The Fragmented Orchestra

Contemporary Music Review, 2009

This article presents a sample of references present in the existing Networked Music & SoundArt Timeline (NMSAT) database. The NMSAT is a research project led and initiated in 2008 by Jérôme Joy within the Locus Sonus lab. It is conceived as a monitor and a pool of informations on history of networked music and sound (Joy & Sinclair, 2009). It aims to provide an overview of practices and techniques in the realm of networked music and networked sonic performance from ancient history to the present (2008), related to sound transmission and distance listening. It consists of a collection of references from various online and bibliographical documents, articles, workshop notes and so on. The NMSAT offers a valuable resource made available to actors in the artistic and scientific spheres.

Springer International Publishing eBooks, 2022

A Networked Music Performance (NMP) is defined as what happens when geographically displaced musicians interact together while connected via network. The first NMP experiments begun in the 1970s, however, only recently the development of network communication technologies has created the necessary infrastructure needed to successfully create an NMP. Moreover, the widespread adoption of network-based interactions during the COVID-19 pandemic has generated a renewed interest towards distant music-based interaction. In this chapter we present the Intelligent networked Music PERforMANce experiENCEs (IMPERMANENCE) as a comprehensive NMP framework that aims at creating a compelling performance experience for the musicians. In order to do this, we first develop the neTworkEd Music PErfoRmANCe rEsearch (TEMPERANCE) framework in order to understand which are the main needs of the participants in a NMP. Informed by these results we then develop IMPERMANENCE accordingly.

ACM Transactions on Multimedia Computing, Communications, and Applications, 2008

An increasing number of novel applications produce a rich set of different data types that need to be managed efficiently and coherently. In this article we present our experience with designing and implementing a data management infrastructure for a distributed immersive performance (DIP) application. The DIP project investigates a versatile framework for the capture, recording, and replay of video, audio, and MIDI (Musical Instrument Digital Interface) streams in an interactive environment for collaborative music performance. We are focusing on two classes of data streams that are generated within this environment. The first category consists of high-resolution isochronous media streams, namely audio and video. The second class comprises MIDI data produced by electronic instruments. MIDI event sequences are alphanumeric in nature and fall into the category of the data streams that have been of interest to data management researchers in recent years. We present our data management ...

2020

In this paper we will perform a preliminary exploration on how neural networks can be used for the task of target-based computerassisted musical orchestration. We will show how it is possible to model this musical problem as a classification task and we will propose two deep learning models. We will show, first, how they perform as classifiers for musical instrument recognition by comparing them with specific baselines. We will then show how they perform, both qualitatively and quantitatively, in the task of computer-assisted orchestration by comparing them with state-of-the-art systems. Finally, we will highlight benefits and problems of neural approaches for assisted orchestration and we will propose possible future steps.

IISA 2014, The 5th International Conference on Information, Intelligence, Systems and Applications, 2014

The MusiNet research project aims to provide a comprehensive architecture and a prototype implementation of a complete Networked Music Performance (NMP) system. In this paper we describe the current status of the project, focusing on critical decisions regarding the system's architecture and specifications, the low delay audio and video coding techniques to be employed, the media relay design, and the synchronous and asynchronous collaboration algorithms to be adopted.

idmil.org

The CIRMMT/ McGill Digital Orchestra was a large-scale multidisciplinary project initiated at the Centre for Interdis-ciplinary Research in Music Media and Technology (CIR-MMT) and McGill University (Canada), supported by the Appui `a la recherche-création program of the ...

Contemporary Music Review, 2009

In 2008, Jérôme Joy initiated the ‘Networked Music & SoundArt Timeline’ (NMSAT)— a monitor on the history of networked music and sound. The Timeline is maintained by the NMSAT Development Committee, consisting primarily of researchers and artists from partner institutions. The Committee has two major objectives: to amend and expand the existing database comprised currently of more than 2,000 entries and approximately 550 reference articles (NMSAT v.1.090319, March 2009); and to support the online technical and editorial development of the project. This article describes the current state of the timeline and the way in which it has been structured, as well as its evolution towards an open resource database accessible through a variety of specialized interfaces. NMSAT is part of the Locus Sonus research program and provides an essential historical backbone to practice-based artistic research and the exploration of developing technologies.

Journal of creative music systems, 2022

In this paper we will perform a preliminary exploration on how neural networks can be used for the task of target-based computerassisted musical orchestration. We will show how it is possible to model this musical problem as a classification task and we will propose two deep learning models. We will show, first, how they perform as classifiers for musical instrument recognition by comparing them with specific baselines. We will then show how they perform, both qualitatively and quantitatively, in the task of computer-assisted orchestration by comparing them with state-of-the-art systems. Finally, we will highlight benefits and problems of neural approaches for assisted orchestration and we will propose possible future steps. This paper is an extended version of the paper "A Study on Neural Models for Target-Based Computer-Assisted Musical Orchestration" published in the proceedings of The 2020 Joint Conference on AI Music Creativity.

Guide to Brain-Computer Music Interfacing, 2014

This is the authors' original unrevised version of the manuscript. The final version of this work (the version of record) is published by Springer in the book Guide to Brain-Computer Music Interfacing, ISBN 9781447165835. This text is made available on-line in accordance with the publisher's policies. Please refer to any applicable terms of use of the publisher.

2002

This paper describes the design, implementation, and application of an audio-driven computer-based system for live and interactive performance with an orchestra. We begin by describing the compositional and musical goals, emphasizing the electronics aspect. We then discuss the challenges of working with an orchestra and integrating the electronics in a concert hall. We describe the hardware setup and then detail the software implementation, from audio analysis and "perceptual parameter" estimation to the generative algorithm.