Locating Creativity in Differing Approaches to Musical Robotics

The field of musical robotics presents an interesting case study of the intersection between creativity and robotics. While the potential for machines to express creativity represents an important issue in the field of robotics and AI, this subject is especially relevant in the case of machines that replicate human activities that are traditionally associated with creativity, such as music making. There are several different approaches that fall under the broad category of musical robotics, and creativity is expressed differently based on the design and goals of each approach. By exploring elements of anthropomorphic form, capacity for sonic nuance, control, and musical output, this article evaluates the locus of creativity in six of the most prominent approaches to musical robots, including: 1) nonspecialized anthropomorphic robots that can play musical instruments, 2) specialized anthropomorphic robots that model the physical actions of human musicians, 3) semi-anthropomorphic robotic musicians, 4) non-anthropomorphic robotic instruments, 5) cooperative musical robots, and 6) individual actuators used for their own sound production capabilities.

Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music

The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and related artists. As the march of technology progressed in the latter half of the twentieth century, alternative technologies opened up new areas within the electroacoustic discipline such as computer music, hyper-instrument performance and live electronic performance. In addition, the areas of electromagnetic actuation and musical robotics also allowed electroacoustic artists to actualise their works with real-world acoustic sound-objects instead of or along side loudspeakers. While these works owe much to the oft-cited pioneers mentioned above, there exists another equally significant alternative history of artists who utilised electric, electronic, pneumatic, hydraulic and other sources of power to create what is essentially electroacoustic music without loudspeakers. This article uncovers this ‘missing history’ and traces it to its earliest roots over a thousand years ago to shed light on often-neglected technological and artistic developments that have shaped and continue to shape electronic music today.

Expressive Robotic Guitars: Developments in Musical Robotics for Chordophones

This article provides a history of robotic guitars and bass guitars as well as a discussion of the design, construction, and evaluation of two new robotic chordophones, with a focus on different techniques to extend the expressivity of robotic guitars. Swivel and MechBass, two new robots we built, are discussed. Construction techniques likely to interest other musical roboticists are included. These robots use a variety of techniques, both new and inspired by prior work, to afford composers and performers the ability to precisely control pitch and string-picking parameters. Both new robots are evaluated to test their precision, repeatability, and speed. The article closes with a discussion of the compositional and performative implications of such levels of control, and how it might affect humans who wish to interface with the systems.

Musical Robotics in a Loudspeaker World: Developments in Alternative Approaches to Localization and Spatialization

Musical robotics is a rapidly growing field, with dozens of new works appearing in the past half decade. This paper explores the foundations of the discipline and how, due to the ability of musical robots to serve as uniquely spatialized musical agents, it experienced a rebirth even in the face of loudspeaker technology's dominance. The growth of musical robotics is traced from its pre-computer roots through its 1970s renaissance and to contemporary installation-oriented sculptures and performance-oriented works. Major figures in the field are examined, including those who in recent years have introduced the world to human/musical robot interaction in a concert setting. The paper closes with a brief speculation on the field's future, with a focus on the increasing ease with which new artists may enter the field.

Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments

Historically, network music has explored the practice and theory of interconnectivity, utilising the network itself as a creative instrument. The Machine Orchestra (TMO) has extended this historical idea by developing the custom software suite Signal, and creating a shared, social instrument consisting of musical robotics. Signal is a framework for musical synchronisation and data sharing, designed to support the use of musical robotics in an attempt to more fully address ideas of interconnectivity and embodied performance. Signal, in combination with musical robotics, also facilitates the exploration of interaction contexts, such as at the note level, score level and sound-processing level. In this way, TMO is simultaneously building upon the historical contributions and developing aesthetics of network music.