An Overview on Networked Music Performance Technologies

Rottondi, Cristina; Chafe, Chris; Allocchio, C.; Sarti, Augusto

doi:10.1109/access.2016.2628440

Cited by 148 publications

(113 citation statements)

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“…Since the advent of the internet, thorough research has been undertaken in the realm of remote Networked Musical Performances (NMP) [30]. Today however, local NMPs still seem today more viable, both technically and artistically speaking.…”

Section: Networked Musical Performances -Nmpsmentioning

confidence: 99%

Animation notation, score distribution and AR-VR environments for spectral mimetic transfer in music composition

Bell¹,

Carey²

2019

EasyChair Preprints

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This paper seeks to make a case for a compositional ideal (the mimetic transfer of a recorded or synthesized sound to the instrumental/vocal domain) which today’s technologies for animated/distributed musical notation have made more realistic than when it first appeared as a general aesthetic (with composers such as Tristan Murail and Gérard Grisey, or, in the realm of computer music, Jean-Claude Risset), simultaneously with the birth of the digital era in the 1970s. The concept of mimesis is here examined both as a (post) spectral compositional technique and as a common feature of any form for musical score/representation. These theoretical considerations are then exemplified by musical examples and software demonstrations extract from the “In memoriam Jean-Claude Risset” cycle of compositions, all performed with the help of the SmartVox Score distribution system.

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Section: Networked Musical Performances -Nmpsmentioning

confidence: 99%

Animation notation, score distribution and AR-VR environments for spectral mimetic transfer in music composition

Bell¹,

Carey²

2019

EasyChair Preprints

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“…where d mouth−to−ear denotes the mouth − to − ear latency (or Over‐all One‐way Source‐to‐Ear (OOSE) delay), d sound−trans is the delay inserted by the transmitter's sound‐card, d network is the delay added due to the streaming process through the network, and dsound−rec is the delay inserted by the receiver's sound‐card. d proc−trans and d proc−rec describe the delay inserted due to the audio processing and the encoding/decoding in the transmitter/receiver side.…”

Section: Prerequisitesmentioning

confidence: 99%

“…d proc−trans and d proc−rec describe the delay inserted due to the audio processing and the encoding/decoding in the transmitter/receiver side. In more detail, the end‐to‐end delay in NMP systems involves many factors that affect it . These factors are: the propagation delay for the sound in the air between the audio source and the microphone, the transformation process from sonic wave to electric signal via the microphone, the audio signal transmission via the microphone to the transmitter computer, the analog to digital conversion, combined with additional encoding process, in the transmitter's sound‐card using drivers, the preparation stage for the audio packetization before the transmission via the Internet, the propagation delay using the Internet (network delay), the depacketization and decoding process in the receiver side, the application buffering process in the receiver side, the driver buffering using the receiver's sound‐card and the digital to analog conversion process, the signal transmission using the audio output connector, the transformation process from electrical signal to sonic wave using the audio output devices, such as headphones or loudspeakers, the propagation delay via the loudspeakers in the air to the receiver's ear. …”

Section: Prerequisitesmentioning

confidence: 99%

“…Some applications that belong to NMPs are tele-auditions, remote music teaching, and distributed jam sessions and concerts. 12 NMPs try to replace the physical presence of musicians in the same room with musicians interconnected using the Internet. In conventional live concerts, where the musicians perform at same location, they use visual feedback as well as gestures for keeping synchronized with the each other.…”

Section: Prerequisitesmentioning

confidence: 99%

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Improving networked music performance systems using application‐network collaboration

