Music 80R Music and the WorldWideWeb

Transcription

1 Music 80R Music and the WorldWideWeb Winter 2008 Tuesday and Thursday Noon-2pm Lecturer: Synthia Payne - <cpayne@ucsc.edu> Teaching Assistants: Marc Sciglimpaglia - <omnivore@ucsc.edu> A-J Daniel Muñoz - <fungus101@gmail.com> K-Z Now Playing: SPORE

2 Music 80R Music and the WorldWideWeb Original source material Rollover SFX Background loops Narration Live Show Interview

3 Music 80R Music and the WorldWideWeb Midterm Project Research topics HTML Tutorial

4 Music 80R Music and the WorldWideWeb 3dAudio AcidJazz AfricanEthno AfricanMusic AllAboutJazz AmbientTechno AudioCompression_1 BinauralSound CellularAutomata ChanceMusic ChineseMusic Copyright CopyrightLaw Cymantics DataSonification DrumnBass Electronica ElectronicMusicGuide FileSharing_1 FilmScoring Fractals HiphopNetworking HomeRecording_1 Hyperinstruments IndependentMusic IndigenousMusic IntellectualProperty InteractiveMusic InternationalMusic InternetRadio Jazz JazzHistory LosslessCodecs Microtone MIDI_1 TheBlues ViolinMusic VirtualDJ VirtualWoodwinds VocalElimination WomenInHiphop MusicalInstruments MusicPiracy MusicPromotion PersianClassicalMusic ReggaeMusic Reverb Sampling_1 Sampling_2 SamplingEthics SatelliteRadio Shockwave SoundCards SoundEditing Soundhealing StreamingAudio SurroundSound

5 Music 80R Music and the WorldWideWeb Newsgroups (add forums) Specific topic Subscribe Blogs and RSS feeds have replaced some

6 Music 80R Music and the WorldWideWeb Clarify: Internet and World Wide Web: the Internet is a network of networks,a physical connection of numerous computers the World Wide Web is one way of sharing information across this network a system of interlinked, hypertext documents accessed via the Internet.

7 Music 80R Music and the WorldWideWeb What is Telematics? Using telecommunication networks is referred to as telematics Telepresence refers to attempts to recreate colocated experiences - people at a distance in the same room

8 Music 80R Music and the WorldWideWeb Types of Internet Music Music that is Created or Performed in Virtual Environments or Uses Virtual Instruments Music that Translates into Sound Aspects of the Network Itself Music that Uses the Internet to Enable Collaborative Composition or Performance

9 Music 80R Music and the WorldWideWeb Types of Internet Music Music that is Delivered via the Internet, with Varying Degrees of User Interactivity Music that Translates into Sound Aspects of the Network Itself PING

10 Music 80R Music and the WorldWideWeb Types of Internet Music Music that is Created or Performed in Virtual Environments or Uses Virtual Instruments Music that Uses the Network to Connect Physical Spaces or Instruments Music that Uses the Internet to Enable Collaborative Composition or Performance

11 Music 80R Music and the WorldWideWeb Online jamming, international multimusician bands used to be a pipe dream because of latency, lack of visuals, unified sound

12 Music 80R Music and the WorldWideWeb What is latency? The time it takes for data to travel to and from a location causes a delay - like cellphone delay For music this delay is awkward

13 Online music improvisation practice is informed by offline experience Telemusicians bring their cultural influences and behaviors with them online Telemusicians play the same instruments online as they do offline, i.e. guitarists played guitars, singers used microphones, and DJoriented players rapped and/or used turntables.

14 Telepresent music improvisation allows people to collaborate who might not have otherwise Distance, Family/Work commitments Reactivate a curtailed musical practice because of limited time and resources to find and travel to meet other players. Many telemusicians are simply more inclined to play online because they feel less inhibited in the absence of face-to-face interaction. Offline informs online and vice versa

15 Who can play? Anyone can play music online with others using everyday instruments and equipment Professionals Amateurs Students Educators

16 Where is this done? Home studios mostly Schools Public events Workshops Concerts

17 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY - Telematic Circle Deep Listening Institute» Deep Listening is a philosophy and practice developed by Pauline Oliveros that distinguishes the difference between the involuntary nature of hearing and the voluntary selective nature of listening. The result of the practice cultivates appreciation of sounds on a heightened level, expanding the potential for connection and interaction with one's environment, technology and performance with others in music and related arts.

