Public sound objects: a shared musical space on the web

Barbosa, Álvaro; Kaltenbrunner, Martin

doi:10.1109/wdm.2002.1176188

Cited by 8 publications

(7 citation statements)

References 6 publications

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“…In related work of synchronous system, there is hardly a case study, as for many research only proposed the new interface [6] [7]. These researches are differently circumstanced to this study, which we evaluate the musical quality and analyze the collaborative composition process, while the system to stimulate the musical idea and facilitate on the process of collaborative composition.…”

Section: Related Workmentioning

confidence: 99%

Effects of a Synchronized Scoring Interface on Musical Quality

Takai

Ohira

Matsumoto

2011

Online Communities and Social Computing

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Abstract. Collaborative music composition among casual users has the potential of creating advanced music that cannot be composed by a single user since the users can complement a shortage of musical knowledge each other. Although some studies have proposed music composition interfaces which synchronously visualize the composition data in real time, their effects on the quality of music are not still clear. As a result of our experiment, we found that the EMD value (0 is the best score) in using the interface Marble we proposed was lower than that of asynchronous music composition systems and Marble has increased the total number of utterances among users.

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Section: Related Workmentioning

confidence: 99%

Effects of a Synchronized Scoring Interface on Musical Quality

Takai

Ohira

Matsumoto

2011

Online Communities and Social Computing

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“…Studies, to some extent, have considered sound as a constituent of digital media forms. For music, beyond the much publicized and controversial issue of sharing already existing files (Leyshon, Webb, French, Thrift, & Crewe, 2005), one potential use of the internet is online collaborative music making and performances (Barbosa & Kaltenbrunner, 2002). Sound art, more generally, has gained specific digital resources (Greene, 2003;Paul, 2003).…”

Section: Media Of the Third Degreementioning

confidence: 99%

Sounding the Media

Jensen¹

2006

Nordicom Review

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Sound remains significantly underresearched as a form of communication, as a modality of experience, and as a resource for cultural expression and social action. This article provides an overview of the several disciplinary and interdisciplinary sources of contemporary sound studies. As a point of departure, the article identifies and contextualizes three prototypes of sound - speech, music, and environmental soundscapes - with reference to previous work in linguistics, musicology, history, and other fields of study. A wide range of contributions are reviewed with particular reference to their explanatory value concerning different types of sound media. The article distinguishes between three degrees of media, enabling communication in the flesh, mechanically or electronically reproduced communication, and digitally mediated communication. In each case, sound can serve as a vehicle of information, as a mode of communication, and as a means of action. The article outlines a conceptual matrix, integrating the sound prototypes, the media forms, as well as the social uses of sound, with a view to further research. Finally, some specific issues on the agenda of current sound studies are discussed.

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“…Barbosa labels such works 'shared sonic environments' and defines them as 'a new class of emerging applications that explore the Internet's distributed and shared nature [and] are addressed to broad audiences' (Barbosa 2003: 58). As examples, he cites WebDrum (Burk 1999), where online participants collaboratively alter settings on a drum machine; MP3Q (Tanaka 2000), where users collectively manipulate MP3 files with a 3D interface; and Public Sound Objects (Barbosa and Kaltenbrunner 2002), an open-ended architecture for the creation of shared sonic environments.…”

Section: Historical Backgroundmentioning

confidence: 99%

Auracle: a voice-controlled, networked sound instrument

Freeman

Varnik²,

Ramakrishnan

et al. 2005

Org. Sound

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Auracle is a voice-controlled, networked sound instrument that enables users to control a software synthesizer with their voice and to interact with each other in real time over the Internet. This paper discusses the historical background of the project, beginning with Neuhaus' 'virtual aural spaces' in the 1960s and relating them to Barbosa's conception of 'shared sonic environments'. The architecture of the system is described in detail, including the multi-level analysis of vocal input, the communication of that analysis data across the network, and the mapping of that data onto a software synthesizer.Not only is Auracle itself a collaborative, networked instrument, but it was developed through a collaborative, networked process. The project's development mechanisms are examined, including the use of existing tools for distributed development, the creation of custom development applications, the adoption of extreme programming practices, and the use of Auracle itself as a means for communication and collaboration among developers.

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Public sound objects: a shared musical space on the web

Cited by 8 publications

References 6 publications

Effects of a Synchronized Scoring Interface on Musical Quality

Effects of a Synchronized Scoring Interface on Musical Quality

Sounding the Media

Auracle: a voice-controlled, networked sound instrument

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