Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

Whalley, Ian

doi:10.1017/s135577181100046x

Cited by 5 publications

(10 citation statements)

References 28 publications

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“…This provides a way of engaging wider audiences in electroacoutic music, and this is one means of addressing some of the concerns put forward by Landy (2009) regarding the need to create greater public engagement. Through the multidimensional telematic experience and the combination of experimental and traditional music practices (Whalley 2012c), the telematic art medium can then forge collective understanding that is unique to the idiom.…”

Section: Methodsmentioning

confidence: 99%

“…Since 2010, I have explored telematic music as a distributed creative space through Internet2 (Whalley 2010, 2011; Fields and Whalley 2012). Technically, this has involved integrating human players and intelligent agent software (Whalley 2012c), the use of high-speed research networks for communication, IPv4 and IPv6 formats, multiple bi-directional audio streaming at 48K, multiple HD digital video channel connections, multiple channels of real-time data control using OSC Groups (Whalley 2011) and real-time Internet streaming of audio visual works (Whalley 2012b).…”

Section: Introduction – Contextmentioning

confidence: 99%

“…Theoretically, my argument has been that these new technical tools provide the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions (Whalley 2012c). The applied work has illustrated a means through which new hybrid sonic art forms can be facilitated by a balanced approach to considering production, relationships and languages.…”

Section: Introduction – Contextmentioning

confidence: 99%

“…Artistically, a central concern of this ongoing work was to implement aspects of Paine’s (2002: 297) conversational model of interaction in order to extend machine/human dialogue in electroacoustic music performance, and to point to the role that emotion-based dialogue might play in this communication (Whalley 2009). The compositional approach settled on in Internet2 music (Whalley 2012c) is a directed dramaturgy model (Rebelo 2009), where authorship is by a group or individual who takes on a director’s role, this allowing aspects of participant improvisation within a defined structure and prescribed macro shapes. It also incorporates Follmer’s (2005) notion of hypermusic (new hybrid instruments) through combining electroacoustic music techniques while extending traditional instrument manipulation.…”

Section: Introduction – Contextmentioning

confidence: 99%

“…Finally, a key concern has been to engage wider audiences in electroacousic music through making sonically layered works that combine different aesthetic approaches balancing aspects of the known and the unknown for intended audiences (Whalley 2012c). The scoring system put forward here is based on these practices and associated assumptions.…”

Section: Introduction – Contextmentioning

confidence: 99%

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GNMISS: A scoring system for Internet2 electroacoustic music

Whalley

2014

Org. Sound

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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.

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Section: Methodsmentioning

confidence: 99%