Towards a Theory of Tele-Improvisatory Collaboration

  • Roger MillsEmail author
Part of the Springer Series on Cultural Computing book series (SSCC)


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.


  1. Babkoff H, Zukerman G, Fostick L, Ben-Artzi E (2005) Effect of the diurnal rhythm and 24 h of sleep deprivation on dichotic temporal order judgment. J Sleep Res 14:7–15CrossRefGoogle Scholar
  2. Barbosa ÁM (2006) Displaced soundscapes: computer-supported cooperative work for music applications. Ph.D., Universitat Pompeu Fabra, Barcelona, SpainGoogle Scholar
  3. Barrett LF, Mesquita B, Ochsner KN, Gross JJ (2007) The experience of emotion. Annu Rev Psychol 2007(58):373–403CrossRefGoogle Scholar
  4. Bell C (2009) Ritual theory, ritual practice. Oxford University Press, OxfordGoogle Scholar
  5. Bharucha JJ, Curtis M, Paroo K (2006) Varieties of musical experience. Cognition 100:131–172CrossRefGoogle Scholar
  6. Buenconsejo J (2011) Music in ritual. Musika Jornal 7: University of the Philippines Center for Ethnomusicology, 7:4–7Google Scholar
  7. Cáceres JP, Renaud AB (2008) Playing the network: the use of time delays as musical devices. In: Proceedings of the international computer music conference, Belfast, Northern Ireland, pp 244–250Google Scholar
  8. Csikszentmihalyi M (1997) Creativity: flow and the psychology of discovery and invention, 1st edn. HarperCollins Publishers Inc., New YorkGoogle Scholar
  9. Dissanayake E (2006) Ritual and ritualization: musical means of conveying and shaping emotion in humans and other animals. In: Brown S, Vogsten U (eds) Music and manipulation: on the social uses and social control of music. Berghahn Books, Oxford, pp 31–56Google Scholar
  10. Edelman GM (2004) Wider than the sky: the phenomenal gift of consciousness. Penguin Books, LondonGoogle Scholar
  11. Föllmer G (2002) Making music on the net: social and aesthetic structures in participative music. Ph.D., Martin-Luther-Universität Halle, WittenbergGoogle Scholar
  12. Föllmer G (2005) Electronic, aesthetic and social factors in Net music. Organised Sound 10(3):185–192 (Cambridge University Press)CrossRefGoogle Scholar
  13. Forlizzi J, Battarbee K (2008) Understanding experience in interactive systems. Paper presented at the Designing interactive systems DIS04, Cambridge, MA, pp 261–268Google Scholar
  14. Foucault B, Melican J (2007) The digital and the divine: taking a ritual view of communication and ICT interaction. In: Aykin N (eds) Usability and internationalization. HCI and culture. UI-HCII 2007. Lecture notes in computer science, 4559. Springer, Berlin, pp 74–82Google Scholar
  15. Giampietro M, Cavallera GM (2007) Morning and evening types and creative thinking. Personality Individ Differ 42:453–463CrossRefGoogle Scholar
  16. Godøy RI (2003) Motor-mimetic music cognition. Leonardo 36(1):317–319MathSciNetCrossRefGoogle Scholar
  17. Godøy RI, Leman M (2010) Why study musical gestures. In: Godøy RI, Leman M (eds) Musical gestures: sound, movement and meaning. Routledge, New York, pp 104–125Google Scholar
  18. Grimshaw M, Garner T (2015) Sonic virtuality: sound as emergent perception. Oxford University Press, OxfordCrossRefGoogle Scholar
  19. Halák J (2016) Merleau-Ponty on embodied subjectivity from the perspective of subject object circularity. ACTA Univ Carol Kinanthropologica 52(2):26–40CrossRefGoogle Scholar
  20. Holland S, Wilkie K, Mulholland P, Seago A (2013) Music interaction: understanding music and human-computer interaction. In: Holland S, Wilkie K, Mulholland P, Seago A (eds) Music and human-computer interaction. Springer, London, pp 1–28CrossRefGoogle Scholar
  21. Husserl E (1989) Husserliana 3. Ideas pertaining to a pure phenomenology and to a phenomenological philosophy: Second Book Studies in the phenomenology of constitution. Springer, The HagueCrossRefGoogle Scholar
  22. Iedema RAM (2003) Multimodality, resemiotization: extending the analysis of discourse as multi-semiotic practice. Vis Commun 2(1):29–57CrossRefGoogle Scholar
  23. Johnson M (2008) The meaning of the body: aesthetics of human understanding. Chicago University Press, ChicagoGoogle Scholar
  24. Juslin PN, Sloboda J (eds) (2010) Handbook of music and emotion: theory, research, applications. Oxford University Press, OxfordGoogle Scholar
  25. Juslin PN, Trimmers R (2010) Expression and communication of emotion in music performance. In: Juslin PN, Sloboda JA (eds) Music and emotion: theory, research, applications. Oxford University Press, New York, pp 453–489Google Scholar
  26. Kane B (2007) Aesthetic problems of net music. Paper presented at the Spark 2007: Festival of electronic music and art, University of Minnesota School of Music, Minneapolis, USA. Accessed 20 Aug 2018
  27. Kenny DT (2010) The role of negative emotions in performance anxiety. In: Juslin PN, Sloboda J (eds) Handbook of music and emotion: theory, research, applications. Oxford University Press, Oxford, UK, pp 425–451Google Scholar
  28. Killgore WDS (2010) Effects of sleep deprivation on cognition. In: Kerkhof GA, Dongen HPAV (eds) Progress in brain research, vol 185. Elsevier, Belmont, MA, USA, pp 105–129Google Scholar
