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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T090000
DTEND;TZID=Europe/Amsterdam:20260511T103000
DTSTAMP:20260609T143719
CREATED:20260422T142107Z
LAST-MODIFIED:20260511T154513Z
UID:10000221-1778490000-1778495400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 1a: History of Computer Music
DESCRIPTION:Session Chair: Miriam Akkermann\n  \nPaper abstracts\nHyunmook Lim: “The History of Japanese Electroacoustic Music for Piano from the Perspective of Media Genealogy”\nThis paper examines the history of compositions for piano and electronics in Japan through the lens of media genealogy. While the development of modern Japanese electronic music emerged nearly in parallel with its European counterparts\, it has often been perceived as lacking a distinctive trend or unified stylistic coherence\, unlike the established traditions of France’s Musique concrète or Germany’s Elektronische Musik. To address this\, the author categorizes the historically inconsistent\ntrajectory of Japanese electronic music by focusing on works for piano and electronics\, tracing the genealogy of specific media that have emerged within the Japanese context. In response to the ICMC2026 theme\, “Innovation\, Translation\, Participation\,” this study provides a detailed analysis of technological innovation through media genealogies\, offers a new translation of this historical narrative\, and explores the processes of artistic participation that have shaped Japan’s electronic music history. \nPaulo C. Chagas: “Beyond Execution: Unrealizability and the Ontology of Sound in Computer Music”\nThis paper proposes an ontological reorientation of computer music grounded in the concept of unrealizability. Drawing on Giorgio Agamben’s notion of potentiality without act\, it argues that dominant paradigms of electroacoustic and computer music have historically privileged realization\, execution\, and operability as the primary conditions of sonic being. From early studio practices at the GRM and WDR to the consolidation of computer music as an executable\, code-based discipline\, sound has largely been understood as something that exists in order to be realized. Against this background\, the paper proposes to examine a series of practices that destabilize the primacy of execution. Practices such as granular synthesis\, live electronic and interactive systems\, and machine-learning-based processes foreground forms of sonic potentiality that cannot be fully individuated\, predicted\, or exhausted by realization\, thereby suggesting unrealizability not as a limitation but as\na constitutive dimension of contemporary computer music. By framing sound as a field of suspended potential rather than a command to be executed\, the paper advances an alternative ontology in which listening becomes a mode of use rather than consumption. This perspective invites a reconsideration of compositional agency\, technological apparatuses\, and the political implications of sound practices beyond execution\, emphasizing openness\, contingency\, and inoperativity as critical resources for computer music today.\nAndrea Agostini: “Computer-Aided Composition: A Retrospective and Prospective Outlook”\nComputer-aided composition was established as an autonomous discipline\, distinct from the seemingly more general concept of computer composition\, in the 1980s. Since then\, it has prompted the development of dedicated software tools and specific compositional practices and attitudes. In spite of this\, a definition of what computer-aided composition actually is and\, subsequently\, a retrospective outlook on its past evolution and a prospective one on its possible futures has seldom if ever been attempted. Also\, while development and adoption of new tools has been uninterrupted through the decades\, theoretical reflection was especially thriving until the late 1990s or early 2000s\, and has lost vitality since. In this article\, we shall examine past literature in order to trace a historical overview of the term\, implicitly outlining a tentative definition of it and following through the most significant developments of computer-aided composition and its associated toolsets; attempt a necessarily partial overview of how it is practically understood and adopted today; and sketch a personal and incomplete wishlist of what the term could come to mean in some desirable future. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-1-history-of-computer-music/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T123000
DTSTAMP:20260609T143719
CREATED:20260415T131036Z
LAST-MODIFIED:20260511T154620Z
UID:10000128-1778497200-1778502600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 2a: Music Information Retrieval
