Collaboration and embodiment in networked music interfaces for live performance

[1]  Robert O. Gjerdingen,et al.  The psychology of music , 2002 .

[2]  Phil Burk.  JSyn - A Real-time Synthesis API for Java , 1998, ICMC.

[3]  Yan Xu,et al.  GPS: Theory, Algorithms and Applications , 2003 .

[4]  Chris Chafe.  Distributed Internet Reverberation for Audio Collaboration , 2003 .

[5]  Dimitri Konstantas,et al.  Distributed Musical Rehearsal , 1997, ICMC.

[6]  Casey Reas,et al.  Processing: a programming handbook for visual designers and artists , 2007 .

[7]  Julian Rohrhuber,et al.  Waiting and Uncertainty in Computer Music Networks , 2004, ICMC.

[8]  Nick Collins,et al.  An Interactive 3D Network Music Space , 2013, NIME.

[9]  Jeffrey M. Morris.  Structure in the Dimension of Liveness and Mediation , 2008, Leonardo Music Journal.

[10]  Andrew R. Brown.  Network Jamming: Distributed Performance using Generative Music , 2010, NIME.

[11]  Benjamin Engel.  Of V8 Engine , 2016 .

[12]  Qing Li,et al.  IPv6 Core Protocols Implementation , 2006 .

[13]  冯利芳.  Facebook , 2020, The SAGE International Encyclopedia of Mass Media and Society.

[14]  Georg Essl.  Automated Ad Hoc Networking for Mobile and Hybrid Music Performance , 2011, ICMC.

[15]  Daniel Davies,et al.  Plink , 1998, The Lancet.

[16]  David Salomon,et al.  Data Compression: The Complete Reference , 2006 .

[17]  Richard Boulanger.  The Csound book: perspectives in software synthesis, sound design, signal processing, and programming , 2000 .

[18]  Netochka Nezvanova,et al.  The Internet, A Musical Instrument in Perpetual Flux , 2000, Computer Music Journal.

[19]  William L. Martens,et al.  Shake, rattle, and roll : Getting immersed in multisensory, interactive music via broadband networks , 2005 .

[20]  Chris Chafe,et al.  Physical model synthesis with application to Internet acoustics , 2002, 2002 IEEE International Conference on Acoustics, Speech, and Signal Processing.

[21]  Olivier Hersent,et al.  The Internet of Things: Key Applications and Protocols , 2011 .

[22]  Jonathan Grudin,et al.  Taxonomy and Theory in Computer Supported Cooperative Work , 2012 .

[23]  Thor Magnusson.  An Epistemic Dimension Space for Musical Devices , 2010, NIME.

[24]  J. Bligh,et al.  DESIGNING INTERFACES FOR COLLABORATIVE MUSIC COMPOSITION , 2005 .

[25]  Sergi Jordà,et al.  FMOL: Toward User-Friendly, Sophisticated New Musical Instruments , 2002, Computer Music Journal.

[26]  Zvi Lotker.  The tale of two clocks , 2016, 2016 IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining (ASONAM).

[27]  Tom Rodden,et al.  A Survey of CSCW Systems , 1991, Interact. Comput..

[28]  Jason Freeman,et al.  The Architecture of Auracle: a Real-Time, Distributed, Collaborative Instrument , 2004, NIME.

[29]  Atau Tanaka,et al.  Global String: A Musical Instrument for Hybrid Space , 2002, ICMC.

[30]  Matthew McCullough,et al.  Version Control with Git: Powerful Tools and Techniques for Collaborative Software Development , 2009 .

[31]  Michael Pilato.  Version Control with Subversion , 2004 .

[32]  Andrew Sorensen,et al.  Programming with time: cyber-physical programming with impromptu , 2010, OOPSLA.

[33]  P. Harding.  Cyril , 2003, BMJ : British Medical Journal.

[34]  S. Jordà.  The reactable : Tabletop Tangible Interfaces for Multithreaded Musical Performance , 2007 .

[35]  Pedro Rebelo,et al.  Addressing the Network: performative Strategies for Playing apart , 2007, ICMC.

[36]  At the Hub , 2002, Science.

[37]  Diplôme d’Ingénieur Esiea.  TablaNet : A Real-Time Online Musical Collaboration System for Indian Percussion by Mihir , 2006 .

[38]  Martin Kuefer.  The Cambridge Companion To John Cage , 2016 .

[39]  Chris Chafe.  Tapping into the Internet as an Acoustical/Musical Medium , 2008, ICMC.

[40]  Dal Yong Jin,et al.  Korea's Online Gaming Empire , 2010 .

