Principles of traditional animation applied to 3D computer animation
SIGGRAPH '87 Proceedings of the 14th annual conference on Computer graphics and interactive techniques
Machine musicianship
LEMUR GuitarBot: MIDI robotic string instrument
NIME '03 Proceedings of the 2003 conference on New interfaces for musical expression
McBlare: a robotic bagpipe player
NIME '05 Proceedings of the 2005 conference on New interfaces for musical expression
Robot-human interaction with an anthropomorphic percussionist
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Computer Music Journal
Anticipatory perceptual simulation for human-robot joint practice: theory and application study
AAAI'08 Proceedings of the 23rd national conference on Artificial intelligence - Volume 3
Musical-based interaction system for the Waseda Flutist Robot
Autonomous Robots
Cost-Based Anticipatory Action Selection for Human–Robot Fluency
IEEE Transactions on Robotics
Robotics and Autonomous Systems
Effects of robotic companionship on music enjoyment and agent perception
Proceedings of the 8th ACM/IEEE international conference on Human-robot interaction
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Shimon is a interactive robotic marimba player, developed as part of our ongoing research in Robotic Musicianship. The robot listens to a human musician and continuously adapts its improvisation and choreography, while playing simultaneously with the human. We discuss the robot's mechanism and motion-control, which uses physics simulation and animation principles to achieve both expressivity and safety. We then present an interactive improvisation system based on the notion of physical gestures for both musical and visual expression. The system also uses anticipatory action to enable real-time improvised synchronization with the human player.We describe a study evaluating the effect of embodiment on one of our improvisation modules: antiphony, a call-and-response musical synchronization task. We conducted a 3脳2 within-subject study manipulating the level of embodiment, and the accuracy of the robot's response. Our findings indicate that synchronization is aided by visual contact when uncertainty is high, but that pianists can resort to internal rhythmic coordination in more predictable settings. We find that visual coordination is more effective for synchronization in slow sequences; and that occluded physical presence may be less effective than audio-only note generation.Finally, we test the effects of visual contact and embodiment on audience appreciation. We find that visual contact in joint Jazz improvisation makes for a performance in which audiences rate the robot as playing better, more like a human, as more responsive, and as more inspired by the human. They also rate the duo as better synchronized, more coherent, communicating, and coordinated; and the human as more inspired and more responsive.