  29. Leman M (2010) Music, gesture, and the formation of meaning. In: Godøy RI, Leman M (eds) Musical gestures: sound, movement and meaning. Routledge, New York, pp 126–153Google Scholar
  30. Machin D (2011) Lecture 6: Modality in sound. Semiotics of sound, Open Semiotics Resource CentreGoogle Scholar
  31. Meyer LB (1956) Emotion and meaning in music. University of Chicago Press, ChicagoGoogle Scholar
  32. Mills R (2014) Tele-improvisation: a multimodal analysis of intercultural improvisation in networked music performance. Ph.D., University of Technology, Sydney. Accessed 18 Sept 2017
  33. Mills R, Beilharz K (2012) Listening through the firewall: semiotics of sound in networked improvisation. Organised Sound 17(1):16–27CrossRefGoogle Scholar
  34. Mills R, Slawig M, Utermöhlen E, Uydu Y, Vine C (2010) Ethernet Orchestra rehearsal discussion: distinguishing electronic and acoustic sound in intercultural tele-improvisation (Unpublished Audio Recording)Google Scholar
  35. Molino J, Underwood JA, Ayrey C (1990) Musical fact and the semiology of music. Music Anal 9(2):105–156CrossRefGoogle Scholar
  36. Nattiez JJ (1990) Music and discourse: toward a semiology of music. Princeton University Press, New JerseyGoogle Scholar
  37. Oliveros P (2005) Deep listening: a composers sound practice. iUniverse Inc, New YorkGoogle Scholar
  38. Overy K, Molnar-Szakacs I (2009) Being together in time: musical experience and the mirror neuron system. Music Percept Interdisc J 26(5):489–504CrossRefGoogle Scholar
  39. Perlovsky L (2015) Origin of music and embodied cognition. Cognition. Retrieved from Frontiers in Psychology website: Accessed 20 Aug 2018
  40. Pink S (2015) Approaching media through the senses: between experience and representation. Media Int Aust 154:5–14CrossRefGoogle Scholar
  41. Pocket Oxford Latin Dictionary: English-Latin (2012) 3 edn. Online: Oxford University PressGoogle Scholar
  42. Rebelo P (2009) Dramaturgy in the network. Contemp Music Rev 28(4–5):287–393Google Scholar
  43. Renaud A, Rebelo P (2006) Network performance: strategies and applications. Paper presented at the conference for new interfaces for musical expression, Paris, France. Accessed 4 Sept 2018
  44. Risset JC (2007) Fifty years of digital sound for music. Paper presented at the 4th sound and music computing conference, Lefkada, Greece, pp 3–8Google Scholar
  45. Ross A (2005) Applause: a rest is noise special report. Accessed 23 July 2018
  46. Russell JA (2003) Core affect and the psychological construction of emotion. Psychol Rev 2003(110):145–172CrossRefGoogle Scholar
  47. Sanderson WC, DiNardo PA, Rapee RM, Barlow DH (1990) Syndrome comorbidity in patients diagnosed with a DSM-III-R anxiety disorder. J Abnorm Psychol 99(3):308–312CrossRefGoogle Scholar
  48. Sayyadi P (2012) Video cue recall interview/Interviewer: R. Mills. University of Technology, Sydney, AustraliaGoogle Scholar
  49. Schaeffer P (1966) Traité des objets musicaux. Éditions du Seuil, ParisGoogle Scholar
  50. Schafer RM (1994) The soundscape: our sonic environment and the tuning of the world. Destiny Books, Rochester, VTGoogle Scholar
  51. Scruton R (1997) The aesthetics of music. Oxford University Press, OxfordGoogle Scholar
  52. Tsabary E (2016) Improvisation as an evolutionary force in laptop orchestra culture. Crit Stud Improvisation/Études critiques en improvisation 11(1–2):1–12Google Scholar
  53. Van Leeuwen T (1999) Speech, music, sound. Macmillan, BasingstokeCrossRefGoogle Scholar
  54. Van Nort D, Jarvis I, Palumbo M (2016) Towards a mappable database of emergent gestural meaning. Paper presented at the NIME 2016, Griffith University, Brisbane, Australia, pp 46–50Google Scholar
  55. Wark M (2012) Telesthesia: communication, culture and class. Polity Press, CambridgeGoogle Scholar
  56. Weinberg G (2002) The aesthetics, history, and future challenges of interconnected music networks. Paper presented at the ICMC, Gothenburg, Sweden, pp 349–356Google Scholar
  57. Weinberg G (2003) Interconnected musical networks: bringing expression and thoughtfulness to collaborative music making. Ph.D., Massachusetts Institute of Technology, MassachusettsGoogle Scholar
  58. Weinberg G (2005) Interconnected musical networks: toward a theoretical framework. Comput Music J 29(2):23–39CrossRefGoogle Scholar
  59. Whalley I (2014) Broadening telematic electroacoustic music by affective rendering and embodied real-time data sonification. Paper presented at the international computer music conference, Athens, Greece, pp 301–307Google Scholar
  60. Whalley I (2015) Developing telematic electroacoustic music: complex networks, machine intelligence and affective data stream sonification. Organised Sound 20(Special Issue 1):90–98CrossRefGoogle Scholar
  61. Zahavi D (2002) First-person thoughts and embodied self-awareness: some reflections on the relation between recent analytical philosophy and phenomenology. Phenomenol Cogn Sci 1(1):7–26CrossRefGoogle Scholar

Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  1. 1.University of Technology SydneySydneyAustralia

Personalised recommendations