[41]  Xiaoyuan Gu,et al.  NMP - a new networked music performance system , 2004, IEEE Global Telecommunications Conference Workshops, 2004. GlobeCom Workshops 2004..

[42]  Roger Dean,et al.  Hyperimprovisation: Computer-Interactive sound improvisation , 2003 .

[43]  Mark Havryliv,et al.  Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4 , 2006, NIME.

[44]  S. Jordà.  Faust Music On Line: An Approach to Real-Time Collective Composition on the Internet , 1999 .

[45]  Robert Hamilton.  Maps and Legends: FPS-Based Interfaces for Composition and Immersive Performance , 2007, ICMC.

[46]  Johnny Ryan,et al.  A History of the Internet and the Digital Future , 2010 .

[47]  Jeremy R. Cooperstock,et al.  The recording studio that spanned a continent , 2001, Proceedings First International Conference on WEB Delivering of Music. WEDELMUSIC 2001.

[48]  V. Ekstrand.  Digital Music Wars: Ownership and Control of the Celestial Jukebox , 2007 .

[49]  B.M. Oliver,et al.  The Philosophy of PCM , 1948, Proceedings of the IRE.

[50]  José J. Cañas,et al.  Are visual programming languages better? The role of imagery in program comprehension , 2001, Int. J. Hum. Comput. Stud..

[51]  David W. Galenson,et al.  Conceptual Revolutions in Twentieth-Century Art , 2009 .

[52]  Chad McKinney.  Quick Live Coding Collaboration In The Web Browser , 2014, NIME.

[53]  M. Leman.  Embodied Music Cognition and Mediation Technology , 2007 .

[54]  S. T. Joshi,et al.  At the Mountains of Madness and Other Novels , 1964 .

[56]  V. Tioukov,et al.  Measurement of the neutrino velocity with the OPERA detector in the CNGS beam , 2011, 1109.4897.

[57]  Robert Hamilton.  Maps and Legends: Designing FPS-Based Interfaces for Multi-user Composition, Improvisation and Immersive Performance , 2007, CMMR.

[58]  John Wawrzynek,et al.  A case for network musical performance , 2001, NOSSDAV '01.

[59]  Naomi E. Pasachoff.  Alexander Graham Bell : Making Connections , 1996 .

[60]  Paul Dourish,et al.  Awareness and coordination in shared workspaces , 1992, CSCW '92.

[61]  Ge Wang,et al.  A History of Programming and Music , 2012 .

[62]  Luke Dahl,et al.  Evolving The Mobile Phone Orchestra , 2010, NIME.

[63]  Ge Wang.  The Laptop Orchestra , 2016 .

[64]  Judson Rosebush,et al.  Nam June Paik : videa 'n' videology 1959-1973 , 1974 .

[65]  A. A. Sawchuk,et al.  From remote media immersion to Distributed Immersive Performance , 2003, ETP '03.

[66]  Jari Kleimola,et al.  Latency Issues in Distributed Musical Performance , 2006 .

[67]  Krisjanis Rijnieks.  Cinder: Begin Creative Coding , 2013 .

[68]  Perry R. Cook,et al.  "On-the-fly Programming: Using Code as an Expressive Musical Instrument" , 2004, NIME.

[69]  Vivian Perlis.  Charles Ives Remembered: AN ORAL HISTORY , 1974 .

[70]  Marcelo Soares Pimenta,et al.  Cooperative mechanisms for networked music , 2011, Future Gener. Comput. Syst..

[71]  D. Marinescu,et al.  Classical and Quantum Information Theory , 2011 .

[72]  Eduardo Kac.  Telepresence & Bio Art: Networking Humans, Rabbits, & Robots , 2005 .

[73]  S. Goldstein.  Radio Astronomy , 1957, Nature.

[74]  Thor Magnusson.  The IXI Lang: A SuperCollider Parasite for Live Coding , 2011, ICMC.

[75]  Kerry Brougher,et al.  Visual Music: Synaesthesia in Art and Music Since 1900 , 2005 .

[76]  Álvaro Manuel,et al.  Computer-suported cooperative work for music applications , 2006 .

[77]  Peter Michael Traub.  Spatial Exploration: Physical, Abstracted, and Hybrid Spacesas Compositional Parameters in Sound Art , 2010 .

[78]  Andrew Hugill,et al.  Internet music: An introduction , 2005 .

[79]  Seionshin Yamagishi,et al.  "Variations for WWW": Network Music by MAX and the WWW , 1998, ICMC.

[80]  Kim Cascone,et al.  Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music , 2003 .

[81]  Gil Weinberg,et al.  Interconnected Musical Networks: Toward a Theoretical Framework , 2005, Computer Music Journal.

