I. Introduction – Hello?

A. What is telematic music improvisation and CYBERJAMMER?

B. Why go online to improvise?

C. Define goals

1. Facilitate new experimental music practices

2. Create compositions from improvisations

3. Interdisciplinary academic relationships

4. Increased access and cross-cultural

opportunities

II. Related Work and Influential Practitioners

A. Musical Improvisation as Compositional Tool

B. Musical Improvisation as Performance Medium

C. Musical Improvisation as Social Network

D. George Lewis, Anthony Braxton, Ornette Coleman

E. John Cage

F. Alan Kaprow

G. Pauline Oliveros

H. Chris Chafe – Sounding the Net

I. Scot Gresham-Lancaster

III. Approach

A. Overview

B. Pilot Work

1. Justin Frankel: NINJAM

2 Chris Chafe: JackTrip

3. Pauline Oliveros: DeepListening

C. Systems

1. NINJAM

2. JackTrip

3. DeepListening

4. e-jamming, Musigy, v-band.de,

DeepListeningConvergence,

digitalmusician

IV. Evaluation

A. Case Studies

1. NINJAM

a. DANM Experimental Audio Research (EAR)

i. Lindsey Bonk

ii. Kyler Svensgaard

b. CYBERJAMMER @ Porter D141

i. Smith Music Day

ii. UCSC Digital Arts Festival: BLINK

2. JackTrip – CCRMA/Stanford

a. Experimental Telepresence Seminars

(Pauline Oliveros)

b. musicians: leaf, richard caceres

c. soundpainting

d. concert: 100 Meeting Places

B. Documentation

1. Audio Recordings

2. Text/Chats

3. Video

V. Discoveries and Accomplishments

VI. Conclusions

VII. Future Work

Appendix I: System Details as Needed

Appendix II: Data Files as Needed

Appendix III: Experiment Results as Needed