Sonidos Telemáticos: Network Remote Performance for

Compositional Paradigm Shifting in Peruvian Musical Learning

Practice

José Ignacio López Ramírez Gastón

Laboratorio de Música Electroacústica y Arte Sonoro, Dirección de Innovación y Transferencia Tecnológica,

Vicepresidencia de Investigación, Universidad Nacional de Música, Lima, Peru

Keywords: Electroacoustic Music, Sound Arts, Latin American Academic Music, Experimental Peruvian Music,

ELUNM.

Abstract: This paper explores the implementation of network data transmission for real-time remote musical

performance as part of a set of strategies for paradigm shifting in Peruvian musical education. It describes the

use of the [netsend] / [netreceive] objects in the Pure Data (Pd) visual programming language by the Ensamble

de Laptops de la Universidad Nacional de Música – ELUNM, for the composition and execution of musical

pieces developed by the creation of programs (patches) design for network distant performance interactivity

through a server computer. This practice aims at bridging a technological and conceptual gap, in musical

composition and performance, that has accompanied the history of musical education in the country, keeping

computational thinking from becoming a tool for the construction of new creative expressions and the

extension/reconfiguration of the musical arts.

1 INTRODUCTION

The history of music has been inseparable from

technology, and we can comfortably say that most

music today is machine-ridden. However self-evident

this might seem, the relationship between musical

practices and technological development have been,

at times, difficult and controversial. From a ‘natural

fear’ of the new and a general technophobic stance, to

a lack of opportunities to catch up with rapid

technological development, musical technology has,

in many cases, been marginalized to a mere mean to

produce ‘something else’ known as music. For

instance, the heavy use of digital artifacts in

contemporary music does not necessarily reflect a

conceptual comprehension of the transformational

processes produced by the Third Industrial

Revolution. If, from the perspective of a global north,

“how fast these technologies are accepted depends on

a number of factors as well as an understanding of the

appropriate model to adapt or develop”

(Evwiekpaefe, A., Chiemeke, S., Haruna, M., 2018),

for the Peruvian environment, the conditions were

https://orcid.org/0000-0003-2444-5437

dramatically different from those of the ‘international

community’, and music technology was received by

a very specific “almost official nationalist and

technophobic context” (López, 2018), that affected

radically the development of technologically based

musical activities and therefore its participation in

Peruvian musical education. The role of particular

social discourses in the [under]development of

technology-based musical activities in Perú, together

with a report on new efforts being made to implement

substantial changes on the culture of musical

education in the country, has been extensively

documented on my Ph.D. dissertation (López, 2020).

This text centers on the implementation of

network remote performances by the Ensamble de

Laptops de la Universidad Nacional de Música in

Perú, not as a mere reflection of contemporary

practical oportunities for musical perfomance or a

demostration of computer technology advancement,

but as a potential paradigm shifting strategy that

could help move peruvian musical education away

from traditional models of compartmentalization that

might see a laptop ensamble or a remote performance,

690

López Ramírez Gastón, J.

Sonidos Telemáticos: Network Remote Performance for Compositional Paradigm Shifting in Peruvian Musical Learning Practice.

DOI: 10.5220/0010532806900697

In Proceedings of the 13th International Conference on Computer Supported Education (CSEDU 2021) - Volume 1, pages 690-697

ISBN: 978-989-758-502-9

for instance, as part of a conflicting conceptual

schema that undermines the set of predetermined

rules regarding musical education models and

performative practices. This is a report on a work in

process which results are to be found and interpreted

in the following years.

2 THE WORLD OF LAPTOP

ENSEMBLES AGAINST THE

PERUVIAN EXPERIENCE

Arne Eigenfeldt noted more than a decade ago that:

“the laptop ensemble, or orchestra, ha[d] become a

new paradigm for electroacoustic music performance

in universities in North America and Europe”, and

that in order to form such an ensemble “you could

simply advertise the course, and ask the students to

bring their laptops”, declaring that the hardware

problem had been solved (Eigenfeldt, 2010). This

simplicity and viability to implement a laptop

orchestra in a university setting, mentioned by

Eigenfeldt, can be easily understood as the result of a

long history of computer music experimentation, in

the global north, and as a demonstration of the social

conditions these developments denote. By 2012 the

proliferation of laptop ensembles had led to the

organization of the 1st Symposium on Laptop

Ensembles & Orchestras- SLEO at the Louisiana

State University.

Close to a decade later, the

existence of such ensembles represents no novelty for

a world that has embraced technology for both

academic and popular music. However, this

embracing world must be understood as incomplete

in the sense that it imagines a not existing unity, of

which places like Peru are not a part.

