Thematische Bibliographien / Distributed music performance

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Auswahl der wissenschaftlichen Literatur zum Thema „Distributed music performance“

Autor: Grafiati

Veröffentlicht am 9. Januar 2025

Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Distributed music performance"

Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.

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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position the

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Krasnoskulov, Alexei V. "Distributed Performance: Principles, Space, Communication." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2015): 28–32. http://dx.doi.org/10.17674/1997-0854.2015.1.18.028-032.

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Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opp

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Shapiro, R. Benjamin, Annie Kelly, Matthew Ahrens, Ben Johnson, Heather Politi, and Rebecca Fiebrink. "Tangible Distributed Computer Music for Youth." Computer Music Journal 41, no. 2 (2017): 52–68. http://dx.doi.org/10.1162/comj_a_00420.

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Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these dev

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Seo, Jiho, Jonghyeok Lee, Jaehyun Park, Hyungju Kim, and Sungjin You. "Distributed Two-Dimensional MUSIC for Joint Range and Angle Estimation with Distributed FMCW MIMO Radars." Sensors 21, no. 22 (2021): 7618. http://dx.doi.org/10.3390/s21227618.

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To estimate range and angle information of multiple targets, FMCW MIMO radars have been exploited with 2D MUSIC algorithms. To improve estimation accuracy, received signals from multiple FMCW MIMO radars are collected at the data fusion center and processed coherently, which increases data communication overhead and implementation complexity. To resolve them, we propose the distributed 2D MUSIC algorithm with coordinate transformation, in which 2D MUSIC algorithm is operated with respect to the reference radar’s coordinate at each radar in a distributed way. Rather than forwarding the raw data

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Gibson, Ian. "A Wireless, Real-time, Distributed Music Composition and Performance System." International Journal of the Arts in Society: Annual Review 5, no. 1 (2010): 303–10. http://dx.doi.org/10.18848/1833-1866/cgp/v05i01/35814.

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Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.

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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specif

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Simmons, Amy L. "Distributed Practice and Procedural Memory Consolidation in Musicians’ Skill Learning." Journal of Research in Music Education 59, no. 4 (2011): 357–68. http://dx.doi.org/10.1177/0022429411424798.

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This research was designed to determine whether musicians’ learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were observed in Session 2 only in the group whose sessions were separated by 24 hr. There were significant increases in performance speed in Session 2 in all three practice conditions, results which likely were attributable to the inclusion of all Session 1

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V., Madhu, and Shruthi MS. "A Descriptive Study on Impact of Music on Workplace Productivity." Shanlax International Journal of Arts, Science and Humanities 7, no. 2 (2019): 32–38. https://doi.org/10.5281/zenodo.3575283.

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Music  ows  awlessly through air and touches every soul. It isn’t only in the instruments and the voices that the music exists but also in everything else. It’s in the whisper of the wind, it’s in the myriad raindrops, and it’s in the rhythmic beating of the heart as well.  Music changes the large world into a small one as it has no boundaries.  They say that the sound is the most powerful force in the universe. It has a spiritual aspect to it as well because once the music enters the neural network we have a very limited control on the effects of music as i

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R, Dr Naveenkumar. "An Empirical Research Approach on Confusion Matrix Using Existing Musical Industry Dataset." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem31385.

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This paper analyzes the sales of existing music albums from 1973 to 2019. The data shows that the music industry has experienced many changes over the years, with the most significant change being the introduction of digital platforms. Digital platforms have disrupted the traditional music industry model, leading to a decline in sales of physical albums. The paper also analyzes the sales of each medium through which music was distributed worldwide with different machine learning algorithm classifiers consistently exhibiting inadequate predictive power. the lack of a good prognosis highlights a

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Dissertationen zum Thema "Distributed music performance"

Arango, Julian Jaramillo. "Network Music: criação e performance musical colaborativa no âmbito das redes de informação." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-05112014-100111/.

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Esse estudo examina criticamente uma série de práticas sonoras e musicais que tiram proveito das redes de informação para elaborar contextos de colaboração. Essas praticas dão lugar a um repertório de obras (composições, performances, sites, instalações entre outros), denominado durante o trabalho como Network Music. Os trabalhos podem ser localizados entre a segunda metade da década de 1990 e o final da década de 2000, no entanto uma série de antecedentes musicais são também discutidos. O repertório não se distingue por obedecer a um estilo ou linguagem musical particular, mas por fortalecer

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Bray, Matthew Clive. "Coordinating the telematic music performance experience with telemidi: Synchronising nodes, enhancing musicality, and delivering simultaneity." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2862.

