Presentation for "Provas de Agergação" - 3 licao
•
3 likes•547 views
This document provides an overview of networked music performance and how to address the challenges posed by latency over the network. It discusses how the human ear can perceive sounds separated by 20ms or less as simultaneous. For smooth musical interaction, latency needs to be on the order of tens of milliseconds. It also explores different approaches composers and musicians have taken to deal with latency, such as composition techniques, structured improvisation, and graphic scores. Complementary feedback modalities like visual and haptic can help compensate for latency. The document concludes with basic principles for shared sonic environments and remote performance under latency conditions.
Recommended
Recommended
More Related Content
Viewers also liked
Viewers also liked (20)
Similar to Presentation for "Provas de Agergação" - 3 licao
Similar to Presentation for "Provas de Agergação" - 3 licao (20)
More from Alvaro Barbosa
Recently uploaded
Recently uploaded (20)
Presentation for "Provas de Agergação" - 3 licao
- 1. Álvaro Barbosa Networked Music Performance 3. LIÇÃO DE SÍNTESE Álvaro Barbosa abarbosa@porto.ucp.pt www.abarbosa.org PROVAS DE AGREGAÇÃO 6 de Janeiro 2015 Escola das Artes Universidade Católica Portuguesa www.porto.ucp.pt Faculdade de Indústrias Cria>vas Universidade de São José www.usj.edu.mo
- 2. Álvaro Barbosa Networked Music Performance Álvaro Barbosa BASIC PRINCIPLES OF NETWORKED MUSIC PERFORMANCE Research developed at:
- 3. Álvaro Barbosa Networked Music Performance Slide # 3 / Author: Álvaro Barbosa (www.abarbosa.org) 2001 2010
- 4. Álvaro Barbosa Networked Music Performance Stanford-Mcgill 2002 (4.076 Km)
- 5. Álvaro Barbosa Networked Music Performance Stanford-Mcgill 2002 – Discovery Channel
- 6. Álvaro Barbosa Networked Music Performance Stanford-Mcgill 2002 (what really happened)
- 7. Álvaro Barbosa Networked Music Performance Living with LAG by ume.net (2014)
- 8. Álvaro Barbosa Networked 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) But in order to maintain a synchronized and smooth musical interaction this threshold 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 Renaud, A. Carôt, A. and Rebelo, P. 2007 Farner, S., Solvang, A., Sæbo, A., Svensson, U. P. 2009 Chafe, C., Cáceres, J-P., Gurevich, M., 2010 Barbosa, A., Cordeiro, J., 2012
- 9. Álvaro Barbosa Networked 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.
- 10. Álvaro Barbosa Networked 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
- 11. Álvaro Barbosa Networked Music Performance Tackle this problem with Composition Telemann: Canonic Sonata No. 1* by Composer Nathan Brook (2012)
- 12. Álvaro Barbosa Networked Music Performance 2012 – Japan to San Diego
- 13. Álvaro Barbosa Networked Music Performance ….or structured Improvisation Synchronizing Berlin and Hong Kong (1/April/2011 – 8.753 Km) Hong Kong New Music Ensemble & Ensemble Adapter http://hknme.org/hongkongartsblog/?p=1525
- 14. Álvaro Barbosa Networked Music Performance Performing Music at a Distance
- 15. Álvaro Barbosa Networked Music Performance … or with a Graphic Score Netgraph is a real-‐>me graphic score for improvisors designed for network performance by Pedro Rebelo Performance in 2010 at Sonori1es Fes1val of Contemporary Music
- 16. Álvaro Barbosa Networked Music Performance Multiple Location – Same Performance ARTECH 2008: Rambouillet (FR) / Casa da Música (PT) / SARC (IR) http://artes.ucp.pt/artech2008/
- 17. Álvaro Barbosa Networked Music Performance Multiple Location – 5 Venues Penta Locus Telematic Concert (UC San Diego 2012) Montreal, NYC, S. Diego, Belfast, & Hamburg
- 18. Álvaro Barbosa Networked Music Performance Multiple Location – 5 Venues University of California – San Diego 2012
- 19. Álvaro Barbosa Networked Music Performance Experiment with 3 Locations Pedro Rebelo (2007)
- 20. Álvaro Barbosa Networked 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 • Interaction VS Location Modalities