Whether the lack of a long history of computer

music or laptop orchestration in Peru reflects a

displacement of Peruvian society to the margins of

global technological development, showing the

byproducts of a postcolonial condition, is, while easy

to imagine, an analysis that goes beyond the scope of

this work. However, to give us some sense of the

situation for education in musical technology in the

country, it might suffice to say that there are currently

no Computer Music or Electronic Music programs in

Peruvian higher education, and that music technology

is only seen as a means for the production of real

music, keeping technology as a subaltern practice

https://ccrma.stanford.edu/~ruviaro/texts/SLEO_2012_

Proceedings.pdf. Retrieved on march 22, 2021.

mainly associated with the recording studio and the

notion of musical production.

In order to diagnose the current situation of

technological sound arts in this particular

geographical and political setting, and to assess the

relevancy of constructing mechanisms for musical

performance that challenge the traditional models for

musical education in this specific nation-state, one

must understand, in basic terms, the conditions of

difference and otherness that affect not only the (1)

access to technologically based musical products in

Perú, but, moreover, (2) the possibilities of

constructing a philosophical comprehension of the

value of those musical tools.

It is also important to mention that the hardware

problem has not been solved, and access to a laptop

computer that could handle heavy DSP processing is

not necessarily certain for a music student at a public

institution in Perú. For instance: “[i]n 2019,

approximately 32.7 percent of all households in Peru

owned at least one computer”.

This problematic had

to be taken under consideration for the laptop

ensemble we will here discuss, as programing

decisions had to be made taking under consideration

the specific laptop computers we were to work with.

2.1 What Can You Do Yourself

The nonexistence of the complementary role of

education in the historical development of computer

music and related sound arts, has affected the

progress of national popular music cultures based on

technological experimentation, and influenced the

existence of a general lack of interest for computers

as a musical tool for aesthetic research. This is

especially true since the last decade of the twentieth

century when “[l]aptop composition – the creation

and performance of music primarily using laptop

computers – emerged as an important musical

activity” (Latartara, 2010). While the world was

being, during this period, invaded by laptop

performers (both in popular and academic music),

Peruvian musicians interested in the new possibilities

for sound creation based in electronics and ‘machine

aesthetics’, did not envision the laptop as their main

creative tool.

I have previously defined a set of values that

informed the Peruvian experimental electronic

musician during the transition to the twenty-first

century, describing these artists as: (1) informal, (2)

https://www.statista.com/statistics/985602/peru-share-

households-access-computer/. Retrieved on march 22,

2021.

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recurseros, roughly translated as resourceful, and (3)

cachineros, trading and sometimes scavenging for

second hand goods (López, 2008). Contrary to the

position of the avant-garde musician of the global

north who takes a decision towards underground,

DIY, or Lo-Fi cultures, as an ethical declaration of

self-sufficiency, or even as a statement against

academic specialization; the Peruvian sound artist

engages in these practices as a result of a contextual

constrain and in a need to adapt to a continuous state

of social insecurity. Most, if not all, of theses artists

are self-educated in musical technology, but not

necessarily by decision. By the time I presented my

research in 2008, homemade analogic synthesizers,

old drum machines, guitar pedals, and consumer

based second hand cheap electronic keyboards, were

the tools of the trade for experimentation.

Figure 1: El Lazo Invisible, IONAXS, Eric Ravina, and

Paruro, performing at Paruro Street, 2012.

The absence of opportunities to select a personal

computer as the easy solution for musical

composition, affects the musical output being

produced. The level of complexity and variety of the

resulting musical products is determined not by a

knowledge or academic professional training but by

exposure to popular music products from an

international music industry. It is difficult to talk, at

this historical stage, of compositional techniques (in

the traditional academic sense) for electronic music in

Peru, as most of the work done by these underground

communities is based on live improvisation. This

being said, a morphological analysis of the musical

products of these communities is still needed.

While contemporary conditions have changed and

the rapid democratization of access to personal

computers have reached Peru, the lack of

implementation of academic discourses to

accompany the machines, prevents both the amateur

and the academically trained musician from engaging

into an informed musical practice that implements the

aesthetics and conceptual possibilities given by the

machine frameset and its alternative languages. Many

students of music in the country regard the multitrack

Digital Audio Workstation (DAW) as the only

software worthy of attention, and most papers and

undergraduate investigations by the students at the

university level, explore the notions of the home

studio or the complementary capabilities of

technology for the production of music by traditional

instrumentation and harmonic models in a traditional

studio setting.

