Abstract
We propose a model of networked music performance to help musicians think through and evaluate their online music productions. First, we utilize a model of game live streaming by T. L. Taylor (2018) to analyze several of our own productions of distanced networked music performances of ludified notation (Peles 2023). Building on Taylor's model and additional scholarship on music performance, both networked and not, we then extrapolate the insights gained to networked music performance in general and derive a list of key considerations for the analysis, critique, and ideation of networked music performances. Finally, we demonstrate the use of the model through: (1) the analysis of a networked music project by other artists, (2) the critique of one of our own recent productions, and (3) the ideation of a potential future performance. Online music production has become an important mode of musicking and continues to grow as a practice. We offer this model as a tool for both practice-based and scholarly work.