Lakiotakis

Liaskos

Dimitropoulos

2018

Concurrency and Computation

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Summary Networked Music Performance (NMP) systems involve musicians located in different places who perform music while staying synchronized via the Internet. The maximum end‐to‐end delay in NMP applications is called Ensemble Performance Threshold (EPT) and should be less than 25 milliseconds. Due to this constraint, NMPs require ultra–low‐delay solutions for audio coding, network transmission, relaying, and decoding, each one a challenging task on its own. There are two directions for study in the related work referring to the NMP systems. From the audio perspective, researchers experiment on low‐delay encoders and transmission patterns, aiming to reduce the processing delay of the audio transmission, but they ignore the network performance. On the other hand, network‐oriented researchers try to reduce the network delay, which contributes to reduced end‐to‐end delay. In our proposed approach, we introduce an integration of dynamic audio and network configuration to satisfy the EPT constraint. The basic idea is that, the major components participating in an NMP system, the application and the network interact during the live music performance. As the network delay increases, the network tries to equalize it by modifying the routing behavior using Software‐Defined Networking principles. If the network delay exceeds a maximum affordable threshold, the network reacts by informing the application to change the audio processing pattern to overcome the delay increase, resulting in below EPT end‐to‐end delay. A full prototype of the proposed system was implemented and extensively evaluated in an emulated environment.

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“…The eects of latency and jitter have been studied and surveyed for the past focusing mainly on perceived synchronization and they present parameters to bear in mind while proposing musical interactions. In these works, authors demonstrated that human perception is constrained by some limits of rhythm, haptics, and other limitations discovered and evaluated through many careful experiments, whereby latencies up to 30 ms are acceptable for multimedia applications, but higher latencies may aect interaction (Lago and Kon , 2004;Rottondi et al , 2016;Schuett , 2002).…”

Section: Research Descriptionmentioning

confidence: 99%

Mobile technologies for music interaction

Júnior¹,

de²

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A great smile to Luvyn, Lara, Leã, Petit, Neve, Mingau, and Suri. Namaste to all souls and energies surrounding me.Thank you all for supporting this research process. I am thankfully glad you exist. i ii Abstract DE CARVALHO JUNIOR, A. D. Mobile Technologies for Music Interaction. 2017. 187 p. Thesis (Doctorate) -Institute of Mathematics and Statistics, University of São Paulo, São Paulo, 2017.Mobile music applications are becoming commonplace around the world, and mobile devices are used as digital instruments everywhere. Controlling, performing, or composing music in real time with these devices encourages collaboration and interaction, as telecommunication improvements allow many people to cooperate through local networks or the Internet. In this context, the aim of this thesis is to evaluate mobile technologies that might be suitable for mobile musicians and their audiences while performing or composing. Specically, the main goal is to explore technologies for collaborative mobile music and to obtain quantitative and qualitative data regarding these technologies and their settings, so that composers might take full advantage of the available options for mobile applications. This evaluation focuses on message exchange using Multicast, Unicast, and Cloud Services, using academic networks as the main pathway. With these services, messages are organized as packet streams, characterized by dierent sizes and time intervals. Evaluation also includes the development of several applications that make use of these technologies running on Android devices and web browsers. These applications were used in actual performances, serving as both evaluation tools and experimental music instruments. The results were analyzed in terms of round trip time and data loss under very dierent conguration scenarios, demonstrating that although some obvious impediments are unavoidable (e.g. signicant delays in international settings), it is possible to choose the specic technology and achieve interesting results under most music application scenarios. I argue that although in theory Multicast appears to be the best technology to use by far, it is the most dicult to implement due to the burden of conguring every step of the network pathway. On the other hand, Cloud Services are certainly slower than direct connections, but are the most compatible and easiest technology to set up, and are denitely suitable for many collaborative music experiences. To conclude, there is a discussion of how mobile music practitioners can take advantage of these results for composition and performance by considering specic technological advantages or drawbacks that are inherent to each technology and setting.

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An Overview on Networked Music Performance Technologies

Cited by 148 publications

References 66 publications

Animation notation, score distribution and AR-VR environments for spectral mimetic transfer in music composition

Animation notation, score distribution and AR-VR environments for spectral mimetic transfer in music composition

Improving networked music performance systems using application‐network collaboration

Mobile technologies for music interaction

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