GNMISS: A scoring system for Internet2 electroacoustic music

Abstract

The ‘comprovisation’ (Dudas 2010) of electroacoustic music in an affective manner through Internet2, using a directed dramaturgy approach, poses unique scoring problems. Building on prior work (Whalley 2009, 2012c), GNMISS (Graphic Networked Music Interactive Scoring System) was developed to address this. The system has four visual layers that illustrate the structure of works, represented on a circle with parts for each player. One layer maps emotions to colours based on associated words as a primary basis for gesture and timbre representation. A second layer gives musical motives and frequency information for participants to follow. A third allows for more detailed indications of gesture and sound archetypes through representative symbols. Finally, an inside layer represents macro key centres. For timing, the circle score turns in clock time with the current playing position always at noon, and a central metronome shows speed independent of clock time. Technically, client programs sit on distributed machines across the Internet, with data being coordinated by an OSC Server. Distributed scores can be built by a composer or by a team, and all content can be altered simultaneously across client machines. Two works are discussed as initial examples of its implementation: Sensai na Chikai and SymbolAct.

Mood of the Planet: Challenging Visions of Big Data in the Arts

“…In this paper, we use the Hourglass model to connect the emotion-bearing concepts extracted from social media to specific colors and emotion intensities that can be later used for creating tangible experiences through visualization and sonification. Other works that have used the Hourglass model for the arts include [ 23 – 25 ].…”

The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation

“…As a consequence, this temporal consistency, if achieved, provides performers a simulacrum from which performers may use the same-time nature of many musical objects that can be involved in the performance, or not. For instance, David Ogborn uses a pulse-based composition for the networked orchestra (Ogborn 2012), and Ian Whalley describes the inclusion of a metronome in GNMIS, a scoring system for Internet2 electroacoustic music (Whalley 2014).…”

“…A set of a few simple rules and a score for everyone to follow can keep the communication constraints simple enough for musicians of all levels, yet sufficiently 'open' to individual creative explorations while helping everyone head in the same direction. A similar approach has been undertaken in electroacoustic music effectively through Internet2, using a directed dramaturgy approach (Dudas 2010;Whalley 2014), in which the scoring problems are also addressed.…”

Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification

“…In terms of implementing an affective and gestural schema in telematic electroacoustic music production, I recently developed GNMISS – a Graphic Networked Music Interactive Scoring System (Whalley 2014). This is based on human performers’ perspectives.…”