Telematic composition

Abstract

The practice of distributed, networked music performance, involving video and audio representations, is rapidly growing and presenting new possibilities and opportunities for aesthetic expression. This thesis ex- amines the expanding body of works in telematic music and formulates a critical analysis of the primary aesthetic and technical concerns for music composition and performance. Presence, agency, and interac- tivity inform telematic music performance, stemming from the transparency or mediation of the network, directly impacting the expressive capabilities of the medium. Practical issues in the problem domain of networked ensemble performance were examined through a series of experimental research sessions, showing that latency affects the perception of interactivity and presence and strongly coerces musical results. Visual representations can be critical for communication at key ensemble moments, regardless of synchrony with other media, yet audio streams remain the primary channel for musical connection and interaction. The multiple composite musical results, different at each location due to network transmission times, leads to a unique reformulation of the notion of “piece,” creating many valid aesthetic experiences from a single, distributed production.