurevich

2006

CHI '06 Extended Abstracts on Human Factors in Computing Systems

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“…As pointed by Bischoff, "to bring into play the full bandwidth of communication there seems to be no substitute, for mammals at least, than the playing of music live." [3]. Robert Moog estimated that a skilled musician is able to generate about 1,000 bits/sec of meaningful information [24].…”

Section: Musical Performance Bandwidthmentioning

confidence: 99%

The reacTable

Jordà

Geiger

Alonso

et al. 2007

Proceedings of the 1st International Conference on Tangible and Embedded Interaction

425

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In recent years we have seen a proliferation of musical tables. Believing that this is not just the result of a tabletop trend, in this paper we first discuss several of the reasons for which live music performance and HCI in general, and musical instruments and tabletop interfaces in particular, can lead to a fertile two-way cross-pollination that can equally benefit both fields. After that, we present the reacTable, a musical instrument based on a tabletop interface that exemplifies several of these potential achievements.

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“…Early experiments with musical computer networks at a local area scale date back to the late 1970's in California with performances by the League of Automatic Music Composers [1].…”

Section: Introductionmentioning

confidence: 99%

Public sound objects: a shared musical space on the web

Barbosa

Kaltenbrunner

Second International Conference on Web Delivering of Music, 2002. WEDELMUSIC 2002. Proceedings.

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In this paper we describe "The Public Sound Objects" project and its context. This project, which is currently under development, approaches Internet collaborative music performance, going beyond most common paradigms where the network is mainly used as a channel to provide a connection between performative spaces. The system will provide an on-line public performance space where people can be found participating in an ongoing collaborative sonic event. The users connected to this installation control a server side synthesis engine through a web-based interface. The resulting "Sound Objects" form a sonic piece that is then streamed back to each user. The user takes the role of a performer and his contribution has a direct and unique influence on the overall resulting soundscape. This ongoing event is also played back at the installation for a live audience, with added contextual elements such as sound spacialization and metaphorical visual representations of current participants.

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Music for an Interactive Network of Microcomputers

Cited by 113 publications

References 0 publications

JamSpace

JamSpace

The reacTable

Public sound objects: a shared musical space on the web

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