Musical Robots and Interactive Multimodal Systems

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