Having exposed the general circumstances

surrounding the lack of implementation of academic

training related to computer music practices, and

therefore, laptop musical experimentation, an

essential question will always remained unanswered:

given the opportunity for educational training in

computer music issues, would the Peruvian musical

output have dramatically changed? If the country is

now capable of reproducing most foreign musical

styles and confront all the possibilities given by

contemporary musical hardware and software, I

believe a lack of connection with the original

environments for computer music training and

academic exploration has affected dramatically the

way these musical styles are perceived and, therefore,

the probability for novel or innovative practices in the

country. This work explores some of the attempts

being made to change this historical course.

2.2 Accepting the Machine

The Technology Acceptance Model - TAM

developed by Davis (Davis, 1989) attempted to offer

a rationalization of the elements present in computer

acceptance, including the main variables of (1)

Perceived Usefulness, and (2) Perceived Ease of Use.

Venkatesh Unified Theory of Acceptance and Use of

Technology (UTAUT), would expand this notion to

the presence of performance expectancy, effort

expectancy, social influence, and facilitating

conditions (Venkatesh et al., 2003). A multitude of

alternative models have been presented in the

following years, and while most of them approach the

problem from a pragmatic perspective not always

applicable to artistic endeavours, what has become

clear is that a multiplicity of factors can disturb the

processes of acceptance (Evwiekpaefe et al., 2018).

In the Peruvian case we face here, the external factors

associated with a reluctance to approach technology

for music composition or interpretation, are not

directly related to the aspects presented in these and

other models, and composers and interpreters

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academically trained are used to complex learning

routines and detail work. Social and historical factors

have played a direct role in delaying the process of

acceptance for machines into musical learning. These

factors include: nationalism, ancestralism,

ideological conservativism, technophobia, and

traditional compartmentalization for the arts, among

others. An extensive set of considerations for this can

be found in my work (López, 2019, 2020). However

complex the set of challenges computer music has

encounter along Peruvian contemporary history, what

is important to mention here is that the musical arts

have been one of the artistic environments that has

posed a mayor hesitancy towards he implementation

of computers. This being said, this work presents a

segment of the dramatic changes taking place at the

Universidad Nacional de Música in Lima since 2017,

were the willingness and openness of the authorities

is turning the wheels toward a natural implementation

of experimental musical practices with computers.

3 TELEMATIC MUSIC AT

REMOTE PLACES

If the history of laptops orchestras is old, the dream

of telematic network music presents a much older

history. By 1986 the world already counted with a

computer music network ensemble (The Hub), and by

1987 they have already presented the first telematic

performance. Later historical references and the

challenges and possibilities of network performance

have already been extensively mapped (Gresham-

Lancaster, 2013, Akkermann, 2016). Students and

professors in Peru lack of connection with an

international world of network performance and are,

for the most part, unaware of its existence and of the

pertinent academic discussions taking place. A level

of isolation and seclusion becomes evident, and most

possible participants lack the means to insert

themselves into the academic international network

that could support their personal development on

these issues or nurture the implementation of network

performative models. The difficulties of traveling or

paying registration fees at the rate of the economical

parameters of the global north excludes them of the

game right at the beginning. This has also been true

in the opposite direction, and we do not count with

foreign professors in computer music in our education

system.

In the particular case of our laptop ensemble, the

need to develop a system for remote performance was

produces by the pandemic situation. Being the

ELUNM in its early stages and still in the process of

maturing as an ensemble, stopping the learning and

practice process was not an option. A need to

maintain the visibility of this recently formed

ensemble was also an issue to take under

consideration. Network performance became a tool to

secure the continuity of the ensemble and to allow for

a smooth transition from students finishing their

composition careers into a world that might not have

a designed circuit for computer performance or a

social system of support for such practices. This

option also allowed me to maintain the possibility of

including a new generation of members for the

ensemble, as the students finish the related regular

courses I teach at the UNM: Taller de Electroacústica

1 and Taller de Electroacústica 2. Telematic

performance was not only the result of a craving for

innovation, but a survival strategy.

4 NATIONAL PRECEDENTS AND

THE INITIAL CHALLENGES

The institution of the first Peruvian laptop ensemble:

Ensamble de Laptops de la Universidad Nacional de

Música – ELUNM, in 2019, as part of the activities

of the Laboratorio de Música Electroacústica y Arte

Sonoro (part of the Vicerectorado de Investigación),

marked a departure from the conventional

understanding of musical practice by the educational

institutions in Perú. Its insertion as part of the training

for the composition students aimed (1) to broaden the

perception of a musical instrument at our school (and

the Peruvian context in general) by recognizing that a

computer ensemble could share the official

performance space with other traditional ensemble

models, and (2) to challenge professional boundaries

by allowing composition students to become

performers and programmers in their own right.

