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Towards a Theory of Tele-Improvisatory Collaboration

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Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session

Part of the book series: Springer Series on Cultural Computing ((SSCC))

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Abstract

This chapter describes how the findings of this research contribute new practitioner knowledge to theories of tele-collaborative music making, and the implications for a broader theory of intercultural tele-improvisation. Specifically, it considers how culture and ritual are embedded in the creative and cognitive components of intercultural tele-collaboration. For example, how ritualised patterns of behavior are expressed in online musical sound, and the ways in which this shapes experiential, and aesthetic relationships of networked music making. A typology of experience detailing the perceptual, sensory and cognitive characteristics of the intercultural tele-improvisatory interaction is then proposed. The chapter also considers the role of emotional experiences and anxiety on collaborative creativity in distributed performance contexts. It begins with an examination of historical theories of networked music and sound to situate the contribution that this research makes towards a theory of intercultural tele-improvisatory collaboration.

A friend of mine once said that there is no difference between theory and practice. There is one difference. Practice won’t let you forget anything or leave anything out.

—Charles F. Kettering

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Notes

  1. 1.

    View interview with Heidi Grundmann about Horizontal Radio project https://vimeo.com/20131425.

  2. 2.

    View video of children from various schools interacting with Beat Bugs https://www.youtube.com/watch?v=HqVlFdqNKEg.

  3. 3.

    More information and downloads of the PSO interface http://www.abarbosa.org/pso/.

  4. 4.

    Sound Object (l’object sonore) refers to a sound in which the source is unknown, otherwise known as acousmatic sound.

  5. 5.

    Reduced listening refers to listening to the raw qualities of sound, independent of its real or imagined, source or meaning. Further information on l’object sonore and écoute réduite are available in Schaeffer’s treatise Traité des objets musicaux (1966).

  6. 6.

    Meta-Instruments are software controllers of electronic and computer-generated sound such as sound processors, foot controllers, sensors, and wearable technologies.

  7. 7.

    It is worth noting that reverberance plays a key role in many cultural and musical traditions in which instruments are performed in large acoustic spaces such as temples, or mosques.

  8. 8.

    To view video excerpt please visit https://youtu.be/NxWEXdRLDkQ?t=6m41s.

  9. 9.

    To view video excerpt please visit https://youtu.be/4uwfMbU1Zk0?t=4m.

  10. 10.

    To view video excerpt please visit https://www.youtube.com/watch?v=Md6E8tVf2FA&feature=youtu.be.

  11. 11.

    To view video excerpt please visit https://youtu.be/NxWEXdRLDkQ?t=6m35s.

  12. 12.

    To view video excerpt please visit https://youtu.be/TLoDqldjjSk?t=25m27s.

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  1. University of Technology Sydney, Sydney, NSW, Australia

    Roger Mills

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Mills, R. (2019). Towards a Theory of Tele-Improvisatory Collaboration. In: Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session . Springer Series on Cultural Computing. Springer, Cham. https://doi.org/10.1007/978-3-319-71039-6_5

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  • DOI: https://doi.org/10.1007/978-3-319-71039-6_5

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  • Publisher Name: Springer, Cham

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