This article presents results of a study on ‘Net music’ that was initiated in 1996 and presented in 2002 as a doctoral dissertation at Martin-Luther-Universität Halle-Wittenberg in Germany (Föllmer 2005). Since no scholarship encompassing the whole field as defined by the term ‘Net music’ has been published until recently, the study involved the collection and analysis of a broad spectrum of musical projects that employ the Internet in very different ways. Around seventy examples considered to be classifiable as Net music were chosen to represent the scope of different approaches to how electronic networks can be used for making music. The first part of this article describes three outstanding examples of Net music and their interplay with particularly important characteristics of electronic networks. The second part discusses a possible typology of Net music.

Since telecommunication can never equal the richness of face-to-face interaction on its own terms, the most interesting examples of networked music go beyond the paradigm of musicians playing together in a virtual room. The Open Sound Control protocol has facilitated dozens of such innovative networked music projects. First the protocol itself is described, followed by some theoretical limits on communication latency and what they mean for music making. Then a representative list of some of the projects that take advantage of the protocol is presented, describing each project in terms of the paradigm of musical interaction that it provides.

Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.

This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt.

Auracle is a voice-controlled, networked sound instrument that enables users to control a software synthesizer with their voice and to interact with each other in real time over the Internet. This paper discusses the historical background of the project, beginning with Neuhaus' ‘virtual aural spaces’ in the 1960s and relating them to Barbosa's conception of ‘shared sonic environments’. The architecture of the system is described in detail, including the multi-level analysis of vocal input, the communication of that analysis data across the network, and the mapping of that data onto a software synthesizer.

Not only is Auracle itself a collaborative, networked instrument, but it was developed through a collaborative, networked process. The project's development mechanisms are examined, including the use of existing tools for distributed development, the creation of custom development applications, the adoption of extreme programming practices, and the use of Auracle itself as a means for communication and collaboration among developers.

The Public Sound Objects (PSOs) project consists of the development of a networked musical system, which is an experimental framework to implement and test new concepts for online music communication. The PSOs project approaches the idea of collaborative musical performances over the Internet by aiming to go beyond the concept of using computer networks as a channel to connect performing spaces. This is achieved by exploring the internet's shared nature in order to provide a public musical space where anonymous users can meet and be found performing in collective sonic art pieces.

The system itself is an interface-decoupled musical instrument, in which a remote user interface and a sound processing engine reside with different hosts in an extreme scenario where a user can access the synthesizer from any place in the world using the World Wide Web. Specific software features were implemented in order to reduce the disruptive effects of network latency, such as dynamic adaptation of the musical tempo to communication latency measured in real time and consistent sound panning with the object's behaviour at the graphical user interface.

This paper presents CODES – COoperative Music Prototype DESign, a Web-based environment for cooperative music prototyping. Its main goal is to allow any user – especially those with no expertise in music – to draft musical pieces collectively, in a prototyping manner. So, such musical sketches – we call them music prototypes – can be repeatedly tested, listened to, and modified, not only by their original creators but also by the online partners that will cooperate in their refinement, until their final form is reached. CODES enables sharing of knowledge by means of rich interaction and argumentation mechanisms associated to each prototype modification, which are also secure ways of providing awareness to this asynchronous collaborative environment. In this paper, we present the concept of music prototyping and introduce the main aspects related to cooperative prototyping of musical pieces, focusing on issues concerning a musical piece as a collective creation of a virtual community. We will also show some usage examples as a means to describe the overall architecture, behaviour and potentials of the CODES environment.

Informed by a proposed theoretical framework for the field of interconnected musical networks (Weinberg 2005), I describe a set of local musical networks that utilise novel gestural controllers for interdependent collaborative performance. The paper begins by contextualising developments in the field of musical networks in correlation with development of technological innovations, leading to the utilisations of gestural controllers in local musical networks. This introduction leads to the definition and categorisation of theoretical and practical approaches for the design of local gestural networks, addressing motivations, social strategies, network architectures, musical content, and control software and hardware. Based on this theoretical framework I describe the evolution of four local musical networks that utilise newly developed gestural controllers, titled ‘Squeezables’, ‘Musical Fireflies’, ‘Beatbugs’ and ‘Voice Patterns’. The paper discusses the design and development process of these projects and ends with a comparative analysis of the networks and controllers based on conceptual and practical criteria.

The network serves as a conceptual, metaphorical, practical and musical force that drives Sustainable, a dynamic robotic sound installation. The piece is comprised of seven autonomous water gong nodes that are networked together by water tubes to distribute water throughout the system. A water resource allocation algorithm guides this distribution process and produces an ever-evolving sonic and visual texture. A simple set of behaviours govern the individual gongs, and the system as a whole exhibits emergent properties that yield local and large-scale forms in sound and light that are visually and musically compelling.