The first year of activities, and my earlier attempts

to include a computer into a musical ensemble at an

educational institution, together with a discussion

regarding its relevancy in Peruvian musical

education, have been previously reported (López

2020b), but giving the COVID pandemic will be

presented officially during 2021. By the beginning of

2020, as the ensemble was overcoming the initial

logistical difficulties for its insertion, but with the

complete institutional support of the UNM, a small

version of the ELUNM was able to perform for the

electroacoustic festival MUSLAB 2020 in Mexico

City, being this our first experience outside of the

country.

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Figure 2: Jorge Quispe, José Ignacio López, and Michael

Magán at MUSLAB 2020, Mexico City.

4.1 Basic Original Learning Model

Our first ensemble was part of a strategic plan

implemented by the Laboratorio de Música

Electroacústica y Arte Sonoro starting on 2017, and

in which four angles/areas of learning were taken

under consideration for all courses regarding musical

technology (López, 2020b):

 Historical/conceptual;

 Technical/practical;

 Creative/performative;

 Investigative/innovative.

Within this learning model the ensemble had a

strategic transversal role that involved, among other

things: (1) the encouraging of live performance with

a computer, (2) the incorporation of visual

programming languages for musical organization, (3)

the flexibilization of the concept of musical

instrument and the incorporation of the concept of

interface, and (4) the inclusion of the roles of

‘technician’ and ‘programmer’ to the rules of the

trade.

Under this integral model, the computer ceases to

be considered as a support mechanism for the

learning of something detached and perceive as the

real musical practice, making the human-computer

interaction the center of a creative process in which

music parameters and aesthetic outputs are redefined,

and learning objectives and mechanisms are

constantly modified, in an attempt to produce

computer music instead of music produced with the

https://college.berklee.edu/electronic-production-design/

electronic-digital-instrument-principal

aid of a computer. The idea of confronting an all-in-

one machine capable of serving as a composing,

sound producing, and instrumental performative tool,

forces a traditionally trained musical student to not

only enlarge its list of objects of study, but to engage

into a new way of confronting musical materials and

organizing musical data. This process also

undermines the traditional separation between

science and the arts, and away from an ICT

pedagogical perspective in which computers serve

musical learning exclusively for the virtual

representation of tonal music and traditional notation.

4.2 Computer as a Physical Instrument

If by the end of the 1980s, seminal texts like “The

Computer as a Musical Instrument” (Mathews and

Pierce, 1987) emphasised the value of digital

electronic equipment in the production and control of

new classes of sounds, the addition in 2018 of

Electronic Digital Instruments as a principal

instrument option by the Berklee College of Music

acknowledge the development of computers and

computer based musical interfaces into a fully

functional musical instrument.

At its initial stage the ELUNM sought to highlight

the physical presence of the computer as a multi-

functional performative alternative to traditional

instruments, and saw on public presentations a

promotional approach that could bring musical

students unaware of the possibilities of computer

music closer by making computer music performance

visible in spaces dedicated to other manifestations of

the academic musical arts.

4.3 Computers Back to the Virtual

Realm

As I have hinted before, the ELUNM, as well as other

musical practices of the country, was heavily

impacted by the COVID pandemic. With the

disappearance of the possibility of a live

performance, other measures to maintain the

ensemble working had to be implemented. In front of

the collapse of the traditional lifestyle of the

conventional professional musicians, the Internet

arose as a saviour of human relationships in front of

the necessary confinement. This was taken by the

ensemble as an opportunity to explore ways for

remote communication not restricted to webcam and

microphone interaction through web conferencing.

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The already built perception of musical activities as a

virtual enterprise facilitated the migration to the

online rehearsal practice.

5 NETSEND / NETRECEIVE:

NETWORKING SOLUTIONS

FOR PERFORMATIVE

ACTIONS

Pure Data, the visual programming language by

Miller Puckette, is the main tool for teaching

electroacoustic music at the UNM, and also for the

composition and performance of musical pieces by

the members of the Laboratorio de Música

Electroacústica y Arte Sonoro and the ELUNM.

Given that, we decided to investigate the options for

the transmission of information between computers

remotely in order the continue practicing and

organizing future remote performances. Multiple

options are available in Pure Data for network

communication between computers, including the

Open Sound Control (OSC), Transmission Control

Protocol (TCP), User Datagram Protocol (UDP).