[82]  Anthony Paul De Ritis.  Cathedral: An Interactive Work for the Web , 1999, ICMC.

[83]  Chris Chafe,et al.  To the Edge with China: Explorations in Network Performance , 2008 .

[84]  Elaine Chew,et al.  Distributed musical performances: Architecture and stream management , 2008, TOMCCAP.

[85]  Chad McKinney,et al.  Oscthulhu: Applying video Game State-Based Synchronization to Network Computer Music , 2012, ICMC.

[86]  David Rosenboom,et al.  Biofeedback and the Arts: Results of Early Experiments , 1989 .

[87]  Atau Tanaka,et al.  Network Audio Performance and Installation , 1999, ICMC.

[88]  Curtis Roads,et al.  The Computer Music Tutorial , 1996 .

[89]  Rajkumar Buyya,et al.  Cloud Computing Principles and Paradigms , 2011 .

[90]  Lars C. Wolf,et al.  Enabling network-centric music performance in wide-area networks , 2006, CACM.

[91]  Jon Postel,et al.  Transmission Control Protocol , 1981, RFC.

[92]  Perry R. Cook,et al.  Don't forget the laptop: using native input capabilities for expressive musical control , 2007, NIME '07.

[93]  Gerald Schuller,et al.  Network Music Performance (NMP) in Narrow Band Networks , 2006 .

[94]  Marcelo Soares Pimenta,et al.  Principles for Music Creation by Novices in Networked Music Environments , 2011 .

[95]  Jörg Stelkens.  peerSynth: A P2P Multi-User Software Synthesizer with new techniques for integrating latency in real time collaboration , 2003, ICMC.

[96]  Julian Rohrhuber.  Network music , 2012, The Cambridge Companion to Electronic Music.

[97]  John Bischoff,et al.  Music for an Interactive Network of Microcomputers , 1978 .

[98]  William Duckworth.  Virtual Music: How the Web Got Wired for Sound , 2005 .

[99]  Jon Postel,et al.  User Datagram Protocol , 1980, RFC.

[100]  Aoxiang,et al.  Real Time Streaming of Multi-channel Audio Data over Internet 5120 ( I3 ) , 2000 .

[101]  Matthew Wright,et al.  The Web Browser As Synthesizer And Interface , 2013, NIME.

[102]  Thomas B. Holmes.  Electronic and experimental music : pioneers in technology and composition , 2002 .

[103]  Alan F. Blackwell,et al.  From sonic Pi to overtone: creative musical experiences with domain-specific and functional languages , 2013, FARM '13.

[104]  Ashok V. Krishnamoorthy,et al.  Silicon-photonic network architectures for scalable, power-efficient multi-chip systems , 2010, ISCA '10.

[105]  Philip Auslander,et al.  Liveness: Performance in a Mediatized Culture , 1999 .

[106]  Dimitri Konstantas,et al.  The Distributed Musical Rehearsal Environment , 1999, IEEE Multim..

[107]  A. Willner,et al.  Terabit free-space data transmission employing orbital angular momentum multiplexing , 2012, Nature Photonics.

[108]  A. Blake.  Game Sound, An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design , 2009 .

[109]  W. Heitmann,et al.  Superluminal photonic tunneling and quantum electronics , 1997 .

[110]  Lars C. Wolf,et al.  Network-centric music performance: practice and experiments , 2005, IEEE Communications Magazine.

[111]  L. McColl-Sylveste.  Professional haXe and Neko , 2007 .

[112]  Sang Won Lee,et al.  Live Coding The Mobile Music Instrument , 2013, NIME.

[113]  Michael J. Crawley,et al.  The R book , 2022 .

[114]  Christopher Alex McLean,et al.  Artist-programmers and programming languages for the arts , 2011 .

[115]  Dimitri Konstantas.  Overview of a telepresence environment for distributed musical rehearsals , 1998, SAC '98.

[116]  Philip Lambert.  The music of Charles Ives , 1997 .

[117]  Georg Essl,et al.  Do Mobile phones Dream of Electric Orchestras? , 2009, ICMC.

[118]  Frank Harary,et al.  Graph Theory , 2016 .

[119]  Craig Gingrich‐Philbrook.  Manifesto , 2017 .

[120]  Marian Petre,et al.  Usability Analysis of Visual Programming Environments: A 'Cognitive Dimensions' Framework , 1996, J. Vis. Lang. Comput..

[121]  David Flanagan,et al.  JavaScript: The Definitive Guide , 1996 .

[122]  R. A. Sutton.  Knowing Music, Making Music: Javanese Gamelan and the Theory of Musical Competence and Interaction , 1997 .

