Tim Merritt
Weiman Kow
ABSTRACT
Coordination between ensembles of improvising electroacoustic musicians is a special case of the larger HCI problem of coordinating joint, real-time activity; one that involves some interesting additional and different challenges. This paper reports on research that has identified two specific real-time coordination problems for ensembles of electroacoustic musicians: "who makes what sound?" and "how is the sound being altered?" Real-time sound visualization is explored as a possible solution to assist musicians in overcoming some of these challenges. The main contribution of this paper is that, counterintuitively, for certain kinds of joint, real-time, coordination activities, temporal representations are important in helping to determine "who did what?"
- Blaine, T. and Fels, S. Contexts of collaborative musical experiences. In Proc. NIME 2003, (2003), 129--134. Google Scholar
Digital Library
- Callaghan, J., Thorpe, W., and van Doorn, J. The science of singing and seeing. In Proc. of the Conference of Interdisciplinary Musicology, (2004).Google Scholar
- Emmerson, S. 'live' versus 'real-time'. Contemporary Music Review, 10, 2 (1994), 95--101.Google ScholarCross Ref
- Gergle, D., Kraut, R. E., and Fussell, S. R. The impact of delayed visual feedback on collaborative performance. In Proc. of CHI 2006, ACM Press (2006), 1303--1312. Google ScholarDigital Library
- Ginsborg, J., Chaffin, R., and Nicholson, G. Shared performance cues in singing and conducting: a content analysis of talk during practice. Psychology of Music, 34, 2 (2006), 167--194.Google ScholarCross Ref
- Kinns, N. B., Healey, P. G. T., and Leach, J. Exploring mutual engagement in creative collaborations. In Proc. C&C 2007, ACM Press (2007), 223--232. Google ScholarDigital Library
- Luck, G. and Toiviainen, P. Ensemble musicians' synchronization with conductors' gestures: An automated feature-extraction analysis. Music Perception, 24, 2 (2006), 189--200.Google ScholarCross Ref
- Ng, K. and Nesi, P. i-maestro: Technology-enhanced learning and teaching for music. In Proc. NIME 2008, (2008), 4--8.Google Scholar
- Ng, K. C., Weyde, T., Larkin, O., Neubarth, K., Koerselman, T., and Ong, B. 3d augmented mirror: a multimodal interface for string instrument learning and teaching with gesture support. In Proc. ICMI 2007, ACM Press (2007), 339--345. Google ScholarDigital Library
- Percival, G., Wang, Y., and Tzanetakis, G. Effective use of multimedia for computer-assisted musical instrument tutoring. In Proc. EMME 2007, ACM Press (2007), 67--76. Google ScholarDigital Library
- Rasch, R. Timing and synchronization in ensemble performance. In Sloboda, J., editor, Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford University Press, USA (2001).Google Scholar
- Sadakata, M., Hoppe, D., Brandmeyer, A., Timmers, R., and Desain, P. Real-time visual feedback for learning to perform short rhythms with expressive variations in timing and loudness. Journal of New Music Research, 37, 3 (2008), 207--220.Google ScholarCross Ref
- Shaw, R., Laplante, P. A., Salinas, J., and Riccone, R. A multimedia speech learning system for the hearing impaired. Multimedia Tools and Applications, 3, 1 (1996), 55--70.Google ScholarCross Ref
- Smallwood, S., Trueman, D., Cook, P. R., and Wang, G. Composing for laptop orchestra. Computer Music Journal, 32, 1 (2008), 9--25. Google ScholarDigital Library
- Trueman, D. Why a laptop orchestra? Organised Sound, 12, 02 (2007), 171--179. Google ScholarDigital Library
- Welch, G. F., Howard, D. M., and Rush, C. Real-time visual feedback in the development of vocal pitch accuracy in singing. Psychology of Music, 17, 2 (1989), 146--157.Google ScholarCross Ref
- Wilson, P. H., Thorpe, C. W., and Callaghan, J. Looking at singing: Does real-time visual feedback improve the way we learn to sing? In Proc. APSCOM 2005, (2005)Google Scholar
- Wyse, L. and Mitani, N. Bridges for networked musical ensembles. In Proc. ICMC 2009, (2009).Google Scholar
Index Terms
- Who makes what sound?: supporting real-time musical improvisations of electroacoustic ensembles
Recommendations
Performing the super instrument: reaching beyond technical and expressive capabilities
EVA '16: Proceedings of the conference on Electronic Visualisation and the ArtsThe genre of contemporary classical music has seen significant innovation and research related to new super, hyper, and hybrid instruments, which opens up a vast palette of expressive potential. An increasing number of composers, performers, instrument ...
Creating a Super Instrument: Composers and Pianists Reaching Beyond Their Technical and Expressive Capabilities
AM '15: Proceedings of the Audio Mostly 2015 on Interaction With SoundThanks to the development of new technology, musical instruments are no more tied to their existing acoustic or technical limitations as almost all parameters can be augmented or modified in real time. An increasing number of composers, performers, and ...
Strategies and Methods for Creating Symbolic Electroacoustic Scores in ENP
Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and MusicIn this paper we explore the potential of Expressive Notation Package (ENP) in representing electroacoustic scores. We use the listening score by Rainer Wehinger---originally created for György Ligeti's electronic piece <em>Articulation</em> ---as ...
Comments