The ecologies of ubiquitous music

On the relation between the fields of Networked Music Performances, Ubiquitous Music, and Internet of Musical Things

“…The field is highly interdisciplinary and involves a wide range of approaches including artistic, technical, social, and environmental contexts. Ubimus can be placed at the intersection of music, computer science, education, and creativity studies [ 42 , 48 ].…”

“…While it has concerns that cross-cut into networking technologies and musical practice involving these, that in itself does not necessarily defines the area. The associated concept of Ubimus ecologies as explored in a recent publication [ 48 ] attempts to capture this, employing yet another metaphor imported from computing, where the word ecosystem has been employed to describe applications linked together in some way. Ubimus borrows this concept and extends it into a wider principle called ecologies : “the interrelated components of Ubimus, which may address musical, educational, technological, or creative concerns, or any intersection among these” [ 47 ].…”

“…Social aspects. Most of the focus of Ubimus research is placed on the implications for stakeholders of ubiquitous music making (see, e.g., [ 23 , 40 ]), focusing in particular on the concept of “Ubimus ecologies” [ 41 , 48 ]. Comparatively, only a modest number of studies in NMP research has investigated social aspects (see, e.g., [ 64 ]).…”

“…Another aspect that differentiates Ubimus from IoMusT one is the multisensory nature of the latter. While the visions of the Ubimus field proposed in [ 41 , 42 ] and [ 48 ] mostly concern sonic content, in the IoMusT paradigm, the concept of musical content may encompass the use of Musical Things capable of providing their users with visual or haptic stimuli in addition to the sonic ones. Examples are musical haptic wearables for performers and audiences [ 71 , 81 ], or networked virtual reality applications [ 49 , 83 ], for instance for collaborative music creations [ 51 ].…”

“…In the past two decades and in particular in the last few years, we have witnessed the birth and diffusion of an increasing number of technologies, products, and applications at the intersection of music and networking [ 5 , 10 , 13 , 21 , 25 , 35 , 53 ]. As a result of the growing attention devoted by academy and industry to this area, three main research fields have emerged and progressively consolidated: the Networked Music Performances (NMP) [ 60 ], Ubiquitous Music (Ubimus) [ 42 , 48 ], and lately the Internet of Musical Things (IoMusT) [ 76 ].…”