Since telecommunication can never equal the richness of face-to-face interaction on its own terms, the most interesting examples of networked music go beyond the paradigm of musicians playing together in a virtual room. The Open Sound Control protocol has facilitated dozens of such innovative networked music projects. First the protocol itself is described, followed by some theoretical limits on communication latency and what they mean for music making. Then a representative list of some of the projects that take advantage of the protocol is presented, describing each project in terms of the paradigm of musical interaction that it provides. 1.

Drum controllers designed by researchers and commercial companies use a variety of techniques for capturing percussive gestures. It is challenging to obtain both quick response times and low-level data (such as position) that contain expressive information. This research is a comprehensive study of current methods to evaluate the available strategies and technologies. This study aims to demonstrate the benefits and detriments of the current state of percussion controllers as well as yield tools for those who would wish to conduct this type of study in the future.

In the majority of existing work in music information retrieval (MIR) the user interacts with the system using standard desktop components such as the keyboard, mouse or sometimes microphone input. It is our belief that moving away from the desktop to more physically tangible ways of interacting can lead to novel ways of thinking about MIR. In this paper, we report on our work in utilizing new non-standard interfaces for MIR purposes. One of the most important but frequently neglected ways of characterizing and retrieving music is through rhythmic information. We concentrate on rhythmic information both as user input and as means for retrieval. Algorithms and experiments for rhythm-based information retrieval of music, drum loops and indian tabla thekas are described. This work targets expert users such as DJs and musicians which tend to be more curious about new technologies and therefore can serve as catalysts for accelerating the adoption of MIR techniques. In addition, we describe how the proposed rhythm-based interfaces can assist in the annotation and preservation of perfomance practice.

This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt. 1.

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ChucK is a programming language for real-time sound synthesis. It provides generalized audio abstractions and precise control over timing and concurrency - combining the rapid-prototyping advantages of high-level programming tools, such as Pure Data, with the flexibility and controllability of lower-level, text-based languages like C/C++. In this paper, we present a new time-based paradigm for programming controllers with ChucK. In addition to real-time control over sound synthesis, we show how features such as dynamic patching, on-the-fly controller mapping, multiple control rates, and precisely-timed recording and playback of sensors can be employed under the ChucK programming model. Using this framework, composers, programmers, and performers can quickly write (and read/debug) complex controller/synthesis programs, and experiment with controller mapping on-the-fly.

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Abstract not found