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Presentation at Hochschule fuer Musik in Karlsruhe, Germany (16-March-2012). http://www.hfm-karlsruhe.de/
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From Networked Music to Behavior-‐Driven Interac9on
Álvaro Barbosa -‐ www.abarbosa.org
Research Center for Science and Technology of the Arts (CITAR) School of Arts, Catholic University Porto – www.artes.ucp.pt
Slide # 2 / Author: Álvaro Barbosa (www.abarbosa.org)
h=p://www.abarbosa.org/ Since 1998 – EA, UCP-‐Porto, Portugal
hIp://artes.ucp.pt/
Since 2004 – CITAR, UCP-‐Porto, Portugal
hIp://artes.ucp.pt/citar/
2000/2006 – MTG, UPF-‐Barcelona, Spain
hIp://mtg.upf.edu/
2010 – CCRMA, Stanford-‐CA, USA
hIp://ccrma.stanford.edu/
Since 2011 – USJ, Macau – China
hIp://www.usj.edu.mo/
Álvaro Barbosa
Slide # 3 / Author: Álvaro Barbosa (www.abarbosa.org)
Álvaro Barbosa Very early Web Developer in the industry (Caleida & aeiou.pt, 1995-‐1998)
Slide # 4 / Author: Álvaro Barbosa (www.abarbosa.org)
Research / Book
• Displaced Soundscapes is a metaphorical description of the way lively generated sounds can be perceived over the Internet."
• (Book) Barbosa, A. 2008. “Displaced Soundscapes”"• VDM Verlag (ISBN: 978-3-8364-7154-1)"
- Extensive Survey of NM Applications "- Research on Latency and Internet Acoustics"- Models for Networked Music Systems"- Implementation “Public Sound Objects” "
Slide # 5 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Performing Music at a Distance Synchronizing Berlin and Hong Kong (1/April/2011 – 8.753 Km)
Hong Kong New Music Ensemble & Ensemble Adapter
http://hknme.org/hongkongartsblog/?p=1525
Slide # 6 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Performing Music at a Distance
Slide # 7 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Stanford-Mcgill 2002 (4.076 Km)
Slide # 8 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Stanford-Mcgill 2002 – Discovery Channel
Slide # 9 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Stanford-Mcgill 2002 (the real thing)
Slide # 10 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance Multiple Location – Same Performance ARTECH 2008: Rambouillet (FR) / Casa da Música (PT) / SARC (IR)
http://artes.ucp.pt/artech2008/
Slide # 11 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
In a vocal conversation it is possible to maintain it even with one-way delays of up to 500 ms.
Holub, J., Kastner, M., Tomiska, O. 2007
In order to maintain a synchronized and smooth musical interaction reduces drastically to the order of tens of milliseconds.
Schuett, N. 2002 Chafe C., Gurevich M, 2004 Lago, N and Kon, F. 2004 Barbosa, A., Carôt, A. 2005 Chew, E., Sawchuk, A., Tanoue, C., and Zimmermann, R. 2005 Bartlette, C., Headlam, D., Bocko, M., Velikic, G. 2006 Farner, S., Solvang, A., Sæbo, A., Svensson, U. P. 2009 Chafe, C., Cáceres, J-P., Gurevich, M., 2010
Slide # 12 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
For the Human ear to perceive the order of two simultaneous sounds, they should not be displaced in time over 20ms (Hirsh, 1959)
A difficulty in discerning the order of sounds events
ê hard to maintain a synchronous musical interaction.
Slide # 13 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Jitter and delay asymmetry introduce further disruption in Network Communication.
• Furthermore, Latency is not a technological condition that can be overcome in the near future. Consider mobile or satellite technology or a communication setup that spans worldwide.
Moscow – Santiago (fiber-optic link): Bidirectional Latency= 94,3 ms
Unidirectional Latency= 47,15 ms
Slide # 14 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
The ability to perform music synchronously is strongly dependent on:
• The music expressive qualities (Dynamics and Articulation)
• The music style (rhythm, melody, harmony)
• The music perceptual qualities (pitch, texture, timbre)
• The music structure/form
• The musician’s experience and practicing strategies
• Complementary feed-back modalities (visual, tactile)
• The listening conditions
Slide # 15 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Barbosa, A. 2003. “Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Crea9on” Leonardo Music Journal 13, pp. 53-‐59 -‐ MIT Press, Cambridge; doi:10.1162/096112104322750791).
