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Thematische Bibliographien / Telematic music performance

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Zeitschriftenartikel
Dissertationen
Buchteile
Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Telematic music performance“

Autor: Grafiati

Veröffentlicht am 9. Januar 2025

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Zeitschriftenartikel zum Thema "Telematic music performance"

1

Strauss, Lucy, Kivanç Tatar und Sumalgy Nuro. „instance: Soma-based multi-user interaction design for the telematic sonic arts“. Organised Sound 26, Nr. 3 (Dezember 2021): 390–402. http://dx.doi.org/10.1017/s1355771821000479.

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The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.

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2

Whalley, Ian. „Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification“. Organised Sound 20, Nr. 1 (05.03.2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.

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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.

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3

Egloff, Deborah, Jonas Braasch, Phil Robinson, Doug Van Nort, Pauline Oliveros und Ted Krueger. „Vibrotactile music systems for co-located and telematic performance“. Journal of the Acoustical Society of America 131, Nr. 4 (April 2012): 3331. http://dx.doi.org/10.1121/1.4708466.

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4

Rofe, Michael, Erik Geelhoed und Laura Hodsdon. „Experiencing Online Orchestra: Communities, connections and music-making through telematic performance“. Journal of Music, Technology and Education 10, Nr. 2 (01.12.2017): 257–75. http://dx.doi.org/10.1386/jmte.10.2-3.257_1.

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5

Mott, Iain. „Telefonista“. Voz e Cena 1, Nr. 02 (03.12.2020): 83–103. http://dx.doi.org/10.26512/vozcen.v1i02.34032.

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This article describes a communications system for telematic performance developed during the COVID-19 pandemic of 2020. Taking the form of an antique telephone switchboard, the system is designed specifically for a solo performer to interact with voice recordings, music and sound synthesis mechanisms and engage with local and remote audiences via telephone.

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6

Mills, Roger. „Flight of the Sea Swallow: A Crossreality Telematic Performance“. Leonardo 49, Nr. 1 (Februar 2016): 68–69. http://dx.doi.org/10.1162/leon_a_01166.

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Flight of the Sea Swallow is a cross-reality telematic performance project developed by the multimedia group blackhole factory. Live data from distributed heat, light and movement sensors is visualised within the virtual and real-world performance spaces, with the aim of increasing tele-presence for performers and audiences. This article describes the background of the project, as well as its design and implementation over several iterative performances.

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7

Rubio R., Juan David. „Ritualized Performance in the Networked Era: Alternative Models for New Artistic Media“. Leonardo Music Journal 24 (Dezember 2014): 21–23. http://dx.doi.org/10.1162/lmj_a_00190.

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The author presents a concept of ritualized performance as an ideal way to approach the telematic medium, arguing that many longstanding performance rituals share characteristics that can be exploited in networked performance. The author situates these ideas in relation to his project Spatia, seeking to illustrate how the model of ritualized performance can be applied to the networked medium.

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8

Burtner, Matthew, Steven Kemper und David Topper. „Network Socio-Synthesis and Emergence in NOMADS“. Organised Sound 17, Nr. 1 (14.02.2012): 45–55. http://dx.doi.org/10.1017/s1355771811000501.

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NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands of simultaneous users across a network is synthesised into a single emergent sound and visual structure in an approach we call socio-synthesis. This paper recounts research leading up to NOMADS, outlines its technological architecture, and describes several implementations. Current applications include the telematic operaAuksalaq, and performances by the MICE Orchestra. The authors also consider the potential of large-scale human–computer ensembles as a paradigm for composition and performance.

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9

Giges, Bob, und Edward C. Warburton. „From Router to Front Row: Lubricious Transfer and the Aesthetics of Telematic Performance“. Leonardo 43, Nr. 1 (Februar 2010): 24–32. http://dx.doi.org/10.1162/leon.2010.43.1.24.

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This article describes experiments in live telematic performance linking U.S. East and West Coast dancers via Internet2. Alternating between a first-person account of one particular stage performance and a theoretical exploration of the same, the authors come to terms with the audiences' newly constituted relationship as technological ruptures alter the immersive pull of live performance.

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10

Dessen, Michael. „New Polyphonies: Score Streams, Improvisation and Telepresence“. Leonardo Music Journal 20 (Dezember 2010): 21–23. http://dx.doi.org/10.1162/lmj_a_00007.

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The author discusses “score streams,” a compositional method in which notations are displayed dynamically on computer screens and interpreted by improvisers. These works are informed by contemporary explorations in telematic performance and by the many methods devised over the past half century in composer-improviser traditions, where works by individuals are understood as catalysts for profoundly collaborative real-time acts of creation. Referencing polyphony both literally and metaphorically, the author points to a richly generative dialogue between recent histories of improvised music and new forms of digital networking technologies.

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Dissertationen zum Thema "Telematic music performance"

1

Cook, Mark. „Telematic Music: History and Development of the Medium and Current Technologies Related to Performance“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447261468.

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Buchteile zum Thema "Telematic music performance"

1

Mills, Roger. „Telematics, Art and the Evolution of Networked Music Performance“. In Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session, 21–57. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-71039-6_2.

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2

Agrati, Laura Sara, und Svetlana V. Karkina. „Mediatization of Musical and Theatrical Practice on the Moodle Platform“. In Analyzing Multidisciplinary Uses and Impact of Innovative Technologies, 18–39. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-6015-3.ch002.

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Degree courses, specifically aimed at the training of professional profiles, have experimented with new e-learning design solutions to make students exercise in experiential practices (internships, practical exercises, laboratories) during the pandemic period. The contribution presents two ad hoc solutions for university professional practice in an e-learning environment (virtual internship at the Giustino Fortunato Telematic University within the Educational Sciences course; online music performance lessons at the Kazan Federal within the Teacher Education course) and the related comparative investigation. Which Moodle resources are the most effective in training performance skills? A cross analysis is done between the averages of students' access to Moodle resource and the grade obtained at the final project works. Results allow the authors to assume video lessons as more effective than webinars, beyond geographical context and specific competence profiles.

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3

BRAASCH, J., N. PETERS, P. OLIVEROS, D. VAN NORT und C. CHAFE. „A SPATIAL AUDITORY DISPLAY FOR TELEMATIC MUSIC PERFORMANCES“. In Principles and Applications of Spatial Hearing, 436–51. WORLD SCIENTIFIC, 2011. http://dx.doi.org/10.1142/9789814299312_0034.

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Konferenzberichte zum Thema "Telematic music performance"

1

Boren, Braxton, und Andrea Genovese. „Acoustics of Virtually Coupled Performance Spaces“. In The 24th International Conference on Auditory Display. Arlington, Virginia: 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 networked sites used in telematic performance show that both of these issues are present. Some improvements are suggested, including physical room alterations and equalization methods using signal processing.

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