Open Symphony: Creative Participation for Audiences of Live Music Performances

Most contemporary Western performing arts practices restrict creative interactions from audiences. Open Symphony is designed to explore audience-performer interaction in live music performances, assisted by digital technology. Audiences can conduct improvising performers by voting for various musical "modes." Technological components include a web-based mobile application, a visual client displaying generated symbolic scores, and a server service for the exchange of creative data. The interaction model, app, and visualization were designed through an iterative participatory design process. The system was experienced by about 120 audience and performer participants (35 completed surveys) in controlled (lab) and real-world settings. Feedback on usability and user experience was overall positive, and live interactions demonstrate significant levels of audience creative engagement. The authors identified further design challenges around audience sense of control, learnability, and compositional structure. This article is part of a special issue on multimedia for enriched music.

[1]  György Fazekas,et al.  From Interactive to Adaptive Mood-Based Music Listening Experiences in Social or Personal Contexts , 2016 .

[2]  Roberto Bresin,et al.  “Expressivity comes from within your soul”: A questionnaire study of music students' perspectives on expressivity , 2003 .

[3]  Jason Freeman,et al.  Large Audience Participation, Technology, and Orchestral Performance , 2005, ICMC.

[4]  Joseph A. Paradiso,et al.  An Interactive Music Environment for Large Groups with Giveaway Wireless Motion Sensors , 2007, Computer Music Journal.

[5]  Jason Freeman,et al.  massMobile -an Audience Participation Framework , 2012, NIME.

[6]  Steven M. Seitz,et al.  Techniques for interactive audience participation , 2002, SIGGRAPH '02.

[7]  S. Thompson Audience responses to a live orchestral concert , 2006 .

[8]  S. Kattwinkel Audience Participation: Essays on Inclusion in Performance , 2003 .

[9]  Yongmeng Wu,et al.  A Participatory Live Music Performance with the Open Symphony System , 2016, CHI Extended Abstracts.

[10]  Florian Thalmann,et al.  Crossroads: Interactive Music Systems Transforming Performance, Production and Listening , 2016 .

[11]  Colin Ware,et al.  Information Visualization: Perception for Design , 2000 .

[12]  Sergi Jordà,et al.  On stage: the reactable and other musical tangibles go real , 2008, Int. J. Arts Technol..

[13]  T. Turino Music as Social Life: The Politics of Participation , 2008 .

[14]  Markus Schedl,et al.  PHENICX: Performances as Highly Enriched aN d Interactive Concert Experiences , 2013 .

[15]  Sung H. Han,et al.  Touch key design for one-handed thumb interaction with a mobile phone: Effects of touch key size and touch key location , 2010 .

[16]  Alexandre Clément,et al.  Bridging the gap between performers and the audience using networked smartphones : the a . bel system , 2016 .

[17]  Kevin A Hallgren,et al.  Computing Inter-Rater Reliability for Observational Data: An Overview and Tutorial. , 2012, Tutorials in quantitative methods for psychology.

[18]  R. Kronland-Martinet,et al.  Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance , 2010 .

[19]  Darwin G. Caldwell,et al.  Augmented Stage for Participatory Performances , 2014, NIME.

[20]  Chiara Rossitto,et al.  Understanding audience participation in an interactive theater performance , 2014, NordiCHI.

[21]  Yongmeng Wu,et al.  A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use Case , 2016, NIME.

[22]  V. Braun,et al.  Using thematic analysis in psychology , 2006 .

[23]  Sriram Subramanian,et al.  Reflets: combining and revealing spaces for musical performances , 2015, NIME.

[24]  Andrew Wilson,et al.  Phone as a pixel: enabling ad-hoc, large-scale displays using mobile devices , 2012, CHI.

[25]  Norbert Schnell,et al.  Synchronisation for Distributed Audio Rendering over Heterogeneous Devices, in HTML5 , 2016 .

[26]  Jennifer Radbourne,et al.  Audience experience : measuring quality in the performing arts , 2009 .

[27]  Patrick Olivier,et al.  Configuring participation: on how we involve people in design , 2013, CHI.