Abstract
Cooperative music making in networked environments has been subject of extensive research, scientific and artistic. Networked music performance (NMP) is attracting renewed interest thanks to the growing availability of effective technology and tools for computer-based communications, especially in the area of distance and blended learning applications. We propose a conceptual framework for NMP research and design in the context of classical chamber music practice and learning: presence-related constructs and objective quality metrics are used to problematize and systematize the many factors affecting the experience of studying and practicing music in a networked environment. To this end, a preliminary NMP experiment on the effect of latency on chamber music duos experience and quality of the performance is introduced. The degree of involvement, perceived coherence, and immersion of the NMP environment are here combined with measures on the networked performance, including tempo trends and misalignments from the shared score. Early results on the impact of temporal factors on NMP musical interaction are outlined, and their methodological implications for the design of pedagogical applications are discussed.
Highlights
As distributed and ubiquitous interactive applications are increasingly populating our daily environments, we nd ourselves constantly engaged in making sense of geographically displaced social practices and behaviors for the purpose of communicating, sharing, and cooperating. e network, is progressively evolving from a medium of communication, to a shared space virtually inhabited by bodily presences
Cooperative music making is a form of social practice characterized by peculiar temporal and spatial relationships, and in networked music performance (NMP), such relationships are unavoidably altered by the interposition of the network [1]
Computer systems for networked musical interaction have been categorized according to their temporal and spatial dimensions of the performance [2], whereas a wide part of the scienti c literature has focused on the technological and perceptual issues in real-time performance between musicians located in remote rooms, and requiring the highest degree of synchronicity, typically over teleconference-based communication media [3,4,5]
Summary
As distributed and ubiquitous interactive applications are increasingly populating our daily environments, we nd ourselves constantly engaged in making sense of geographically displaced social practices and behaviors for the purpose of communicating, sharing, and cooperating. e network, is progressively evolving from a medium of communication, to a shared space virtually inhabited by bodily presences. Expert musicians are used to coping with the most adverse and diverse performing conditions, by relying on strong sensory-motor associations and by adapting their action planning in response to altered auditory feedback as much as possible [21, 22] From this viewpoint, much of the InterMUSIC research on NMP pedagogy is addressed to understand the design of learning environments in which the disruptive effects of the temporal and spatial alterations, due to the inherent physical distance and remoteness of performers, can be minimized or compensated through specific training and exercises. We generalize the NMP actors and roles, at the same time narrowing the field of inquiry to the chamber music case, that is, we expect, for instance, findings not necessarily valid or prescriptive to other types of music practices (e.g., jazz improvisation) To this end, the emerging conceptual framework considers both the user experience, via presence constructs, and performance quality perspectives. We reflect on the methodological and design implications, by providing a narrative of the early results that we are collecting
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