The ubiquitous nature of communication in computer networks, firmly manifested in the Internet era, provided a context for the introduction of different collaborative tools widely accepted by the on-line community, such as textual chats, white boards, shared editors, video conference systems, shared spaces for the exchange of multimedia documents or even simple e-mail based collaborative systems.

In an interactive system designed to produce music, the sound synthesis engine and the user interface layer are fully integrated, but usually designed in parallel and in a modular way. Decoupling the interface layer from the synthesis engine, not only allows the use of best suited technologies and programming languages for each purpose, but also enhances the overall system flexibility. This paper discusses the idea behind a remote user interface and a processing engine that resides in a different host, taken to the most extreme situation in which a user can access the synthesizer from any place in the world using internet technology. This paradigm has promising applications in collaborative music creation systems for geographically displaced communities of user. The Public Sound Objects is an experimental system on which this concept is applied, and its currently under development at the Music Technology Group of the UPF in Barcelona.

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The SINE WAVE ORCHESTRA (SWO) is a collaborative sound performance project that has been actively performing for the past several years. The basic idea is that each participant plays a sine wave, and by changing its frequency and volume, creates a collection of sine waves as a collective sound representation. Although all SWO works use the same sound representation (i.e., sine waves), different SWO works use different temporal, physical, environmental, and procedural settings. The different settings have resulted in different types of sound experiences for the participants. This paper examines six of the SWO works and discusses what aspects of the settings affect how people engage in collective sound representations. T he network prevalence and the advance of communication technologies work as enablers for a variety of collective representation projects to emerge (Jorda 2005)(Weinberg 2002). Collective sound representations have varied forms, which can be

In recent years Computer Network-Music has increasingly captured the attention of the Computer Music Community. With the advent of Internet communication, geographical displacement amongst the participants of a computer mediated music performance achieved world wide extension. However, when established over long distance networks, this form of musical communication has a fundamental problem: network latency (or net-delay) is an impediment for real-time collaboration. From a recent study, carried out by the authors, a relation between network latency tolerance and Music Tempo was established. This result emerged from an experiment, in which simulated network latency conditions were applied to the performance of different musicians playing jazz standard tunes.

Abstract. Collaborative music composition among casual users has the potential of creating advanced music that cannot be composed by a single user since the users can complement a shortage of musical knowledge each other. Although some studies have proposed music composition interfaces which synchronously visualize the composition data in real time, their effects on the quality of music are not still clear. As a result of our experiment, we found that the EMD value (0 is the best score) in using the interface Marble we proposed was lower than that of asynchronous music composition systems and Marble has increased the total number of utterances among users.