5.1 Sending and Receiving Musical

Information

After some deliberation we decided for the [netsend]

and [netreceive] objects included in Pure Data for the

transmission of TCP stream messages or UDP

datagram messages. While sending information was

not a problem, receiving information was a more

problematic issue and opening the local ports was a

more intricate task to resolve. The need to reconfigure

the router for the incoming of data at any location

used for the main performing computer using the

[netreceive] object was partially responsible for our

next decision. Using an Internet free tunnelling

service for port forwarding to open the localhost and

allow incoming information into the main computer

using the [netreceive] object without having to

reconfigure the routers, and, in this case, allowing for

TCP transmission. In this way all possible members

of the ensemble could receive information regardless

of their router configuration, allowing for multiple

possible settings of the ensemble. This configuration

allowed as to avoid dealing directly with audio from

multiple sources and worry only about instructions to

be send to a central computer dedicated to audio

reproduction. Given the instability of Internet

services in Perú he transmission of data instead of

audio is the most secure option at the moment.

Figure 3: Forwarding setup on terminal.

5.2 Pure Data Patching for Interaction

For the purposes of exchanging information between

computers, a set of server/client patches was

developed mainly by the student Jorge Quispe: (1) a

server patch to receive information from the different

performers and (2) a client patch to be use by each

one of the members participating of the ensemble at

any given time.

Figure 4: Variation for three performers of Jorge Quispe’s

server patch.

Figure 5: first GUI interface variation of client server by

Brian Ki San Yep.

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695

GUI interfaces to simplify performance were later

developed for the client patch by the students Bryan

Ki San and Saul Medina. Other students also started

to develop their own GUI interfaces in Pure Data to

control the messages according to their performative

needs and, in other cases, according to the

compositions they intended for the ensemble.

Figure 6: GUI interface variation of client server by Saul

Medina.

5.3 Troubleshooting and Recurseando

The patch that was ultimately used for our first

rehearsals presented a programming problem to

resolve. As it allowed for the selection and

‘previewing’ of different folders by any of the

performers participating, but only one visual array per

instance/performer to be read at the time of selecting

a specific sample from the folder’s list visualized,

every time a sample was selected, loading the sound

into memory from disk caused Pd to have to wait for

disk access. In other words, trying to draw a new array

in the middle of a performance made Pd stall. Not

dealing with the programming aspects of the patch we

decided to take a shortcut and build one long sample

that included all audios being used for each piece.

This permitted us to read only one audio per

instance/performer at the beginning and use it for the

whole performance. We declare the initial points for

Figure 7: Patch built in 2017 for Arpa 1: Descomposiciones

y Automatismos.

each sample included in this long audio, and

reproduce them by accessing the specific positions in

the sample-player, maintaining, that way, only one

graphical array per performer on display. This idea

was based on a patch I developed in 2017 for the

metacomposition Arpa 1: Descomposiciones y

Automatismos used as a compositional tool for the

Taller de Electroacústica during that year.

5.4 Composing for a Network Remote

Performance

After resolving some of the initial technical problems,

we commenced the production of musical pieces

thought for remote performance. To simplify the

process we have started with a smaller than usual

version of the ensemble of 3 performers, being 5 the

usual. The elaboration of sound materials and the set

of instruction for performance implied new

challenges and conversations. During this stage we

are in the process of testing alternative notation

systems and simplified sets of instructions for the

repertoire being constructed for the ELUNM.

Figure 8: Example of notation for the ensemble. El Filo

Errante by José Ignacio López.

Figure 9: example of notation for the ensemble. Zoomlag

by Michael Magán.

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6 CONCLUSIONS

Confronting an educational environment requires and

acknowledgment of its peculiarities, strengths and

weaknesses. The implementation of computer music

practices might be seen as a natural addition to any

musical training setting, when local and regional

subaltern conditions are not taken under

consideration. An historical assessment of the

presence of technologically oriented musical

practices and training in Peru reveals a series of gaps

that we hope to be in the process of bridging. The

presence of the ELUNM and the intention to develop

alternative performative models and remote network

presentations sets itself as a teaching/learning process

in which the direct connection between musical

output and human-technology interaction become

evident. The way these practices might serve to

produce substantial changes to the central paradigms

of Peruvian musical education requires an historical

distance not yet obtained.

ACKNOWLEDGEMENTS

I wish to dedicate this work to the composition

students of the Universidad Nacional de Música for

embracing enthusiastically the new and courageously

confronting their own possible biases and previous

cultural training regarding music and technology.

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