Rebekah WilsonSource Elements · Research
Lecturing on the topic of Networked Music Performance at the Sonology department of the Royal Conservatory, The Hague.
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Rebekah Wilson completed her post-graduate studies at the New Zealand School of Music, Victoria University of Wellington. Rebekah does research in Performing Arts and Computing technologies and is the CEO and technical Co-Founder of Source Elements.
March 2005 - July 2020
- Managing Director
March 2001 - March 2003
- Managing Director
March 2016 - March 2018
Field of study
The latent and unstable nature of networked performances, where the delayed transmission and uncertain, unstable, and compressed reception of transferred information demands scoring conceptualizations that consider the loss of the presence information traditionally expected by musicians when performing together in a shared space and time. The focus...
The potential richness of audio technology on the internet springs from advancements integral to developments driven by the primary concerns of commerce and science, giving rise to operable and affordable bandwidth in newly-accessible geographical areas as well as the growing sophistication of codecs, browser technology and audio frameworks. Yet us...
Networked music is no longer a future genre: the global quarantine event of 2020 launched the concept of performing together over the Internet into the mainstream. While the demand for performing at a distance may be a new imperative, musicians find themselves faced with technological and performative processes that do not appear to be suitable for...
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 discus...
When musicians cannot travel to another location where other musicians are, they generally assume that this means they cannot perform music together—even while the technology exists to allow them to do so. The perception that Internet technology is not suited for music performance is due to a lack of exposure on navigating the limitations specific...
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...