Conversation with Roger Sessions

Cone, Edward T.; Sessions, Roger

doi:10.2307/832211

Cited by 2 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…There exists no commonly accepted description for this subjectively perceived art form, as definitions of music are based on social context and culture, and are disputed between musicians, composers, music critics, philosophers, sociologists, and many others. However, a general definition is that of Roger Sessions, who saw music as controlled movements of sound in time [6].…”

Section: Musicmentioning

confidence: 99%

Non-choreographed Robot Dance

Surpatean¹

2011

MARBLE

View full text Add to dashboard Cite

This research aims at investigating the diculties of enabling the humanoid robot Nao to dance on music. The focus is on creating a dance that is not predefined by the researcher, but which emerges from the music played to the robot. Such an undertaking can not be fully tackled in a small-scale project. Nevertheless, rather than focusing on a subtask of the topic, this research tries to maintain a holistic view on the subject, and tries to provide a framework based on which work in this area can be continued in the future. The need for this research comes from the fact that current approaches to robot dance in general, and Nao dance in particular, focus on predefined dances built by the researcher. The main goal of this project is to move away from the current choreographed approaches to Nao dance, and investigate how to make the robot dance in a non-predefined fashion. Moreover, given the fact that previous research has focused mainly on the analysis of musical beat, a secondary goal of this project is to focus not only on the beat, but other elements of music as well,in order to create the dance. The paper starts by shortly describing the Nao robot. Then, a view on robot dance is presented, in which the robot moves in a choreographed manner, predefined by the researcher. The paper then continues by analyzing how should a non-choreographed dance be built into the Nao, and provides descriptions of some of the essential aspects that need to be considered in the development of such a dance. To achieve that, elements of music are first described, then analyzed, and later transformed into dance. The paper concludes by presenting aspects that still need to be tackled in the future, before the Nao can perform a truly non-choreographed dance. This research has also resulted in practical implementations of both a choreographed, and a non-choreographed dance for the Nao robot. Although these implementations are minimal in some regards, they provide proofs of concepts for the ideas discussed here. Elements of this practical undertaking are described throughout the entire paper. MaRBLe Research Papers 144 4 Non-choreographed Dance The main goal of this research is to investigate aspects that need to be considered in the development of a non-choreographed dance for the Nao robot, in the sense of a dance that is not predefined by the developer, but which is built by the robot based on the music it hears. In this project, a basic non-predefined dance has also been built for the Nao, using the Python programming language and integrated with the other behaviors using the Choregraphe software. MaRBLe Research Papers 156 6 Acknowledgments Greatest gratitude goes to Nico Roos, for initiating this project, and for his constant support.

show abstract

Section: Musicmentioning

confidence: 99%

Non-choreographed Robot Dance

Surpatean¹

2011

MARBLE

View full text Add to dashboard Cite

show abstract

Roger Sessions: a personal portrait

Olmstead¹

1978

Tempo

View full text Add to dashboard Cite

Driving north up the Connecticut River on Route 47 from Hadley, Massachusetts, one is led by signs to the local historic site, ‘Forty Acres’, or the Porter-Phelps-Huntington House. During summer months a dollar buys a guided tour of the museum-house built in 1752 and the possessions of six generations of families who lived there. With its deeds and diaries dating from the French and Indian Wars, a 178-year-old grandfather clock which keeps perfect time, former slaves' quarters, a Southern veranda (the ‘Stoop’) looking out onto the River, a secret stair-case, tales of a ghost, antique furniture, and portraits of ancestors who entered the clergy, taught at Harvard, or fought in the Revolution, the House radiates continuity with the past. One of its most famous residents, the Bishop of Central New York, the Rev. Dan Huntington, had a daughter named Ruth who grew up and met her future husband—her second cousin Archibald Sessions—at ‘Forty Acres’. Research on the biography of one of America's foremost composers, their son Roger, leads to ‘Forty Acres’, for he is a direct descendant of these New Englanders.

show abstract

Conversation with Roger Sessions

Cited by 2 publications

References 0 publications

Non-choreographed Robot Dance

Non-choreographed Robot Dance

Roger Sessions: a personal portrait

Contact Info

Product

Resources

About