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‘A concerto of relatively small dimensions’ is Roger Sessions's own characterization of his Concertino for Chamber Orchestra. In a programme note accompanying the recording and (in slightly abridged form) the score, the composer explains how his conception of the work arose largely from practical, though artistically relevant, circumstances. The Concertino, written in 1971–72, had been commissioned by the Fromm Foundation for The Contemporary Chamber Players of the University of Chicago, a group directed by the wellknown composer and conductor Ralph Shapey:… Mr. Shapey's organization is composed of players who, especially among the woodwinds, are accustomed to playing several instruments in their chosen categories. Since this work, designed as it is for an orchestra of chamber dimension, … by conception as well as by the demands of the medium itself, emphasizes solo performance, I decided to avail myself of the players' versatility and give each of the various available instruments a significant role to play.
‘A concerto of relatively small dimensions’ is Roger Sessions's own characterization of his Concertino for Chamber Orchestra. In a programme note accompanying the recording and (in slightly abridged form) the score, the composer explains how his conception of the work arose largely from practical, though artistically relevant, circumstances. The Concertino, written in 1971–72, had been commissioned by the Fromm Foundation for The Contemporary Chamber Players of the University of Chicago, a group directed by the wellknown composer and conductor Ralph Shapey:… Mr. Shapey's organization is composed of players who, especially among the woodwinds, are accustomed to playing several instruments in their chosen categories. Since this work, designed as it is for an orchestra of chamber dimension, … by conception as well as by the demands of the medium itself, emphasizes solo performance, I decided to avail myself of the players' versatility and give each of the various available instruments a significant role to play.
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.
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