[123]  Tom McREYNOLDS,et al.  Advanced Graphics Programming Using OpenGL , 2005 .

[124]  Jonathan Harris.  Globalization and contemporary art , 2011 .

[125]  A. Tanaka,et al.  Interaction, Experience and the Future of Music , 2006 .

[126]  Márcio O. Costa,et al.  Virtual Studio : Distributed Musical Instruments on the Web , 2003 .

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

[128]  Robert Johansen,et al.  Groupware: Computer Support for Business Teams , 1988 .

[129]  Perry R. Cook,et al.  Building Collaborative Graphical interFaces in the Audicle , 2006, NIME.

[130]  Joachim Ulrich,et al.  Speed of Sound , 2012 .

[131]  Thor Magnusson,et al.  The acoustic, the digital and the body: a survey on musical instruments , 2007, NIME '07.

[132]  Martin Stokes,et al.  Music, Sound and Multimedia: From the Live to the Virtual , 2009 .

[133]  Perry A. Zirkel,et al.  MySpace , 2009 .

[134]  Florian Loitsch,et al.  Exceptional Continuations in JavaScript , 2007 .

[135]  Boris Smus.  Web Audio API , 2013 .

[136]  Denis Perevalov.  Mastering openFrameworks : creative coding demystified : a practical guide to creating audiovisual interactive projects with low-level data processing using openFrameworks , 2013 .

[137]  Jason Freeman.  Graph theory: interfacing audiences into the compositional process , 2007, NIME '07.

[138]  Mark Summerfield.  Advanced Qt Programming : Creating Great Software with C++ and Qt 4 , 2010 .

[139]  Alain Renaud,et al.  Playing the Network: the Use of Time delays as Musical Devices , 2008, ICMC.

[140]  Alvin Lucier,et al.  Chambers: Scores by Alvin Lucier , 1980 .

[141]  Mark Pilgrim,et al.  HTML5: Up and Running , 2010 .

[142]  Mark Bokowiec,et al.  Kinaesonics: The intertwining relationship of body and sound , 2006 .

[143]  Akira Fukuda,et al.  AES White Paper 1001: Networking Audio and Music Using Internet2 and Next-Generation Internet Capabilities , 1999 .

[144]  J. D'Escrivan.  To sing the body electric: Instruments and effort in the performance of electronic music , 2006 .

[145]  Gil Weinberg,et al.  Interconnected musical networks: bringing expression and thoughtfulness to collaborative group playing , 2003 .

[146]  lvaro Barbosa,et al.  Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation , 2003, Leonardo Music Journal.

[147]  Ross Kirk,et al.  Digital Sound Processing for Music and Multimedia , 1999 .

[148]  Chris Chafe,et al.  A SIMPLIFIED APPROACH TO HIGH QUALITY MUSIC AND SOUND OVER IP , 2000 .

[149]  Rolf Wöhrmann,et al.  Design and Architecture of Distributed Sound Processing and Database Systems for Web-Based Computer Music Applications , 1999, Computer Music Journal.

[150]  W. Duckworth.  Making Music on the Web , 1999, Leonardo Music Journal.

[151]  Craig Latta.  Notes from the NetJam Project , 1991 .

[152]  Bryan Chung.  Multimedia Programming with Pure Data , 2013 .

[153]  Phil Burk.  Jammin' on the Web - a new Client/Server Architecture for Multi-User Musical Performance , 2000, ICMC.

[154]  John Joseph Fahie.  A History Of Wireless Telegraphy , 1971 .

[155]  Pedro Rebelo.  Haptic sensation and instrumental transgression , 2006 .

[156]  Eduardo Kac,et al.  Ornitorrinco and Rara Avis: Telepresence Art on the Internet , 2017 .

[157]  Jason Freeman,et al.  Auracle: a voice-controlled, networked sound instrument , 2005, Organised Sound.

[158]  Kevin Karplus,et al.  Digital Synthesis of Plucked-String and Drum Timbers , 1983 .

[159]  Gerardine DeSanctis,et al.  A foundation for the study of group decision support systems , 1987 .

[160]  COMPOSITION AND IMPROVISATION ON THE NET , .

[161]  M. Nyman.  Experimental Music: Cage and Beyond , 1974 .

[162]  Matthew Wright,et al.  Problems and prospects for intimate musical control of computers , 2001 .

[163]  Steve Jacobs.  Raising the Stakes: E-Sports and the Professionalization of Computer Gaming , 2014 .

[164]  Alex McLean,et al.  Texture: Visual Notation for Live Coding of Pattern , 2011, ICMC.

[165]  Steve Cisler.  Computer-supported cooperative work and groupware , 1988 .