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Paper Session 4a: Music Notation & Representation II

May 12 @ 11:00 am - 12:30 pm
Session Chair: Juan Parra

Paper Abstracts

Rodrigo Cadiz: “Composer-in-the-Loop Generation of Motivic Variants Using State-Space Models and Preference Learning”

Most current approaches to symbolic music generation rely on large-scale deep learning models trained on massive corpora and operate exclusively on pitch and duration, disregarding the articulations and dynamics that are fundamental to musical expression. We present a composer-in-the-loop system that addresses both limitations. A precomposed motive, complete with pitch, rhythm, articulation, and dynamics, is modeled as a reference trajectory in a musically interpretable state space, and variants are generated by sampling structured stochastic deviations inspired by Kalman filtering. A neural network modulates variance and structural edit probabilities based on com-
poser preference, learning from the composer’s own selections rather than from external data. Implemented as a simple browser-based application, the system supports real-time audition and persistent model reuse. The approach represents a first step toward a compositional workflow in which larger musical structures are built by concatenating and varying short, fully expressive motivic ideas.

Solomiya Moroz, Nicolo Merendino and Massimo Sterlino: “Co-Composing with Plants: Early Experiments in Bio-Responsive Score Design”
This paper presents a novel compositional system that positions plants as active, agential collaborators. We developed a custom IoT sensor device to measure a plant’s biophysical state, including electrical activity, light, and humidity, and stream this data in real-time to a bespoke software environment. Unlike commercial bio-sonification devices that generate ambient sound, our system translates biophysical fluctuations into the structural elements of a live musical score. The project is grounded in posthumanist and new materialist frameworks, which embrace interspecies entanglement. Here, collaboration is reconceived as a non-hierarchical network: the plant influences algorithmic score generation, software mediates the data, and human performers interpret the live-generated notation, creating a continuous feedback loop. This approach challenges traditional paradigms of human-environment interaction, proposing a relational and interdependent creative process. The system also serves as the technical foundation for an in-development chamber opera, where musicians perform by interpreting a score generated in real time by their more-than-human partners.
Orm Finnendahl, “DSP and the Metalevel Clamps – an integrated environment for algorithmic composition and interactive realtime performance”

Integrating low level DSP operations and highlevel concepts for organizing musical material has been a long-standing repeated topic in the discussion of computer music. Although many capable DSP systems with advanced features concerning the organization, visualisation and transformation of musical material on a higher level are in widespread use today, they either suffer from an ongoing separation between the higher level and the DSP level or the lack of a satisfying infrastructure for the integration of both worlds. Clamps 1 is a Common Lisp Package built on top of Incudine for the DSP part, CLOG for the GUI and other music related CL packages to create a unified platform, intended
to combine realtime performance, algorithmic composition and notation in a single application language and memory space. It has been successfully used for a wide a range of applications from traditional compositional work and the production of Electroacoustic Music to Interactive Live-Performances.

 

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