Musical Robots And Interactive Multimodal Systems

✍ Scribed by Solis, Jorge(Editor);Ng, Kia(Editor)

• Publisher: Springer
• Year: 2011
• Tongue: English
• Leaves: 279
• Series: Springer Tracts In Advanced Robotics
• Category: Library

✦ Synopsis

This book explores interactive multimodal systems and their integration with robots to enhance musical understanding, interpretation, performance, education and enjoyment. It presents the development of anthropomorphic robots and automated instruments."

✦ Table of Contents

Cover......Page 1
Front Matter......Page 2
Musician-Humanoid Interaction......Page 3
Mallets......Page 4
Vision Perception......Page 5
Improvisation......Page 6
Interaction Module I: Call-and Response......Page 7
Aural Perception......Page 8
Design......Page 9
Evaluation: Embodiment in Robotic Musicianship......Page 10
Musical Mapping......Page 11
Preliminary Interaction Experiments with Musicians......Page 12
Conclusions and Future Work......Page 14
Chapter 2: Sound-Action Chunks in Music......Page 16
Chapter 3: Automatic Music Transcription: From Monophonic to Polyphonic......Page 17
Context......Page 15
Chapter 4: Multimodal Analysis of Expressive Gesture in Music Performance......Page 18
Chapter 6: Capturing Bowing Gesture: Interpreting Individual Technique......Page 19
Chapter 8: Online Gesture Analysis and Control of Audio Processing......Page 20
References......Page 13
Chapter 9: Automated Piano: Techniques for Accurate Expression of Piano Playing......Page 21
Chapter 10: McBlare: A Robotic Bagpipe Player......Page 22
Chapter 12: Wind Instrument Playing Humanoid Robots......Page 23
Chapter 14: Interactive Improvisation with a Robotic Marimba Player......Page 24
Chapter 15: Interactive Musical System for Multimodal Musician-Humanoid Interaction......Page 25
Introduction......Page 27
Music-Related Actions......Page 29
Features and Timescales......Page 31
Chunking......Page 32
Sub-chunk Features......Page 35
Sound-Action Scripts......Page 36
Conclusion......Page 37
References......Page 38
Introduction......Page 41
State of the Art......Page 45
Methods Overview and Comparison......Page 46
Review of Some Music Transcription Systems......Page 54
Discussion and Conclusions......Page 56
References......Page 57
Introduction......Page 61
Pioneering Studies......Page 62
A Conceptual Model......Page 66
Implementation: The EyesWeb Platform......Page 69
Applications and Validation of Research on Interactive Systems......Page 70
Scientific Experiments......Page 72
A Shift of Paradigm and Novel Research Challenges......Page 75
References......Page 77
What Is a DMI?......Page 81
Immersion vs. Physical Embodiment......Page 82
Mapping and Metaphor......Page 83
Musical Control......Page 84
From the Lab to the Stage: Context, Repertoire, and Pedagogy......Page 85
Case Study: The T-Stick......Page 86
Case Study: An MRI-Compatible Musical Instrument......Page 89
Case Study: Haptic Interaction with Virtual Models......Page 92
Conclusions......Page 94
References......Page 95
Violin Performance......Page 98
The Bowed String......Page 99
Sensing System......Page 101
Parameter Estimation......Page 102
Study Protocol......Page 104
Experimental Setup......Page 105
Technique Study Results and Discussion......Page 106
Data Preparation......Page 107
Dimensionality Reduction......Page 109
References......Page 114
Introduction......Page 117
Musical Gesture......Page 118
New Musical Interfaces......Page 119
Pedagogical Applications......Page 120
Augmented Mirror......Page 122
Motion Trajectories/Shapes of Bowing Movement......Page 124
Common Practice Support Units and Feature Measurements......Page 125
Sonification in AMIR......Page 130
AMIR Validation......Page 132
Procedure......Page 133
Analysis......Page 134
References......Page 135
Introduction......Page 139
Gesture Capture System......Page 141
Temporal Profiles Processing......Page 143
Temporal Mapping......Page 146
Example Use with Phase-Vocoder Techniques......Page 148
References......Page 150
Introduction......Page 155
System Architecture of the Automated Piano......Page 157
Method of Transformation Process for Reproduction......Page 160
The Piano’s - Action Mechanism......Page 163
The Problem of Reproducing Soft Tones......Page 166
Behavior of the Piano’s Action during a Soft Tone......Page 168
Discussion......Page 171
Discussion......Page 172
Conclusion......Page 173
References......Page 174
Introduction......Page 176
Bagpipes......Page 178
The McBlare Robot......Page 180
The Air Supply......Page 181
The Chanter Control......Page 182
McBlare in Practice......Page 183
Ornamentation......Page 185
Conclusion and Future Work......Page 187
References......Page 188
Introduction......Page 190
Features of the Violin and Violin playing......Page 192
Hardware of the Right Arm for Bowing......Page 193
Bowing Motion by Right Arm......Page 196
Hardware of the Left Hand with Three Fingers for Fingering......Page 197
Task Planning......Page 199
Motion Planning......Page 200
Results......Page 201
References......Page 203
Introduction......Page 205
Flute and Saxophone Sound Production......Page 206
Flute-Playing Robots......Page 207
Saxophone-Playing Robots......Page 215
Conclusions and Future Work......Page 221
References......Page 222
Introduction......Page 224
The Electronic Sitar......Page 225
Traditional Sitar Technique......Page 226
The MIDI Sitar Controllers......Page 227
Wearable Sensors......Page 230
MahaDeviBot – Robotic Percussionist......Page 231
Design......Page 232
Machine Musicianship......Page 234
Multimodal Tempo Tracking......Page 235
Rhythmic Accompaniment......Page 237
Conclusion and Future Work......Page 238
References......Page 239
Introduction......Page 242
Robotic Musicianship......Page 243
Motor Control......Page 244
Mallets......Page 245
Sliders......Page 246
Anticipatory Action......Page 247
Interaction Module I: Call-and Response......Page 248
Interaction Module III: Rhythmic Phrase-Matching Improvisation......Page 249
Evaluation: Embodiment in Robotic Musicianship......Page 251
Embodiment and Synchronization......Page 252
Visual Contact and Audience Appreciation......Page 256
Live Performance......Page 258
Conclusion and Future Work......Page 259
Introduction......Page 261
Design Concept......Page 262
Musician-Humanoid Interaction......Page 263
Vision Perception......Page 265
Aural Perception......Page 268
Musical Mapping......Page 271
Preliminary Interaction Experiments with Musicians......Page 272
Conclusions and Future Work......Page 274
References......Page 275
Back Matter......Page 277