- 21. Álvaro Barbosa Networked Music Performance Over the Network Visual Feedback comes aCer Acous1c Feed-‐back … No Visual Cues for Improvisa2on
- 22. Álvaro Barbosa Networked Music Performance Barbosa, A. 2003. “Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art CreaYon” Leonardo Music Journal 13, pp. 53-‐59 -‐ MIT Press, Cambridge; doi:10.1162/096112104322750791). PostDoc PhD
- 23. Álvaro Barbosa Networked Music Performance Latency and Networked Music Basic Principles for Shared Sonic Environments (1) Digital Control Interface (software or tangible) (2) Local Synthesis & Transmission of Control Data (3) Peer-To-Peer Communication (4) Behavior Driven Interaction (Loose Coupling) (5) Latency Adaptive Dynamics
- 24. Álvaro Barbosa Networked Music Performance Latency and Networked Music Examples Shared Sonic Environments THE HORGIE: COLLABORATIVE ONLINE SYNTHESIZER by Jorge Herrera PUBLIC SOUND OBJECTS by Álvaro Barbosa
- 25. Álvaro Barbosa Networked Music Performance Latency and Networked Music Basic Principles for 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
- 26. Álvaro Barbosa Networked 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 to Compensate Comfort Zone for Untrained Users EPT Interval for Untrained Users Comfort Zone for Expert Musicians EPT Interval for Expert Musicians Extremely Difficult to Compensate Almost Impossible to Compensate Unnaturally Low Latency
- 27. Álvaro Barbosa Networked Music Performance (2) Echo Feed-Back (USC 2005) Chew, E., Sawchuk, A., Tanoue, C., and Zimmermann, R. 2005
- 28. Álvaro Barbosa Networked Music Performance (2) Echo Feed-Back (UCP-Porto 2005)
- 29. Álvaro Barbosa Networked Music Performance (3) Inverse Proportion to Tempo (UCP-Porto 2005)
- 30. Álvaro Barbosa Networked Music Performance (3) Inverse Proportion to Tempo (CCRMA/Banff 2006) St. Lawrence String Quartet (over 50ms Delay)
- 31. Álvaro Barbosa Networked 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 ???
- 32. Álvaro Barbosa Networked 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 (amack) is slower. In other words, overlapping sounds with slower rise >mes are bemer perceived as synchronous even when their onsets are not physically simultaneous.
- 33. Álvaro Barbosa Networked Music Performance (5) Slow Aack Times Perceptual Aack Time (PAT) The fact that two sounds are physically synchronous does not necessarily make them sound perceptually synchronous. Perceptual Amack Time (PAT) is a subjec>ve measure of the >me that is perceived by the listener as the moment of rhythmic placement for a musical sound event. According to Ma Wright “for highly percussive sounds, the PAT might be the same as, or just a few milliseconds aCer, the onset 1me, but for sounds with a slow aPack, for example, bowed violin, the PAT might be dozens of milliseconds aCer the onset”.
- 34. Álvaro Barbosa Networked Music Performance Pilot Experiment at CCRMA: Do slow aPack 1mes lead to a bePer ability to perform synchronous musical interac1on ? Experimental Setup (5) Slow Attack Times
- 35. Álvaro Barbosa Networked 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 amack strokes
- 36. Álvaro Barbosa Networked Music Performance Results How each musician performs in rela1on to the other? analysis was performed using the sorware tool MATCH: Music Alignment Tool Chest, developed by Simon Dixon (this sorware analyses the alignment of audio files using the OLTW algorithm)
- 37. Álvaro Barbosa Networked Music Performance Latency and Networked Music Basic Principles for 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
- 38. Álvaro Barbosa Networked Music Performance • (6) ANTIPHONY • Technique of alternate or responsive singing by a choir in two separate sec1ons. 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?
- 39. Álvaro Barbosa Networked Music Performance Slide # 39 / Author: Álvaro Barbosa (www.abarbosa.org) Thank You!!!! abarbosa@usj.edu.mo www.abarbosa.org University of Saint Joseph| Faculty of CreaYve Industries hmp://www.usj.edu.mo