Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to-and make cumbersome-the performance of tightly synchronised music, which traditionally depends on the conditions of tra...
This paper discusses the findings of a qualitative study, conducted in Australia, which embarked on the task of detecting and defining aspects of Australian guitar culture. This was undertaken by identifying and locating musically notate-able, quintessentially Australian guitar performance styles through an analytical look at the music of historica...
In this article we present the Networked Music Performance Library, which documents research and practice in the field of networked music performance. The library was developed in response to the skyrocketing interest in networked music due to social distancing and travel restrictions during the COVID-19 pandemic in 2020. In this article, we discuss the library’s working environment and briefly describe several similar earlier projects by other researchers. The main goals we set for the library were to collect materials, organise accessible and straightforward ways of navigating the collection, including knowledge from a wider context of time-based arts (theatre, dance and other time-based art forms), and create a community of users and contributors. We describe the main methods we use to find the works for the library and examine the current state of our collection, which has grown in the last year. Through an analysis of the entries’ metadata, we provide several examples of professionals’ use of the library. Current library users include performing musicians, teachers and composers. As the project is ongoing, we outline the scope of our future work as well as analyse several possible post-COVID applications for networked music, which include assisting socially isolated musicians, teaching, travel and new pandemics. We also show how this library could contribute to the development of new electroacoustic approaches.
We usually perceive time as an integral part of our everyday life. We try to wake up at the same time every day, we schedule our affairs and get upset if a train is five minutes late. However, we often face situations that challenge our usual experience of time when we notice an uncrossable gap between this experience and what can be measured by clocks. I believe that music is infinitely capable of providing us with such experiences, and creating that kind of confusing time with music is the main focus of my research. At the heart of this research is the idea of three ways of representing time in music: measured, unmeasured, and immeasurable. Theoretical conceptualization is mainly built upon the works of Henri Bergson and Alexander Vvedensky. However, their works focus mostly on individual experiences of time, but my main question is how one can communicate such an experience to other people through music, and how to make this experience social. I analyze different musical strategies that deal with unmeasured time or challenge the idea of measurement itself. I conclude by presenting my own strategies of creating confusing temporal experiences, mainly through building failing hierarchies of temporal authorities and challenging the possibility of simultaneity. These strategies are presented through the series of pieces called “Songs” on which I have been working while writing this paper.