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The practice of Telematic Music Performance (TMP), a subset of Network Music Performance (NMP), enables geographically remote musicians to engage in real-time musical interplay, typically occurring over a Wide Area Network (WAN: the Internet). However, the transmission of data between remote collaborators introduces millisecond latencies that obstruct the nuance of traditional human-to-human musical intercourse, and consequentially, the music generated by TMP often lacks rudimentary degrees of syncopation. Reducing network latency has been a critical focal point for research in this field, whe

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Xiong, Wenmeng. "Localisation de sources dispersées : Performances de MUSIC en présence d'erreurs de modèle et estimation parcimonieuse à rang faible." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLC076/document.

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Cette thèse porte sur la localisation de sources spatialement distribuées. Premièrement, des résultats théoriques ont été établis concernant les performances des méthodes à haute résolution en présence d'erreurs de modèle dues à la distribution angulaire de source. Ainsi, le biais d'estimation et l'erreur quadratique moyenne sont exprimées en fonction des paramètres liés à l'erreur de modèle. De plus, les performances ont été étudiées en fonction de la géométrie de l'antenne afin de déterminer les configurations les plus robustes aux sources dispersées.Les résultats théoriques ont été validés

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Bücher zum Thema "Distributed music performance"

Redhead, Lauren, and Glover Richard. Collaborative and distributed processes in contemporary music-making. Cambridge Scholars Publishing, 2018.

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Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.

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Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed crea

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Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2022.

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Kaastra, Linda T. Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity. Taylor & Francis Group, 2020.

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Gable, Christopher. The Words and Music of Sheryl Crow. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798216038542.

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Offering commentary, musical analysis, and detailed interpretation of her songs’ lyrics, this book examines the qualities of Sheryl Crow’s music that have served to establish the artist’s success and popularity. Sheryl Crow continues to be celebrated for her legacy as a singer-songwriter and pop culture icon. This book provides an introduction to Sheryl Crow’s entire music catalog. Organized into chronological periods of time, the author weaves biographical facts throughout a narrative rich with details about her songs: how they were created, recorded, distributed, and modified in live perform

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Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conducto

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Buchteile zum Thema "Distributed music performance"

Payne, Emily, and Floris Schuiling. "Music Notation and Distributed Creativity: The Textility of Score Annotation." In Performance and Posthumanism. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74745-9_13.

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Bussotti, P., and F. Pirri. "Orchestra !: an Internet service for distributed musical sessions and collaborative music development and engineering." In High Performance Networking. Springer US, 1998. http://dx.doi.org/10.1007/978-0-387-35388-3_26.

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Lyu, Meiyu, and Ziqian Zhang. "Research and Design of Interactive Performance of Confucian Music Instruments Based on VR." In Distributed, Ambient and Pervasive Interactions. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60012-8_16.

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Nakamura, Mia, and Hazuki Kosaka. "Facilitation-Based Distributed Creativity: The Inari Chorus Performance at the Itoshima International Art Festival." In Creativity in Music Education. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2749-0_11.

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Thompson-Bell, Jacob. "6. Working Together Well." In Teaching Music Performance in Higher Education. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.08.

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This chapter interrogates some of the foundational assumptions of student-centred learning environments (SCLEs), with a view to expanding conventional pedagogical models to account for the “distributive” agency of groups of learners assembled in a classroom. In the first part, the author proposes that learner groups be treated as distributive agential networks, braiding together intrinsic, extrinsic and intratrinsic (i.e. motivation distributed between multiple learners) forms of motivation, thereby to sustain both individual and collective forms of agency. It is argued that greater awareness

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Louzeiro, Pedro. "Distributed Scores and Audio on Mobile Devices in the Music for a Multidisciplinary Performance." In Lecture Notes in Computer Science. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_22.

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Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution." In Springer Series in Media Industries. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.

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Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the ri

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Marizza, Paolo. "Servant Leadership and the Spirituality of Music in Crisis Management." In Key Factors and Use Cases of Servant Leadership Driving Organizational Performance. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8820-8.ch007.

