ï~~Proceedings of the International Computer Music Conference 2011, University of Huddersfield, UK, 31 July - 5 August 2011
RECONSIDERING LAPTOP ORCHESTRAS AS A COMPUTATIONAL
GRID FOR MUSIC PERFORMANCE
Stephen David Beck, Chris Branton
Center for Computation & Technology
Louisiana State University
Baton Rouge, Louisiana, USA
sdbeck@lsu. edu,
ABSTRACT
Laptop orchestras have become a popular ensemble form
for the exploration of interactive computer music as a group
endeavor. Although its roots date back to the mid-1980s, it
has only been in the past five years or so that these groups
have been established at universities, schools of music
and as stand-alone entities. As the number of ensembles
and the number of pieces written for these groups grows,
we need better tools to manage the orchestra's technical
side. In reconsidering the laptop orchestra as a computational grid for music, we are able to adopt a range of
well-established tools and techniques used for managing
scientific computational grids and apply them to this new
environment. We will discuss the basis for our position,
describe in general some important developments in our
research, and highlight some additional steps we are taking to further support the cyberinfrastructure of laptop orchestras.
1. INTRODUCTION
Laptop Orchestras [10] (LOs) have recently become a very
popular activity among academic institutions interested
in identifying innovative teaching methods for electroacoustic and computer music education. This interest has
spawned a new generation of ensemble acronyms reminiscent to this author of efforts to name electronic music
studios with a sense of humor and irony. Ensemble names
such as PLOrk, SLOrk, BLOrk, L2Ork, LOLs, FLEA, and
HELO', just to name a few, illustrate the passion many
of their respective ensembles have for this 21st century
version of earlier experiments in technology-based group
performance such as the Leauge of Automatic Music Composers and the Hub. [7]
Typically, Laptop Orchestra composer-performers develop software to interpret human gestures through computer interfaces that in turn control virtual instruments and
processes that ultimately render music. Compositions can
be improvised or scored, of determined or indeterminate
length, with or without acoustic musicians. Laptops often communicate across WiFi networks to synchronize
1In order, these groups are the Princeton LO, Stanford LO, Boulder
LO, Linux LO, the LO of Louisiana, Florida Laptop Ensemble, and the
Huddersfield Experimental LO.
branton@lsu.edu
time, distribute control messages, and manage other performance information. [11]
Each LO composition consists of a unique combination of software, user interfaces, and physical devices.
Configuration can range from the very simple (a single
piece of code on each machine), to the very complex (Wiimotes, iPads, custom UI and laptops, all driven by a networked time-sync). Laptops may all behave the same, or
have specialized individual roles. [3]
Figure 1. Our ensemble rehearses a work for laptops,
Wii-motes and an iPad.
Distribution, management and control of the necessary software across a heterogeneous collection of networked devices is a tremendous challenge for LOs. Each
composition has a unique collection of core software, middleware and user-interface software that must be initialized, launched and performed. The complexity of each
piece and skill of each performer can affect the amount
of time needed to prepare a piece for performance. And
this "performance complexity" scales exponentially to the
number of laptops involved and the technical skill level
of the performers involved. Princeton's laptop orchestra
identified software configuration as perhaps one of their
most significant problems. [11]
2. CHALLENGES FOR LOS
While the interest in establishing Laptop Orchestras as a
viable musical ensemble is seen in the rapid growth of
such ensembles around the US and the world, the challenges of managing these groups are substantial. First and
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