Hostname: page-component-586b7cd67f-rcrh6 Total loading time: 0 Render date: 2024-11-29T09:47:09.607Z Has data issue: false hasContentIssue false
  • English
  • Français

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

Published online by Cambridge University Press:  14 February 2012

Ian Whalley
Ian Whalley*
Affiliation:
The University of Waikato, Private Bag 3105, Hamilton, NEW ZEALAND
*
E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author, Mittsu no Yugo (Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.

Type
Articles
Information
Organised Sound , Volume 17 , Issue 1: Networked Electroacoustic Music , 14 February 2012 , pp. 4 - 15
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Alexandraki, C., Akoumianakis, D. 2010. Exploring New Perspectives in Network Music Performance: The DIAMOUSES Framework. Computer Music Journal 34(2): 66–83.Google Scholar
Ayromlou, M., Deal, S., Humbert, J., King, R., Mercer, P., Miklavcic, J., Miklavcic, B., Nichols, C., Rogers, J., Wachtel, R., 2005. Musical Performance over Internet2 Using the AccessGrid https://ccrma.stanford.edu/~cnichols/html/Research.html (accessed 15 May 2011).Google Scholar
Back, L. 1996. New Ethnicities and Urban Culture. London: UCL Press.Google Scholar
Barbosa, A. 2003. Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation. Leonardo Music Journal 13: 53–59.CrossRefGoogle Scholar
Beattie, A. 2009. False Economy: A Surprising Economic History of the World. London: The Penguin Group.Google Scholar
Beilharz, K., Mills, R. 2010. Listening through the Firewall: Semiotics of Sound in Networked Improvisation. 5th International Conference on Multi-modality. University of Technology, Sydney, Australia 3–5 December.Google Scholar
Bown, O., Eldridge, A., McCormack, J. 2009. Understanding Interaction in Contemporary Digital Music: For Instruments to Behaviour Objects. Organised Sound 14(2): 188–196.Google Scholar
Braasch, J. 2009. The Telematic Music System: Affordances for a New Instrument to Shape the Music of Tomorrow. Contemporary Music Review 28: 421–432.Google Scholar
Brown, S., Parsons, L. 2008. The Neuroscience of Dance. Scientific America (July 2008): 58–63.Google ScholarPubMed
Brown, S., Merker, B., Wallin, N. 2001. The Origins of Music. London: The MIT Press.Google Scholar
Bryan-Kinns, N., Fencott, R. 2010. Hey Man, You're Invading my Personal Space! Privacy and Awareness in Collaborative Music. Proceedings of New Interfaces for Musical Expression (NIME 2010), Sydney, Australia: 198–204.Google Scholar
Bryant, G., Hagen, E. 2003. Music and Dance as a Coalition Signaling System. Human Nature 14(1): 21–51.Google Scholar
Caceres, J., Renaud, A. 2008. Playing the Network: The Use of Time Delays as Musical Devices. Proceedings of the International Computer Music Association Conference, 24–29 August, Belfast: 244–50.Google Scholar
Carôt, A., Werner, C. 2007. Network Music Performance: Problems, Approaches and Perspectives. Symposium: Music in the Global Village, Budapest, Hungary 6–8 September.Google Scholar
Emmerson, S. 2009. Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound The Oxford Handbook of Computer Music. Oxford: Oxford University Press.Google Scholar
Friedman, T. 2007. The World is Flat 3.0. A Brief History of the Twenty-first Century. London: Picador.Google Scholar
Frith, S.. 1996. Music and Identity. In Stuart Hall and Paul Du Gal (eds) Questions of Cultural Identity. London: Sage.Google Scholar
Follmer, G. 2005. Electronic, Aesthetic and Social Factors in Net Music. Organised Sound 10(3): 185–192.CrossRefGoogle Scholar
Gimenes, M., Miranda, E.R., Johnson, C. 2006. The Development of Musical Styles in a Society of Software Agents. Proceedings of the International Conference on Music Perception and Cognition. Bologna.Google Scholar
Gurevich, M., Trevino, J. 2007. Expression and its Discontents: Toward an Ecology of Musical Creation. Proceedings of NIME Conference on New Interfaces for MusicalExpression (NIME07) New York: 106–11.CrossRefGoogle Scholar
Hall, S. 1991. Old and New Identities. In Anthony King (ed.) Culture, Gobalization and the World System. London: Macmillan.Google Scholar
Hall, S. 1996. Minimal Selves, New Ethnicities. In A. Baker et al. (eds) Black British Cultural Studies: A Reader. Chicago, IL: Chicago University Press.Google Scholar
Helmuth, M. 2005. Virtual Musical Performance and Improvisation on Internet2. Organised Sound 10(3): 201–207.Google Scholar
Juslin, P., Sloboda, J. (eds). 2001. Music and Emotion: Theory and Research. Oxford: Oxford University Press.CrossRefGoogle Scholar
