Study on Perception-Action Scheme for Human-Robot Musical Interaction in Wind Instrumental Play

制度:新 ; 報告番号:甲3337号 ; 学位の種類:博士(工学) ; 授与年月日:2011/2/25 ; 早大学位記番号:新564

Robotics in Germany and Japan

This book comprehends an intercultural and interdisciplinary framework including current research fields like Roboethics, Hermeneutics of Technologies, Technology Assessment, Robotics in Japanese Popular Culture and Music Robots. Contributions on cultural interrelations, technical visions and essays are rounding out the content of this book

Towards Anthropomorphic Robot Thereminist

Theremin is an electronic musical instrument considered to be the most difficult to play which requires the players hands to have high precision and stability as any position change within proximity of the instruments antennae can make a difference to the pitch or volume. In a different direction to previous developments of Theremin playing robots, we propose a Humanoid Thereminist System that goes beyond using only one degree of freedom which will open up the possibility for robot to acquire more complex skills, such as aerial fingering and include musical expressions in playing the Theremin. The proposed system consists of two phases, namely calibration phase and playing phase which can be executed independently. During the playing phase, the System takes input from a MIDI file and performs path planning using a combination of minimum energy strategy in joint space and feedback error correction for next playing note. Three experiments have been conducted to evaluate the developed system quantitatively and qualitatively by playing a selection of music files. The experiments have demonstrated that the proposed system can effectively utilise multiple degrees of freedoms while maintaining minimum pitch error margins

Embodied Cognitive Science of Music. Modeling Experience and Behavior in Musical Contexts

Recently, the role of corporeal interaction has gained wide recognition within cognitive musicology. This thesis reviews evidence from different directions in music research supporting the importance of body-based processes for the understanding of music-related experience and behaviour. Stressing the synthetic focus of cognitive science, cognitive science of music is discussed as a modeling approach that takes these processes into account and may theoretically be embedded within the theory of dynamic systems. In particular, arguments are presented for the use of robotic devices as tools for the investigation of processes underlying human music-related capabilities (musical robotics)

Robotic arts: Current practices, potentials, and implications

Given that the origin of the “robot” comes from efforts to create a worker to help people, there has been relatively little research on making a robot for non-work purposes. However, some researchers have explored robotic arts since Leonardo da Vinci. Many questions can be posed regarding the potentials of robotic arts: (1) Is there anything we can call machine-creativity? (2) Can robots improvise artworks on the fly? and (3) Can art robots pass the Turing test? To ponder these questions and see the current status quo of robotic arts, the present paper surveys the contributions of robotics in diverse forms of arts, including drawing, theater, music, and dance. The present paper describes selective projects in each genre, core procedure, possibilities and limitations within the aesthetic computing framework. Then, the paper discusses implications of these robotic arts in terms of both robot research and art research, followed by conclusions including answers to the questions posed at the outset

Enhancing stroke generation and expressivity in robotic drummers - A generative physics model approach

The goal of this master's thesis research is to enhance the stroke generation capabilities and musical expressivity in robotic drummers. The approach adopted is to understand the physics of human fingers-drumstick-drumhead interaction and try to replicate the same behavior in a robotic drumming system with the minimum number of degrees of freedom. The model that is developed is agnostic to the exact specifications of the robotic drummer that will attempt to emulate human like drum strokes, and therefore can be used in any robotic drummer that uses actuators with complete control over the motor position angle. Initial approaches based on exploiting the instability of a PID control system to generate multiple bounces and the limitations of this approach are also discussed in depth. In order to assess the success of the model and the implementation in the robotic platform a subjective evaluation was conducted. The evaluation results showed that, the observed data was statistically equivalent to the subjects resorting to a blind guess in order to distinguish between a human playing a multiple bounce stroke and a robot playing a similar kind of stroke.M.S

Musicianship for Robots with Style

ABSTRACT In this paper we introduce a System conceived to serve as the "musical brain" of autonomous musical robots or agent-based software simulations of robotic systems. Our research goal is to provide robots with the ability to integrate with the musical culture of their surroundings. In a multi-agent configuration, the System can simulate an environment in which autonomous agents interact with each other as well as with external agents (e.g., robots, human beings or other systems). The main outcome of these interactions is the transformation and development of their musical styles as well as the musical style of the environment in which they live

Examining Cognitive Empathy Elements within AI Chatbots for Healthcare Systems

Empathy is an essential part of communication in healthcare. It is a multidimensional concept and the two key dimensions: emotional and cognitive empathy allow clinicians to understand a patient’s situation, reasoning, and feelings clearly (Mercer and Reynolds, 2002). As artificial intelligence (AI) is increasingly being used in healthcare for many routine tasks, accurate diagnoses, and complex treatment plans, it is becoming more crucial to incorporate clinical empathy into patient-faced AI systems. Unless patients perceive that the AI is understanding their situation, the communication between patient and AI may not sustain efficiently. AI may not really exhibit any emotional empathy at present, but it has the capability to exhibit cognitive empathy by communicating how it can understand patients’ reasoning, perspectives, and point of view. In my dissertation, I examine this issue across three separate lab experiments and one interview study. At first, I developed AI Cognitive Empathy Scale (AICES) and tested all empathy (emotional and cognitive) components together in a simulated scenario against control for patient-AI interaction for diagnosis purposes. In the second experiment, I tested the empathy components separately against control in different simulated scenarios. I identified six cognitive empathy elements from the interview study with first-time mothers, two of these elements were unique from the past literature. In the final lab experiment, I tested different cognitive empathy components separately based on the results from the interview study in simulated scenarios to examine which element emerges as the most effective. Finally, I developed a conceptual model of cognitive empathy for patient-AI interaction connecting the past literature and the observations from my studies. Overall, cognitive empathy elements show promise to create a shared understanding in patients-AI communication that may lead to increased patient satisfaction and willingness to use AI systems for initial diagnosis purposes

Timbral Learning for Musical Robots

abstract: The tradition of building musical robots and automata is thousands of years old. Despite this rich history, even today musical robots do not play with as much nuance and subtlety as human musicians. In particular, most instruments allow the player to manipulate timbre while playing; if a violinist is told to sustain an E, they will select which string to play it on, how much bow pressure and velocity to use, whether to use the entire bow or only the portion near the tip or the frog, how close to the bridge or fingerboard to contact the string, whether or not to use a mute, and so forth. Each one of these choices affects the resulting timbre, and navigating this timbre space is part of the art of playing the instrument. Nonetheless, this type of timbral nuance has been largely ignored in the design of musical robots. Therefore, this dissertation introduces a suite of techniques that deal with timbral nuance in musical robots. Chapter 1 provides the motivating ideas and introduces Kiki, a robot designed by the author to explore timbral nuance. Chapter 2 provides a long history of musical robots, establishing the under-researched nature of timbral nuance. Chapter 3 is a comprehensive treatment of dynamic timbre production in percussion robots and, using Kiki as a case-study, provides a variety of techniques for designing striking mechanisms that produce a range of timbres similar to those produced by human players. Chapter 4 introduces a machine-learning algorithm for recognizing timbres, so that a robot can transcribe timbres played by a human during live performance. Chapter 5 introduces a technique that allows a robot to learn how to produce isolated instances of particular timbres by listening to a human play an examples of those timbres. The 6th and final chapter introduces a method that allows a robot to learn the musical context of different timbres; this is done in realtime during interactive improvisation between a human and robot, wherein the robot builds a statistical model of which timbres the human plays in which contexts, and uses this to inform its own playing.Dissertation/ThesisDoctoral Dissertation Media Arts and Sciences 201