Beyond being (t)here: the social and personal implications of making music at a distance
Pages 686 - 687
Abstract
This literature review discusses the social phenomena that surround and affect the process of making music with a distant collaborator, and probes future directions for this area known as "computer supported collaborative music" [3]. Articles were sampled by searching the SCOPUS, EBSCOHOST, IIMP, ACM Digital Library and Google Scholar for abstracts that included the keywords "collaborative music" or "networked music". From this group of article the author highlights studies that have reported factors that altered the experience of collaborative composition. Preliminary results indicate that novices to music composition can use metaphors, (present in tools that do not replicate face to face interaction) to compose pieces with others without formal music training.
References
[1]
Indaba Music. 2010, Retrieved August 25, 2010, from http://www.indabamusic.com
[2]
Music collaboration, share music tracks, Pro Tools, GarageBand, Sonar, remix, share beats - Kompoz.com. 2010, Retrieved August 25, 2010, from http://www.kompoz.com
[3]
Barbosa, á. Computer-Supported Cooperative Work for Music Applications. (2006).
[4]
Braasch, J. Telematic Music-Restrictions and Advantages Compared to Traditional One-Site Music Events. In Anonymous International Computer Music Conference, (Iogo, Belfast)., 2008.
[5]
Daft, R. L. and Lengel, R. H. Organizational information requirements, media richness and structural design. Management science, 32, 5 (1986), 554--571.
[6]
Davenport, E. and Hall, H. Organizational knowledge and communities of practice. Annual review of information science and technology, 36, 1 (2002).
[7]
Grudin, J. Computer-supported cooperative work: history and focus. Computer, 27, 5 (1994), 19--26. DOI=10.1109/2.291294.
[8]
Hollan, J. and Stornetta, S. Beyond being there. In Anonymous CHI '92: Proceedings of the SIGCHI conference on Human factors in computing systems. (Monterey, California, United States,). ACM, New York, NY, USA, 1992, 119--125.
[9]
Jarvenpaa, S. L., Knoll, K. and Leidner, D. E. Is anybody out there?: antecedents of trust in global virtual teams. J. Manage. Inf. Syst., 14, 4 (1998), 29--64.
[10]
Jarvenpaa, S. L. and Leidner, D. E. Communication and Trust in Global Virtual Teams. Journal of Computer-Mediated Communication, 3, 4 (1998).
[11]
McCarthy, C., Bligh, J., Jennings, K. and Tangney, B. Virtual collaborative learning environments for music: Networked drumsteps. Comput. Educ., 44, 2 (2005), 173--195. DOI=10.1016/j.compedu.2004.08.004.
[12]
Mills, R. Dislocated Sound: A Survey of Improvisation in Networked Audio Platforms. In Anonymous Conference on New Interfaces for Musical Expression (NIME 2010). (Sydney, Australia,)., 2010.
[13]
Rocco, E., Finholt, T., Hofer, E. C. and Herbsleb, J. Designing as if trust mattered. Collaboratory for Research on Electronic Work (CREW) Technical Report, (2000).
[14]
Seddon, F. Collaborative computer-mediated music composition in cyberspace. British Journal of Music Education, 23, 3 (Nov 2006), 273.
[15]
Sergi Jordá. FMOL: Toward User-Friendly, Sophisticated New Musical Instruments. Computer Music Journal, 26, 3 (2002), 23--39.
[16]
Weinberg, G. Interconnected Musical Networks: Toward a Theoretical Framework. Comput. Music J., 29, 2 (2005), 23--39.
Index Terms
- Beyond being (t)here: the social and personal implications of making music at a distance
Recommendations
Mary had a little scoreTable* or the reacTable* goes melodic
NIME '06: Proceedings of the 2006 conference on New interfaces for musical expressionThis paper introduces the scoreTable*, a tangible interactive music score editor which started as a simple application for demoing "traditional" approaches to music creation, using the reacTable* technology, and which has evolved into an independent ...
BOEUF: A Unified Framework for Modeling and Designing Digital Orchestras
Music, Mind, and EmbodimentAbstractOrchestras of Digital Musical Instruments (DMIs) enable new musical collaboration possibilities, extending those of acoustic and electric orchestras. However the creation and development of these orchestras remain constrained. In fact, each new ...
MuSeeCol: A See-through Multi-touch Surface for Face-to-face Musical Collaboration
ACE '16: Proceedings of the 13th International Conference on Advances in Computer Entertainment TechnologyMuSeeCol is a collaborative music creation system that allows two users to jointly and playfully compose melodic or percussive music. Collaborative music is rendered when two face-to-face users interact with their respective side of a see-through multi-...
Comments
Information & Contributors
Information
Published In
February 2011
858 pages
ISBN:9781450301213
DOI:10.1145/1940761
Copyright © 2011 ACM.
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]
Publisher
Association for Computing Machinery
New York, NY, United States
Publication History
Published: 08 February 2011
Check for updates
Author Tags
Qualifiers
- Research-article
Conference
iConference '11
Contributors
Other Metrics
Bibliometrics & Citations
Bibliometrics
Article Metrics
- 0Total Citations
- 188Total Downloads
- Downloads (Last 12 months)9
- Downloads (Last 6 weeks)1
Reflects downloads up to 06 Jan 2025
Other Metrics
Citations
View Options
Login options
Check if you have access through your login credentials or your institution to get full access on this article.
Sign in