![]() ![]() This paper also exhibits that state-synchronization techniques developed for multiplayer video games are aptly suited for network music environments. Although UDP is preferable to TCP for transmitting musical gestures, we will show that it is not sufficient for transmitting control data reliably across consumer grade networks. This paper demonstrates how previous musical networking systems predicated upon UDP transmission are unreliable on the open internet. This system is inspired by the networking mechanics found in multiplayer video games which represent data as a state that may be synchronized across several clients using a hub-based server. In this paper we present a new control-data synchronization system for real-time network music performance named OSCthulhu. We try to give a flavour of an exciting but hazardous world at the forefront of live laptop performance. We look at two test cases, the command-line music of slub utilising, amongst a grab-bag of technologies, Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider. This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved. Often this activity takes place within some established language for computer music like SuperCollider, but there is no reason to stop errant minds pursuing their innovations in general scripting languages like Perl. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. The present research has scientific and practical value since the results obtained may contribute to developing new music education in other educational institutions. Consequently, it confirms the positive potential of the digital teaching environment. The experimental work showed better results in the experimental group in both perception (t = 6.931, df = 133, p = 0.000) and performance of musical rhythm (t = 8.387, df = 133, p = 0.000). It involved 160 students in Huaqiao University, China. This research builds on an empirical approach through a quasi-experiment. The present study aims to investigate the impact of an OSC-based interactive learning system on the rhythmic abilities of university students enrolled in electroacoustic music education. This approach promotes the development of practical musical skills among students. For this purpose, the researchers of the present study elaborated and implemented a study program that presupposes involving students in the learning process using interactive digital tools. In this context, it is crucial to comprehend the possibility of developing new ways of teaching electroacoustic music using such technology tools. Nowadays, modern technologies provide a variety of opportunities in many fields, including education. We address the network latency issue with latency-compensated synchronization, allowing each participant to have their performance played back similarly on all participating machines regardless of their physical location and distance from each other. The proxy intercepts the communication between a SuperCollider server and its clients at the protocol level and relays it to other participating peer servers. We Yospanya, Poonna a proxy system that enables different SuperCollider-based live coding environments to collaborate over the Internet via Open Sound Control protocol. Different performers may also be familiar with different live coding languages and environments, thus making collaboration options more limited. ![]() There is an inherent latency issue with any networked musical performance, although to a lesser extent in live coding. Networked live coding as a form of musical ensemble performance is generally limited to having performers coding in the same venue, using the same programming environment. ![]()
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