From Robotic Singing to Singing Robots: Analyzing the Voices of Artificial People in Music
From Robotic Singing to Singing Robots: Analyzing the Voices of Artificial People in Music
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211153107
- ISBN
- 9798384089209
- DDC
- 780
- 저자명
- Lopez, Gerardo.
- 서명/저자
- From Robotic Singing to Singing Robots: Analyzing the Voices of Artificial People in Music
- 발행사항
- [Sl] : The Ohio State University, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 147 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-04, Section: B.
- 주기사항
- Advisor: Gawboy, Anna;Shanahan, Daniel.
- 학위논문주기
- Thesis (Ph.D.)--The Ohio State University, 2024.
- 초록/해제
- 요약If I asked you to imagine what a "robot" looks and sounds like, I assume it would share characteristics with many of the ones that occupy popular culture, such as The Robot Model B-9 from the Lost in Space series, Marvin the Paranoid Android from The Hitchhikers Guide to the Galaxy series, C-3PO from the Star Wars series, WALL-E and EVE from WALL-E (2008), Baymax from Big Hero 6 (2014), and so on. These figures have existed across many different time periods of history and remain a continual source of human fascination. This dissertation develops a methodology for the analysis of the singing voices of robot-like figures, which are broadly defined by their depiction of and/or integration with aspects of mechanical, electronic, and/or digital technologies. One conceptual issue is that the term "robot" does not capture the wide range of representations that are musically possible. I utilize Despina Kakoudaki's (2014) concept of artificial people, which effectively subsumes the different robot-like characters that have appeared in music. Artificial people occupy a wide range of musical styles and time periods, and their voices display very disparate sonic profiles that complicate making broader comparisons or even using the same analytical tool. Therefore, I frame the voices of artificial people as being but one point in a constellation of processes, and advocate for the use of an interdisciplinary methodology that expands the scope of analysis to encompass sonic and non-sonic elements. I draw upon the work of Kristal Spreadborough (2022), Victoria Malawey (2020), and Kate Heidemann (2016) to analyze the vocal timbre/quality of artificial people. Philip Auslander's (2021) work on performance personas and Malte Kobel's (2022) development of the musicking voice facilitate my argument that non-sonic elements also play a role in the construction of artificial people. I focus on Olympia the Automaton from Jaques Offenbach's 1881 opera The Tales of Hoffmann, Shimon the Robot created by Gil Weinberg and his team, and Neil Young's 1982 album Trans as case studies. I discuss the musical characteristics, production methods, physical appearance, and reception history of Olympia and Shimon, arguing that each channels the attitudes of their respective audiences and creators towards the inclusion of artificial people within a musical space-hostile vs. welcoming, respectively. I place Neil Young's Trans in the middle of this spectrum. Young's album demonstrates a playing into and subversion of stereotypical tropes associated with artificial people that can only be understood through a consideration of multiple elements, such as his use of the vocoder, song lyrics, promotional/ merchandise materials, and his autobiographical influences. My hope is that this project provides a useful springboard from which more critical and important commentary can be made about the relationships we are fostering with these figures, both within and outside musical spaces.
- 일반주제명
- Music
- 일반주제명
- Robotics
- 일반주제명
- Computer science
- 키워드
- Music analysis
- 키워드
- Singing voices
- 키워드
- Olympia
- 키워드
- Shimon
- 기타저자
- The Ohio State University Music
- 기본자료저록
- Dissertations Abstracts International. 86-04B.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■1001 ▼aLopez, Gerardo.
■24510▼aFrom Robotic Singing to Singing Robots: Analyzing the Voices of Artificial People in Music
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■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a147 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-04, Section: B.
■500 ▼aAdvisor: Gawboy, Anna;Shanahan, Daniel.
■5021 ▼aThesis (Ph.D.)--The Ohio State University, 2024.
■520 ▼aIf I asked you to imagine what a "robot" looks and sounds like, I assume it would share characteristics with many of the ones that occupy popular culture, such as The Robot Model B-9 from the Lost in Space series, Marvin the Paranoid Android from The Hitchhikers Guide to the Galaxy series, C-3PO from the Star Wars series, WALL-E and EVE from WALL-E (2008), Baymax from Big Hero 6 (2014), and so on. These figures have existed across many different time periods of history and remain a continual source of human fascination. This dissertation develops a methodology for the analysis of the singing voices of robot-like figures, which are broadly defined by their depiction of and/or integration with aspects of mechanical, electronic, and/or digital technologies. One conceptual issue is that the term "robot" does not capture the wide range of representations that are musically possible. I utilize Despina Kakoudaki's (2014) concept of artificial people, which effectively subsumes the different robot-like characters that have appeared in music. Artificial people occupy a wide range of musical styles and time periods, and their voices display very disparate sonic profiles that complicate making broader comparisons or even using the same analytical tool. Therefore, I frame the voices of artificial people as being but one point in a constellation of processes, and advocate for the use of an interdisciplinary methodology that expands the scope of analysis to encompass sonic and non-sonic elements. I draw upon the work of Kristal Spreadborough (2022), Victoria Malawey (2020), and Kate Heidemann (2016) to analyze the vocal timbre/quality of artificial people. Philip Auslander's (2021) work on performance personas and Malte Kobel's (2022) development of the musicking voice facilitate my argument that non-sonic elements also play a role in the construction of artificial people. I focus on Olympia the Automaton from Jaques Offenbach's 1881 opera The Tales of Hoffmann, Shimon the Robot created by Gil Weinberg and his team, and Neil Young's 1982 album Trans as case studies. I discuss the musical characteristics, production methods, physical appearance, and reception history of Olympia and Shimon, arguing that each channels the attitudes of their respective audiences and creators towards the inclusion of artificial people within a musical space-hostile vs. welcoming, respectively. I place Neil Young's Trans in the middle of this spectrum. Young's album demonstrates a playing into and subversion of stereotypical tropes associated with artificial people that can only be understood through a consideration of multiple elements, such as his use of the vocoder, song lyrics, promotional/ merchandise materials, and his autobiographical influences. My hope is that this project provides a useful springboard from which more critical and important commentary can be made about the relationships we are fostering with these figures, both within and outside musical spaces.
■590 ▼aSchool code: 0168.
■650 4▼aMusic
■650 4▼aRobotics
■650 4▼aComputer science
■653 ▼aArtificial people
■653 ▼aRobot-like figures
■653 ▼aMusic analysis
■653 ▼aSinging voices
■653 ▼aOlympia
■653 ▼aShimon
■690 ▼a0413
■690 ▼a0771
■690 ▼a0984
■690 ▼a0800
■71020▼aThe Ohio State University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g86-04B.
■790 ▼a0168
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17164958▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