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The ways in which organizations manage crises can find significant analogies in the musician's process of improvisation, involving a continuous leader-follower interaction that displays the typical traits of servant leaders fueled by spirituality. The analogy with musical improvisation is the thread that runs through this chapter, which analyzes servant leadership in organizational orchestration with reference to current issues such as distributed work. The conditions that can enable the development of servant organizations are identified, modeling the different contextual dimensions with refe

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Dubnov Shlomo and Kiyoki Yasushi. "Opera of Meaning: film and music performance with semantic associative search." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2009. https://doi.org/10.3233/978-1-58603-957-8-384.

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Recently artists are exploring ways for incorporating large amounts of information and networking as part of their medium. One of the main challenges in applying information technology to film and opera is in relating different types of media to the meaning of story narrative. Opera of Meaning is a new format for distributed, collaborative and interactive viewing where the association of different media elements is done dynamically by semantic and impression search that is performed by the public during the performance in context of a main story. This opens new research questions in database m

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Bonini Baraldi, Filippo. "Toward an anthropological approach to musical empathy." In Roma Music and Emotion, translated by Margaret Rigaut. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.003.0015.

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This chapter proposes an anthropological approach to musical empathy, relying on Alfred Gell’s notion of agency. It is claimed that: (1) musical emotions are best approached as empathetic phenomena, as opposed to cognitive acts involving the decoding of a message; (2) it is possible to distinguish between different types of musical empathy, depending on the type of agency relationship: “empathy with the musical being,” “empathy with the artist,” “empathy with musical memory-images,” and “intersubjective musical empathy”; (3) the representation of a network of agency can reveal the role played

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Konferenzberichte zum Thema "Distributed music performance"

Genovese, Andrea F., Marta Gospodarek, Zack Nguyen, Robert Pahle, and Agnieszka Roginska. "Locally Adapted Immersive Environments for Distributed Music Performances in Mixed Reality." In 2024 IEEE 5th International Symposium on the Internet of Sounds (IS2). IEEE, 2024. http://dx.doi.org/10.1109/is262782.2024.10704217.

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Akoumianakis, Demosthenes, George Vellis, Ioannis Milolidakis, Dimitrios Kotsalis, and Chrisoula Alexandraki. "Distributed collective practices in collaborative music performance." In the 3rd international conference. ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413700.

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Najim, O., P. Vallet, G. Ferre, and X. Mestre. "On the statistical performance of music for distributed sources." In 2016 IEEE Statistical Signal Processing Workshop (SSP). IEEE, 2016. http://dx.doi.org/10.1109/ssp.2016.7551724.

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Abramovich, Yuri I., Ben A. Johnson, and Olivier Besson. "Maximum likelihood and robust G-music performance in K-distributed noise." In 2015 23rd European Signal Processing Conference (EUSIPCO). IEEE, 2015. http://dx.doi.org/10.1109/eusipco.2015.7362687.

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Boren, Braxton, and Andrea Genovese. "Acoustics of Virtually Coupled Performance Spaces." In The 24th International Conference on Auditory Display. The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.017.

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Many different musical applications, including remote sonification, sound installation, augmented reality, and distributed/telematic music performance, make use of high speed Internet connections between different performance spaces. Most of the technical literature on this subject focuses on system latency, but there are also significant contributions from the acoustics of all rooms connected: specifically, smaller auxiliary rooms will tend to introduce spectral coloration, and the “main” larger volume will send more reverberation to the off-site performers. Measurements taken in two linked n

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Manzolli, Jônatas, and Edelson Henrique Constantino. "grainBirds: Evolutionary granular synthesisers distributed in Fog Computing." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19432.

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The article presents the grainBIRD concept inspired by a distributed fog of grain sounds metaphor. Shortly, granular synthesizers are distributed in a mobile devices network. Applying Interactive Genetic Algorithm (IGA) and exchanging Open Sound Control (OSC) messages in a Virtual Private Network, grainBIRDs generate sound grains in standalone and network configurations. The grainBIRDs concept dialogues with the Internet of Things (IoT) paradigm since it was inspired by Cloud and Fog computing architectures. In this sense, this article presents the grainBIRD and grainBIRD Orchestra concepts, f

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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced

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