By Jessica Messier; March 4, 2019
S. Kemper, S. Barton (2018). In Proceedings of the 18th International Conference on New Interfaces for Musical Expression (NIME). Blacksburg, VA.
K. Sundberg, S. Barton, A. Walter, T. Sane, L. Baker, A. O’Brien (2018). In Proceedings of the 18th International Conference on New Interfaces for Musical Expression (NIME). Blacksburg, VA.
P. Mitrano, A. Lockman, J. Honicker, S. Barton (2017). In proceedings of The 5th International Workshop on Musical Metacreation (MUME) at The 8th International Conference on Computational Creativity (ICCC). Atlanta, GA, USA.
S. Barton, E. Prihar, P. Carvalho (2017). Cyther: a human-playable, self-tuning robotic zither. In proceedings of The 17th International Conference on New Interfaces for Musical Expression. Copenhagen, Denmark.
Barton, S., Getz, L., & Kubovy, M. (2017). Systematic Variation in Rhythm Production as Tempo Changes. Music Perception: An Interdisciplinary Journal, 34(3), 303-312.
We investigated the effect of tempo on the production of the syncopated 3-2 son clave rhythm. We recorded eleven experienced percussionists performing the clave pattern at tempi ranging from 70 bpm to 210 bpm. As tempo increased, percussionists shortened the longest intervals and lengthened the shortest interval towards an intermediate interval that is located in the first and second positions in the pattern. This intermediate interval was stable across tempi. Contrary to prior studies, we found that the complexity of interval ratios had little effect on production accuracy or stability and the “short” interval in the pattern was not particularly stable. These results suggest that as tempo is varied, (1) experienced musicians systematically distort rhythmic intervals, (2) rhythmic configuration, and not just the complexity of interval ratios, affects the production of rhythmic intervals, and (3) the distinction between long and short intervals is context-dependent.
S. Barton (2016). In proceedings from The 1st Conference on Computer Simulation of Musical Creativity.
Abstract: This paper explores musical, psychological and philosophical ideas about how humans and machines interact in creative processes. It argues that creativity is a function of both generator and receiver, and that these roles can be amorphous in the creation and experience of electronic music. It offers an approach to structuring temporal spaces for rhythmic composition, which leads to the idea of machine rhythms, which are proposed as a promising area for creative expression.
June 9, 2016
Join Original Gravity Artistic Director Keith Kirchoff and Public Relations Guru Greg Carlson (both exceptional brewers) as they design a unique, homebrewed beer that will aesthetically pair with Scott Barton’s Rise of a City, a piece for musical robot and guitar featured on our Summer 2016 Mystic Brewery concert.
T. Rogers, S. Kemper, S. Barton (2015). In proceedings from The 15th International Conference on New Interfaces for Musical Expression.
S. Barton, S. Kemper (2015). Published in UTS ePRESS; March, 2015.
The paper was presented at the International Conference on Social Robotics 2014. link to paper
March 2015; by Ronni Reich
L. Getz, S. Barton, M. Kubovy (2014). Acta Psychologica; Volume 152, October 2014.
Each Latin salsa music style is associated with a characteristic clave pattern that constitutes an essential structure for performers. In this article we asked what types of expertise are needed to detect the correct salsa–clave pairing. Using two clave patterns (the 3–2 and 2–3 son clave) and three manipulated alternatives, we asked listeners to choose the correct clave pattern for a variety of bomba, calypso, mambo and merengueexcerpts. The results of Studies 1 and 2 show that listeners unfamiliar with salsa were unable to detect the correct salsa–clave pairing. Listeners who had some music training or were familiar with salsa detected the need for syncopation but not the specific pairing. Only musicians well-acquainted with salsa correctly detected the salsa–clave pairing. Studies 3 and 4 showed that incorrect choices were not due to an inability to distinguish between the alternatives: both adults and five-year-olds could easily tell apart the various patterns we used. We conclude that the distinction between the 2–3 and 3–2 claves is not inherent in the music itself, but rather is a convention to be learned through exposure and training. We discuss the results using an analogy to language learning. link to paper
for guitar and EMMI’s robotic instruments – PAM (poly-tangent string instrument), MADI (16-arm snare drum), CADI (modular percussion instrument playing darbuka, ice bucket, tambourine and djembe)
Recorded by Scott Barton, mixed by Scott Barton and Marc Urselli at East Side Sound, NYC
S. Barton (2013). Published in the Proceedings of the Ninth Artificial Intelligence and Interactive Digital Entertainment International Conference (AIIDE 2013)
HARMI (Human and Robotic Musical Improvisation) is a software and hardware system that enables musical robots to improvise with human performers. The goal of the system is not to replicate human musicians, but rather to explore the novel kinds of musical expression that machines can produce. At the same time, the system seeks to create spaces where humans and robots can communicate with each other in a common language. To help achieve the former, ideas from contemporary compositional practice and music theory were used to shape the system’s expressive capabilities. In regard to the latter, research from the field of cognitive psychology was incorporated to enable communication, interaction, and understanding between human and robotic performers. The system was partly developed in conjunction with a residency at High Concept Laboratories in Chicago, IL, where a group of human improvisers performed with the robotic instruments. The system represents an approach to the question of how humans and robots can interact and improvise in musical contexts. This approach purports to highlight the unique expressive spaces of humans, the unique expressive spaces of machines, and the shared spaces between the two. link to paper
two channel recording; 2:39
Figure <-> Ground interprets the idea of negative space in the context of rhythm and time. In one formulation, the subjects are percussive sound points and the negative spaces are the durations that connect those sound points. As the piece progresses, the elements that constitute a sound point are increasingly displaced in time, filling adjacent negative spaces. The original metric positions and rhythmic identities become more ambiguous as a result, inviting us to both find boundaries between a subject and its negative spaces and to superimpose remembered structure on an increasingly diffuse texture. The idea of negative space is also explored in rhythm by sonifying sound points and silencing intermediary durations, and then sonifying intermediary durations and silencing sound points. Negative space is further interpreted in the context of rhythmic stylistic conventions. The rhythmic configurations in the latter half of the piece are beat-based but also convey quickly-changing meters, syncopations, cross-rhythms and an avoidance of repetition on smaller time scales. This sort of rhythmic expression inhabits a space between subject-points defined by contemporary Western art music and popular music.
WPI’s commitment to the study of music is evident through groundbreaking research and student projects in several areas of music technology. Faculty are working in musical robotics, assistive learning technologies, audio production, radio station programming, and much more.