Slide # 16 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
Basic Principles - Remote Performance (1) Ensemble Performance Threshold (EPT)
(2) Echo Feed-Back (Self Delay)
(3) Inverse Proportion to Tempo
(4) Reverb and Complementary Modalities
(5) Slow Attack Times
(6) Antiphony
Slide # 17 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(1) Ensemble Performance Threshold (EPT)
(CCRMA 2004, USC 2005)
DELAY (ms) 0 5 10 15 20 25 30 35 40 45 50 75 100 150
Difficult toCompensate
Comfort Zone for Untrained Users
EPT Interval forUntrained Users
Comfort Zone for Expert Musicians EPT Interval for Expert Musicians
ExtremelyDifficult to
Compensate
AlmostImpossible toCompensateUnnaturally
Low Latency
Slide # 18 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(2) Echo Feed-Back (USC 2005)
Chew, E., Sawchuk, A., Tanoue, C., and Zimmermann, R. 2005
Slide # 19 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(2) Echo Feed-Back (UCP-Porto 2005)
Slide # 20 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(3) Inverse Proportion to Tempo (UCP-Porto 2005)
Slide # 21 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(3) Inverse Proportion to Tempo (CCRMA/Banff 2006)
St. Lawrence String Quartet
(over 50ms Delay)
Slide # 22 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(4) Reverb and Complementary Modalities
Studies on the effect of Reverberation (Farner 2009) The Influence of Delay and Various Acoustic Environments Studies on the effect of Visual Feed-Back Pilot experiments at CCRMA since 2006 Studies on the effect of Haptic Feedback ???
Slide # 23 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(5) Slow Attack Times
Bregman (1990) Auditory Scene Analysis
This experiment clearly reveals that it is harder to perceive the order of overlapping sound events when their rise ]me (aIack) is slower. In other words, overlapping sounds with slower rise ]mes are beIer perceived as synchronous even when their onsets are not physically simultaneous.
Slide # 24 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Pilot Study Hypothesis
• If slow a?ack @mes allow a be?er percep@on of sound simultaneity this might also lead to a be?er ability to perform synchronous musical interac@on
• Experimental Setup
Slide # 25 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
• Rhythmic Performance • 80 BPM (to avoid possible overlaying of subsequent notes) • Slow Tempo => Higher EPT • Range from 25 ms to 110 ms (with steps of 10 ms) • 28 trials for Slow and Fast aIack strokes
Slide # 26 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Results How each musician performs in rela@on to the other? The analysis was performed using the soeware tool MATCH: Music Alignment Tool Chest, developed by Simon Dixon (this soeware analyses the alignment of audio files using the OLTW algorithm)
Slide # 27 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
(6) ANTIPHONY Technique of alternate or responsive singing by a choir in two separate sec@ons. Each sec]on sings alternate musical phrases
Or POLYCHORAL ANTIPHONY (AKA Vene]an polychoral style) When two or more groups of singers sing in alterna]on. Origin in the late Renaissance and early Baroque
Can this Technique improve network latency tolerance?
Slide # 28 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
Basic Principles - Shared Sonic Environments (1) Digital Control Interface (software or tangible)
(2) Local Synthesis & Transmission of Control Data
(3) Peer-To-Peer Communication
(4) Latency Adaptive Dynamics
(5) Behavior Driven Interaction (Loose Coupling)
Slide # 29 / Author: Álvaro Barbosa (www.abarbosa.org)
Background on Network Music Performance
Latency and Networked Music
Examples Shared Sonic Environments THE HORGIE: COLLABORATIVE
ONLINE SYNTHESIZER by Jorge Herrera
PUBLIC SOUND OBJECTS by Álvaro Barbosa
Slide # 30 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Public Sound Objects 2004/2006, MTG (BCN)
Slide # 31 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Local Network of PSOs – CITAR (Porto) commissioned by “Casa da Musica” http://en.wikipedia.org/wiki/Casa_da_musica
Slide # 32 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Slide # 33 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Slide # 34 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Slide # 35 / Author: Álvaro Barbosa (www.abarbosa.org)
Public Sound Objects
Permanent Installation Casa da Música (Renaissance Hall)
Slide # 36 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Small Fish (Fujihata e Furukawa 1999)
Slide # 37 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Radial String Chimes (1st prototype Developed at CCRMA – Stanford University) Interactive musical device triggered by motion applied to a spinning vinyl record. Users can spin the record, making hanging coffee straws to bounce and pluck twelve radial guitar strings, applied to a round wood board.
Slide # 38 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Slide # 39 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Used in Live Performances: Live Set at Galerija Kapelica in Ljubljana, Slovenia During The EARZOM Fes]val 2010
Slide # 40 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Jorney to the Last Fron9er -‐ with Victor Gama – B&W 2012
Slide # 41 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Live Set: 2 Ipads and 1 Iphone runing CS-‐Grain, Reactable and Cur]s; 1 Radio String Chimes; 2 Wind Blowers; 1 E-‐Bow
Slide # 42 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Victor Gama: www.victorgama.org Performed on His own Instruments – Dino, Acrux and Thoa
Slide # 43 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Audio Materials: Recorded at the Antarc]ca Expedi]onin January 2012 by Álvaro Barbosa and Victor Gama
Slide # 44 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Field Recordings at the Antarc9ca Peninsula
Slide # 45 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Video and Photography for Mul9media Perfoamances
Slide # 46 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Slide # 47 / Author: Álvaro Barbosa (www.abarbosa.org)
Behavior-‐Driven Interac9on
Photography Books: Drieing Ice; Antarc]cans
Slide # 48 / Author: Álvaro Barbosa (www.abarbosa.org)
School of Arts – Porto, Portugal
Thank You!!!!
[email protected] | hIp://www.abarbosa.org