18 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Developed the software JackTrip for real-time collaboration

19 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Mark Dresser - UC San Diego

20 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Mark Dresser - UC San Diego Ge Wang - Princeton Laptop Orchestra (Plork)

21 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Mark Dresser - UC San Diego Ge Wang - Princeton Laptop Orchestra (Plork) W. Scott Deal - Indiana University - Telematic Collective

22 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Mark Dresser - UC San Diego Ge Wang - Princeton Laptop Orchestra (Plork) W. Scott Deal - Indiana University - Telematic Collective Charles Nichols - University of Montana - Telematic Collective

23 Participants - Universities Pauline Oliveros - Rensselear Institute, Troy, NY Chris Chafe - Stanford s Center for Computer Research in Music and Acoustics (CCRMA) Mark Dresser - UC San Diego Ge Wang - Princeton Laptop Orchestra (Plork) W. Scott Deal - Indiana University - Telematic Collective Charles Nichols - University of Montana - Telematic Collective Synthia Payne - UC Santa Cruz

24 External soundcard Firewire cable Sends Audio To and From Computer Soundcard Out To Mixer In Mixer Out to Soundcard In

25 What is needed? Fast Consumer Internet Connection Basic DSL is fine Internet 2 Internet 2 is a separate backbone from

26 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.)

27 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional)

28 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional) Ejamming, NINJAM, JackTrip (Internet 2)

29 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional) Ejamming, NINJAM, JackTrip (Internet 2) External sound card (the better the better)

30 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional) Ejamming, NINJAM, JackTrip (Internet 2) External sound card (the better the better) Instrument(s)

31 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional) Ejamming, NINJAM, JackTrip (Internet 2) External sound card (the better the better) Instrument(s) Headphones

32 What is needed? Fast Internet Connection Basic DSL is fine Internet 2 Consumer grade computer (<5 y.o.) Audio Software (video optional) Ejamming, NINJAM, JackTrip (Internet 2) External sound card (the better the better) Instrument(s) Headphones Microphone and speakers optional

33 Levels of Engagement Free, Open Source, Public or Private NINJAM (central server on consumer Internet) JackTrip (P2P on I2 or consumer Internet) Currently also free commercial services Ejamming tubeplug

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35 Music Collaboration Software Ejamming - Free signup - <500 mile rule - Latency Free Software - P2P Architecture Not open source Agreements with BMI and ASCAP So people can play popular songs Required bandwidth A MINIMUM of 250kbps for 2 person jams is recommended. 750kbps or faster upload speeds are recommended for longer distance sessions with more than 2 other musicians. Check your upload and download speeds at

36 E-jamming

37 Music Collaboration Software - continued NINJAM - Free - Open Source - Central Server Architecture Can run it on a private server and invite people FakeTime - displaced timeline original emulations of popular genres Large DIY developer and user community who actively develop REAPER Creative Commons Share Alike. You allow others to distribute derivative works only under a license identical to the license that governs your work. As resistance to dominant culture Required Bandwidth The NINJAM client requires a fair amount of CPU power, a moderate amount of inbound bandwidth (192kbps for a typical 4 person jam, 512kbps for an 8 person jam) and less outbound bandwidth (100kbps typical).

38 Audio Software NINJAM

39 Audio Software JackTrip - Linux Based - Internet 2

40 The Big Challenge: Visuals consumer grade Internet speeds are not fast enough to allow for adequate video sync Temporary Solution: Use a separate video application and mute the audio

41 Video Software ichat (Mac Only)

42 Video Software ichat (Mac Only) ivisit

43 Video Software ichat (Mac Only) ivisit Skype

44 Video Software ichat (Mac Only) ivisit Skype Access Grid (Internet 2)

45 Videoconferencing Software Access Grid

46 Videoconferencing Software UltraVideoconferencing (McGill University)

47 Videoconferencing Software ivisit

48 Videoconferencing Software ichat (Mac Only)» From 100 Meeting Places

49 Videoconferencing Software Skype

50 To Summarize Although it might seem that online music collaborators are separate from everyday life Online music improvisation practice is informed by everyday experience Telemusicians bring offline background and behavior Matt plays the same drum set online as he does offline The mic I am singing through is the same one I use offline We would probably not have played together Many others like us Telepresent Music Collaboration potentially enables people to collaborate who might not have otherwise Distance, Other commitments Reactivate More freedom

51 Telepresent Music Collaboration does not replace face-to-face interaction In fact many times there are multiple co-located participants playing in the same room together Still many telemusicians never meet in person More inclined to play online because they are less inhibited Other commitments - do not have time/desire

52 SOUNDPAINTING - Sarah Weaver Developed by Walter Thompson Physical gestures for live composition Whole group Long Tone Play Point to Point Continue Scan Off Volume Pitch

53 TELEMATIC MUSIC GROUP DESCRIPTION: This group seeks to develop a set of nascent and ongoing experiments in telematic or "networked" performance across disiplines (music/theatre/visual arts). The core of the course will be the generation of new collaborative works over distance.