Phantom Variations (2012) takes its inspiration from Ugandan amadinda music, in which a stream of steady pulses, divided into interlocking patterns played by the three performers, gives rise to the impression of 'phantom melodies', which are not played by any of the performers individually, but rather emerge in our perception of the music as a consequence of the ways the notes are ordered in succession and register. At times, conflicting emergent patterns can be heard simultaneously, causing the listener's attention to alternate between different impressions of melody. 

The piece is written for three robotic instruments created by Expressive Machines Musical Instruments in Charlottesville, Virginia: AMI (Automatic Monochord Instrument, a guitar-like single string instrument), CARI (Cylindrical Aerophone Robotic Instrument, a robotic clarinet-like instrument), and TAPI (Transportable Automatic Percussion Instrument, a portable briefcase-sized automatic miniature percussion ensemble consisting of woodblocks, bells, and a chime bar). AMI, CARI, and TAPI are mixed signal devices, incorporating digital and analog control signals, each with its own automated acoustic element (AMI's string, CARI's air column, and TAPI's percussion instruments). By extending the pattern variations into the timbral realm and exploring the effects of radical alterations of tempo, the piece utilizes what quickly becomes a familiar base sequence as a vehicle for exploring several disparate regions of the collective parameter space available via the digital controls of this robotic trio.

Phantom Variations

Discard (Trash Canon #1)

Composed in 2009 to test out Godfried-Willem Raes' HAT ("Hit Any Thing") robot commissioned by Richard D. James. Available on Logos Public Domain "Lonely Robots: M&M Robot Solos" http://logosfoundation.org/lpd/lpd019.html#tracks

More info on HAT: http://logosfoundation.org/instrum_gwr/HAT.html

HAT Study No. 0.82a

Dana Jessen and Michael Straus of the EAR Duo commissioned Expressive Machines Musical Instruments (EMMI) to create a set of portable robotic instruments that would allow for realization of a wide range of contemporary music. Created in 2010-11 by Troy Rogers, Steven Kemper, and Scott Barton of EMMI, the first prototype of this robotic ensemble consists of two instruments: AMI (Automatic Monochord Instrument) and CARI (Cylindrical Aerophone Robotic Instrument). The two robots combine to form what might be termed a Modular Electro-Acoustic Robotic Instrument System. The system incorporates digital, analog, and electro-mechanically activated acoustic elements, leveraging the advantages of each to create a diverse and expressive sonic palette. Precise digital control of numerous parameters allows for a wide range of musical explorations, from tightly controlled rhythmic and pitch structures, to wildly chaotic acoustic-analog feedback networks.

In this work, MARIE employs perceptual listening and analysis algorithms to freely improvise with the human performers. Pitch and rhythmic patterns, as well as timbral features of the audio signals from the acoustic instruments are used to inform compositional and performance algorithms that drive the robotic instruments.

05 05 Ensemble Finale

04 04 Robots Lead

03 03 Reeds+robots

02 02 Michael+AMI

01 01 Dana+CARI

Rough mix of a live improvisatory session between a human and three robots. Recorded at The Sound in Charlottesville, VA. April 2014. Steve Snider: drums, AMI: Automatic Monochord Instrument, CARI: Cylindrical Aerophone Robotic Instrument, Stemmetje: robotic vocal instrument. Improvisatory algorithms and robot wrangling by Troy Rogers. Robots created by Troy Rogers (Stemmetje) and Expressive Machines Musical Instruments (AMI, CARI).

Steve Snider + Robots, excerpt 1b

Troy Rogers, aka Robot Rickshaw (robotic percussion, singing vocal robot, and automatic monochord instrument) w/Frank Aarnink (percussion) and Jesper Pederson (electronics).

Recorded live @ RAFLOST Icelandic Festival of Electronic Arts
Reykjavik, Iceland, May 25, 2017

http://www.raflost.is/

recording courtesy of Kristian Ekholm

Troy Rogers

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