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The aim of this paper is three-fold. First, the basics of binaural and ambisonic techniques are briefly presented. Then, details related to audio-visual recordings of a remote performance of the Academic Choir of the Gdansk University of Technology are shown. Due to the COVID-19 pandemic, artists had a choice, namely, to stay at home and not perform or stay at home and perform. In fact, staying at home brought in the possibility of creating and developing art at home while working online. During the first months of lock-down, the audience was satisfied with music performances that were fairly far from the typical experience of a real concert hall. Then, more advanced technology was brought to facilitate joint rehearsal and performance of better quality, including multichannel sound and spatialization. At the same time, spatial music productions benefited from the disadvantage of remote rehearsal by creating immersive experiences for the audience based on ambisonic and binaural techniques. Finally, subjective tests were prepared and performed to observe performers’ attention behavior divided between the conductor and music notation in the network-like environment. To this end, eye-tracking technology was employed. This aspect is related to the quality of experience (QoE), which in the performance area–and especially in remote mode–is essential.

This paper describes an architecture design process for Networked Music Performance (NMP) platform for medium-sized conducted music ensembles, based on remote rehearsals of Academic Choir of Gdańsk University of Technology. The issues of real-time remote communication, in-person music performance, and NMP are described. Three iterative steps defining and extending the architecture of the NMP platform with additional features to enhance its utility in remote rehearsals are presented. The first iteration uses a regular video conferencing platform, the second iteration uses dedicated NMP devices and tools, and the third iteration adds video transmission and utilizes professional lowlatency audio and video workstations. For each iteration, the platform architecture is defined and deployed with simultaneous usability tests. Its strengths and weaknesses are identified through qualitative and quantitative measurements -statistical analysis shows a significant improvement in rehearsal quality after each iteration. The final optimal architecture is described and concluded with guidelines for creating NMP systems for said music ensembles.

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