Multi-modal musical environments for mixed-reality performance

Hamilton, Robert; Cáceres, Juan Pablo; Nanou, Chryssie; Platz, Chris

doi:10.1007/s12193-011-0069-1

Cited by 5 publications

(3 citation statements)

References 7 publications

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“…In this context, Loveridge suggests that VR has the potential to be a suitable visual platform for collaboration in networked music performances as well as a valid alternative to existing video-conference systems used in these contexts. An example of a Musical XR performance involving both telematic audio as well as networked SVE remote interactions in virtual worlds is reported in [70], where an ensemble of local and networked performers using both traditional and virtual musical instruments played live for an audience surrounded by an ambisonic array of eight speakers and four projection screens, arranged to provide an immersive audio and video experience. Another example is presented in [93], where authors describe a performance system created in the virtual-world platform Second Life by the Avatar Orchestra Metaverse.…”

Section: ) Networked Systemsmentioning

confidence: 99%

Music in Extended Realities

2021

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The intersection between music and Extended Reality (XR) has grown significantly over the past twenty years, amounting to an established area of research today. The use of XR technologies represents a fundamental paradigm shift for various musical contexts as they disrupt traditional notions of musical interaction by enabling performers and audiences to interact musically with virtual objects, agents, and environments. This article both surveys and expands upon the knowledge accumulated in existing research in this area to build a foundation for future works that bring together Music and XR. To this end, we created a freely available dataset of 260 publications in this space and conducted an in-depth analysis covering 199 works in the last decade. We conducted this analysis using a list of conceptual dimensions belonging to technical, artistic, perceptual and methodological domains. This review of the literature is complemented with a set of interviews with domain experts with the goal of establishing a definition for the emergent field of Musical XR, i.e., the field of music in Extended Realities. Based on the results of the conducted review, a research agenda for the field is proposed.

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Section: ) Networked Systemsmentioning

confidence: 99%

Music in Extended Realities

2021

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“…Perhaps the most common approach, often as a means of bypassing the challenge of latency, has been to use the telematic environment as a medium for free or semi-structured improvisation, often by highly skilled musicians (Handberg and Jonsson 2005;Kim-Boyle 2008;see Mills 2010 for an overview of improvisational approaches). Other approaches have included: a combination of improvisation and score (Deal and Burtner 2011;Fields 2012); one-way transmission (Cooperstock andSpackman 2001 cited in Driessen et al 2011;Rowe andRolnick 2004 cited in Braasch 2009); combining music with other art forms (Cooperstock et al 1999;Oliveros et al 2003both cited in Braasch 2009); mixed reality, involving the overlaying of virtual and live materials (Hamilton et al 2011;Freeman 2005); or generative music and/or sound art (Chafe andO'Modhrain 1996 cited in Chafe 2009;Yoshida et al 2005 cited in Driessen et al 2011;Mizuno 2011; see also Barbosa 2003;Whalley 2015).…”

Section: Contextsmentioning

confidence: 99%

Composing for a latency-rich environment

Rofe

Geelhoed

2017

Journal of Music, Technology &Amp; Education

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Three new works were commissioned for the pilot performance of Online Orchestra: In Sea-Cold Lyonesse by John Pickard, Spiritus Telecommunitas by Federico Reuben and Re-Tracing by Jim Aitchison. This article brings together post-project interviews with composers and detailed analyses of the final compositions in order to document how composers approached the challenge of writing music for a latency-rich environment.Solutions include the use of distributed textures, polyrhythm and ostinati, blurred transitions, slow rates of harmonic change, layered textures and semi-improvised rhythmic notation. This leads to consideration of the medium of Online Orchestra -a telematic performance environment for distributed young and amateur musicians to make music together -and the conclusion that latency-rich environments hold significant potential for composers.

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“…Surprisingly, when considering music performance related to IVE, most studies are oriented toward performative and artistic objectives and include expressive behavioral component in their research, without any relationship with social psychology. Hamilton et al [21], in particular, developed a series of multi-modal networked musical performance environments where musical works are controlled by motion and gestures generated by in-engine performer avatars in a virtual environment. Most research in this field focused on the quality of the spatialized audio rendering system.…”

Section: Controlling Environmental Variablesmentioning

confidence: 99%

Evaluating music performance and context-sensitivity with Immersive Virtual Environments

Glowinski¹,

Baron²,

Shirole³

et al. 2015

EAI Endorsed Transactions on Creative Technologies

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This study explores a unique experimental protocol that evaluates how a musician's sensitivity to social context during performance can be analysed through a combination of behavioral analysis, self-report and Immersive Virtual Environment (IVE). An original application has been developed to create audience of avatars that display different motivational states that are known to affect musician's performance. The musicians' body expressions have then been recorded through a motion capture system and analysed as they relate to audience motivational state. The musician subjective experience has been captured after each performance through semi-structured interviews. Preliminary results depict the strategies implicitly employed by four expert violinists during their performances under the various contexts (empty room and engaged and disengaged audience of avatars). Finally, this study discusses the way to improve methodology, analyses and real-world responses to musician's needs.

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Multi-modal musical environments for mixed-reality performance

Cited by 5 publications

References 7 publications

Music in Extended Realities

Music in Extended Realities

Composing for a latency-rich environment

Evaluating music performance and context-sensitivity with Immersive Virtual Environments

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