Kane, B. 2007. Aesthetic Problems of Net Music. Proceedings of Spark 2007: Festival of Electronic Music and Art. Minneapolis: 63–5.Google Scholar
Joy, J., Sinclair, P. 2009. Networked Music & Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance Listening. Contemporary Music Review 28(4/5): 351–361.Google Scholar
Kim-Boyle, K. 2009. Network Musics: Play, Engagement and the Democratization of Performance. Contemporary Music Review 28(4–5): 363–375.CrossRefGoogle Scholar
Landy, L. 1999. Reviewing the Musicology of Electroacoutic Music: A Plea for Greater Triangulation. Organised Sound 4(1): 61–70.Google Scholar
Mithen, S. 2005. The Singing Neanderthals: The Origins or Music, Language, Mind and Body. London: Weidenfeld & Nicholson.Google Scholar
Mitra, A, Schwartz, R. 2001. From Cyber Space to Cybernetic Space: Rethinking the Relationship between Real and Virtual Spaces. Journal of Computer-Mediated Communication 7(1), http://jcmc.indiana.edu/vol7/issue1/mitra.html.Google Scholar
Paine, G. 2002. Interactivity, Where to From Here? Organised Sound 7(3): 295–304.Google Scholar
Rebelo, P. 2009. Dramaturgy in the Network. Contemporary Music Review 28: 387–393.Google Scholar
Rebelo, P., Renaud, A. 2006. The Frequencyliator: Distributing Structures for Networked Laptop Improvisation. Proceedings of the 2006 International Conference on New Interfaces for Musical Expression (NIME06), Paris, France: 53–6.Google Scholar
Renaud, A., Carôt, A., Rebelo, P. 2007. Networked Music Performance: State of the Art. Proceedings of the AES 30th International Conference, Saariselkä, Finland, 13–15 March.Google Scholar
Rowe, R. 1993. Interactive Music Systems: Machine Listening and Composing. London: The MIT Press.Google Scholar
Shepherd, J., Wicke, P. 1997. Music and Cultural Theory. Cambridge: Polity Press.Google Scholar
Smalley, D. 1997. Spectromorphology: Explaining Sound-Shapes. Organised Sound 2(2): 107–126.Google Scholar
Tanaka, A. 2009. Sensor-Based Musical Instruments and Interactive Music. In Roger T. Dean (ed.) The Oxford Handbook of Computer Music. Oxford: Oxford University Press: 232–257.Google Scholar
Tanzi, D. 1999. The Cultural Roles and Communicative Properties of Scientifically Derived Compositional Theories. Leonardo Music Journal 9: 103–106.Google Scholar
Thaut, M. 2005. Rhythm, Music, and the Brain: Scientific Foundations and Clinical Applications. London: Routledge.Google Scholar
Weale, R. 2006. Discovering How Accessible Electoacoustic Music Can Be: The Intention/Reception Project. Organised Sound 11(2): 189–200.Google Scholar
Weinberg, G. 2005. Interconnected Musical Networks: Toward a Theoretical Framework. Computer Music Journal 29(2): 23–29.CrossRefGoogle Scholar
Wertheim, M. 1999. The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet. Sydney: Doubleday.Google Scholar
Whalley, I. 1999. Towards a New Aesthetic in Electroacoustic Practice in New Zealand Universities. Enculturation 2(2), http://enculturation.gmu.edu/2_2/whalley.html.Google Scholar
Whalley, I. 2003. Redundancy, Innovation and Integration: Digital Music Techniques and Neo-World Music. In B. Enders and J. Stange-Elbe (eds) Global Village – Global Brain – Global Music. Osnabrück: Osnabrück University Press: 199–213.Google Scholar
Whalley, I. 2004. PIWeCS: Enhancing Muman/Machine Agency in an Interactive Composition System. Organised Sound 9(2): 170–176.Google Scholar
Whalley, I. 2005. Traditional New Zealand Mäori Instruments, Composition and Digital Technology: Some Recent Collaborations and Processes. Organised Sound 10(1): 57–65.Google Scholar
Whalley, I. 2008. HIEMPA: Hybrid Instruments from Electroacoustic Manipulation and Models of Pütorino and Aquascape. Organised Sound 13(3): 259–267.Google Scholar
Whalley, I. 2009. Software Agents in Music and Sound Art Research/Creative Work: Current State and a Possible Direction. Organised Sound 14(2): 156–167.Google Scholar
Whalley, I. 2010a. Mittsu no Yugo MUSICACOUSTICA10, Central Conservatory of Music, Beijing, 22–28 October.Google Scholar
Whalley, I. 2010b. A Framework for Expanding Electroacoutic Music Knowledge. 7th EMS Network Conference. Shanghai Conservatory of Music. 21–24 June: 109–11.Google Scholar
Whalley, I. 2010c. Generative Improv. & Interactive Music Project (GIIMP). Proceedings of NIME2010, 15–18 June 2010, Sydney, Australia: 255–8.Google Scholar
Whalley, I. 2010d. 2010 Syneme Summer Soundscape. University of Calgary, 23 July.Google Scholar
Whalley, I. 2011. Hikishio Syneme Summer2. University of Calgary, 22 July.Google Scholar

Whalley supplementary material

Sound example 1.aac

Download Whalley supplementary material(Audio)
Audio 24 MB