Skip to main content
×
Home
    • Aa
    • Aa

Listening Through the Firewall: Semiotics of sound in networked improvisation

  • Roger Mills (a1) and Kirsty Beilharz (a2)
Abstract

Maturation of network technologies and high-speed broadband has led to significant developments in multi-user platforms that enable synchronous networked improvisation across global distances. However sophisticated the interface, nuances of face-to-face communication such as gesture, facial expression, and body language are not available to the remote improviser. Sound artists and musicians must rely on listening and the semiotics of sound to mediate their interaction and the resulting collaboration. This paper examines two case studies of networked improvisatory performances by the inter-cultural tele-music ensemble Ethernet Orchestra.It focuses on qualities of sound (e.g. timbre, frequency, amplitude) in the group's networked improvisation, examining how they become arbiters of meaning in dialogical musical interactions without visual gestural signifiers. The evaluation is achieved through a framework of Distributed Cognition, highlighting the centrality of culture, artefact and environment in the analysis of dispersed musical perception. It contrasts salient qualities of sound in the groups’ collective improvisation, highlighting the interpretive challenges for cross-cultural musicians in a real-time ‘jam’ session. As network technologies provide unprecedented opportunities for diverse inter-cultural collaboration, it is sound as the carrier of meaning that mediates these new experiences.

Copyright
Corresponding author
E-mail: *Roger.Mills@uts.edu.au; **Kirsty.Beilharz@uts.edu.au
Linked references
Hide All

This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

I.I. Balkwill , W.F Thompson . 1999. A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues. Music Perception 17(1) (Fall 1999): 4364.

J.G. Beerends , A.J.M Houtsma . 1989. Pitch Identification of Simultaneous Diotic and Dichotic Two-Tone Complexes. Journal of the Acoustic Society of America 85: 813819.

C Chafe . 2009. Tapping into the Internet as an Acoustical/Musical Medium. Contemporary Music Review 28(4–5) (August/October): 413420.

C Fales . 2002. The Paradox of Timbre. Ethnomusicology 46(1): 5695.

J.M Hajda . 2007. The Effect of Dynamic Acoustical Features on Musical Timbre. In Beauchamp, J. (ed.) Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music. New York: Springer.

J. Hollan , E. Hutchins , D Kirsh . 2000. Distributed Cognition: Toward a New Foundation for Human-Computer Research. ACM Transactions on Computer-Human Interaction 7(2): 174196.

C. Hourdin , G. Charbonneau , T Moussa . 1997. A Multi-Dimensional Scaling Analysis of Musical Instruments’ Time-Varying Spectra. Computer Music Journal 21: 4055.

A.J.M Houtsma . 1984. Pitch Salience of Various Complex Sounds. Music Perception 1: 296307.

A.J.M Houtsma . 1997. Pitch and Timbre: Definition, Meaning and Use. Journal of New Music Research 26: 104115.

R.A. Kendall , E.C Carterette . 1993. Verbal Attributes of Simultaneous Wind Instrument Timbres: II. Adjectives Induced from Piston's Orchestration. Music Perception 10: 269502.

R.A. Kendall , E.C. Carterette , J.M Hajda . 1999. Perceptual and Acoustical Features of Natural and Synthetic Orchestral Instrument Tones. Music Perception 16: 327362.

C.L Krumhansel . 1997. An Exploratory Study of Musical Emotions and Psychophysiology. Canadian Journal of Experimental Psychology 51: 336352.

P.N. Juslin , P Laukka . 2003. Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code? Psychological Bulletin 129(5): 770814.

L Landy . 1994. The ‘Something to Hold on to Factor’ in Timbral Composition. Contemporary Music Review 10(2): 4960.

P Manning . 2004. Electronic and Computer Music. New York: Oxford University Press.

P Moisala . 1995. Cognitive Study of Music as Culture: Basic Premises for ‘Cognitive Ethnomusicology’. Journal of New Music Research 24(1): 820.

C.B. Monahan , R.A. Kendall , E.C Carterette . 1987. The Effect of Melodic and Temporal Contour on Recognition Memory for Pitch Change. Attention, Perception & Psychophysics 42: 306307.

B Nettl . 1956. Music in Primitive Culture. Cambridge, MA: Harvard University Press.

R.L. Pratt , P.E Doak . 1976. A Subjective Rating Scale for Timbre. Sound and Vibration 45(3): 317328.

S Serafini . 1995. Timbre Judgements of Javanese Gamelan Instruments by Trained and Untrained Adults. Psychomusicology 14: 137153.

C.M Smith . 1972. The Aesthetics of Charles S. Peirce. Journal of Aesthetics and Art Criticism 31(1) (Autumn): 2129.

T Van Leeuwen . 1999. Speech, Music, Sound. Basingstoke: Macmillan.

E. Zwicker , H Fastl . 1999. Psychoacoustics: Facts and Models. Berlin and New York: Springer.

Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×
Type Description Title
UNKNOWN
Supplementary Materials

Mills and Beilharz supplementary material
Sound example 2.aac

 Unknown (12.1 MB)
12.1 MB
UNKNOWN
Supplementary Materials

Mills and Beilharz supplementary material
Sound example 1.aac

 Unknown (9.3 MB)
9.3 MB

Metrics

Full text views

Total number of HTML views: 3
Total number of PDF views: 30 *
Loading metrics...

Abstract views

Total abstract views: 118 *
Loading metrics...

* Views captured on Cambridge Core between September 2016 - 28th June 2017. This data will be updated every 24 hours.