The Musical Metaverse relies on distributed audio, visual, inference, and delivery functions deployed across heterogeneous edge-cloud resources. Queue-aware orchestration frameworks such as SPARQ jointly optimize service placement, routing, and resource allocation, but fix the execution regime of each resource in advance: it is either shared, favoring statistical multiplexing, or guaranteed, favoring performance isolation. This paper introduces MusiSPARQ, a subscription-aware control framework that promotes resource isolation from a fixed infrastructure attribute to a runtime decision. Each switchable resource is represented through coupled shared- and guaranteed-resource pools drawing from the same physical-capacity budget, and at each orchestration epoch the controller selects which class-specific service flows remain shared and which receive isolated capacity. The per-epoch decision jointly accounts for class-specific latency objectives, per-class maximum-latency limits, queueing stability, isolation cost, and switching overhead. In a dynamic virtual-concert scenario, MusiSPARQ reduces the Premium latency-target violation rate from 16.19% to 0.29% relative to fully shared execution, while reserving on average only 0.71% of capacity and, unlike static isolation, keeping Standard and Basic traffic within their latency targets.
Ali Al Housseini, Jaime Llorca, Cristina Rottondi, Luca Turchet, Tiziano Leidi, Omran Ayoub
The Musical Metaverse (MM) enables geographically distributed musicians, audiences, sound engineers, and AI agents to interact through synchronized audio, visual, kinematic, and haptic streams, imposing latency, synchronization, bandwidth, and scalability requirements that are difficult to satisfy with conventional bit-level communication. This paper argues that semantic communication, understood here as the transmission of musically meaningful information rather than raw audio-visual-haptic samples, provides a principled communication paradigm for the MM. We define the MM from a communication perspective and derive modality-specific require ments; propose a three-pillar framework for musical semantic communication comprising semantics extraction, semantic-aware orchestration, and cross-modal semantic synchronization; survey representative work across semantic communication, music AI and edge orchestration, identifying the gaps that prevent their integration; and propose a semantic-first reference architecture based on device-side semantic encoders, edge semantic routers, and cross-modal semantic synchronization. The resulting framework positions the MM as a concrete and demanding use case for 6G semantic communication.