DESCRIPTION:Session Chair: Orm Finnendahl\nPaper abstracts\nAxel Berndt\, Aida Amiryan-Stein\, Manuel Peters\, Meinard Müller and Stefan Balke\, “ChoraleWind: An Expressive Wind-Quartet Dataset for End-to-End Rendering from the Neues Thüringer Choralbuch”\nWe introduce ChoraleWind\, a dataset along with a framework for a reproducible end-to-end rendering from the Neues Thüringer Choralbuch (NTCB). The dataset comprises 311 four-part chorales and covers the full pipeline from symbolic score encoding to performance-level rendition and synthesized audio. ChoraleWind includes a rule-based performance model that generates expressive timing\, dynamics\, and articulation\, including metric and structural accents as well as phrase-end gestures from high-quality MEI encoding of the NTCB chorales\, combined with a wind-instrument synthesis based on physical modeling that produces isolated stems and ensemble mixes. The dataset provides aligned symbolic representations\, performance annotations\, and multitrack audio\, enabling systematic training and evaluation of score-to-audio wind-quartet rendering methods under fully controlled conditions. Rather than aiming at state-of-the-art purely data-driven synthesis\, ChoraleWind is designed as a transparent and reproducible testbed for studying expressive performance generation\, timbre modeling\, and evaluation of wind-quartet rendering systems.\n\nMário Pereira\, António Sá Pinto\, Treasa Harkin and Gilberto Bernardes\, “Computational Analysis of Expressive Tempo in Irish Traditional Dance Music”\n\nThis paper presents a computational study of expressive tempo in Irish traditional dance music\, analysing 136 annotated performances of reels and jigs. Using beat-level tempo calculation\, predominant-tempo estimation\, and deviation-curve analysis\, we examine how timing varies across tune types\, performance settings\, and musical structure. Results show that expressive deviations are generally subtle: reels display a mild deceleration tendency\, jigs remain highly tempo-stable\,\nand solo–ensemble and instrument-specific differences are minimal. Phrase-level clustering reveals three characteristic deviation profiles\, with strong acceleration occurring only in opening phrases\, reflecting common slow-start performance practices. These findings provide\, to the best of our knowledge\, the first systematic quantitative characterisation of expressive timing in this tradition and highlight how micro-variations emerge from stylistic\, technical\, and interpretive factors while maintaining overall temporal stability.\nGilberto Bernardes\, Nádia Moura and António Sá Pinto\, “Perpetual Dialogues: A Computational Analysis of Voice–Guitar Interaction in Carlos Paredes’s Discography”\nComputational musicology enables systematic analysis of performative and structural traits in recorded music\, yet existing approaches remain largely tailored to notated\, score-based repertoires. This study advances a methodology for analyzing voice–guitar interaction in Carlos Paredes’s vocal collaborations—an oral-tradition context where compositional and performative layers co-emerge.\nUsing source-separated stems\, physics-informed harmonic modeling\, and beat-level audio descriptors\, we examine melodic\, harmonic\, and rhythmic relationships across eight recordings with four singers. Our commonality–diversity framework\, combining multi-scale correlation analysis with residual-based detection of structural deviations\, reveals that expressive coordination is predominantly piece-specific rather than corpus-wide. Diversity events systematically align with formal boundaries and textural shifts\, demonstrating that the proposed approach can identify musically salient reorganizations with minimal human annotation. The framework further offers a generalizable computational strategy for repertoires without notated blueprints\, extending Music Performance Analysis into oral-tradition and improvisation-inflected practices. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-2-music-information-retrieval/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T123000
DTSTAMP:20260609T143719
CREATED:20260422T142327Z
LAST-MODIFIED:20260511T154743Z
UID:10000222-1778497200-1778502600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 2b: AI & Music
DESCRIPTION:Session Chair: Paulo Chagas\nPaper abstracts\nHiroshi Yamato\, OrbitScore: “A Domain-Specific Language for Polymetric Live Coding Based on Multilayered Temporal Structures”\nThis paper presents OrbitScore\, a domain-specific language (DSL) for live coding polymetric rhythm patterns based on the theory of Multilayered Temporal Structures (MLTS). While existing live coding languages such as TidalCycles and Sonic Pi provide rich pattern manipulation capabilities including polyrhythmic support\, OrbitScore offers an intuitive syntax where the beat(n by m) notation directly\nmaps to the theoretical 4:(n/4) framework\, enabling each sequence to maintain its own meter and allowing performers to create intricate polyrhythmic textures in real-time. The system integrates with SuperCollider for low-latency audio synthesis and provides a declarative\, method-chaining syntax designed for live performance. We describe the theoretical foundation\, DSL design\, implementation architecture\, and demonstrate the system’s capabilities through a live coding performance. Our contribution lies in bridging the gap between the theoretical framework of Multilayered Temporal Structures and practical live coding tools\, making polymetric expressions accessible to performers. \nPiero Poli: “Dancing Cabiria: An hyper-environment study through corpus-based techniques”\nThis paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space\, where physical movement becomes a means\nof navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria\, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914)\, as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits\, four choreographies are performed\, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment\, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora\, the relationship that emerges between movements width\, corpus dimensions\, and virtual space volume\, and the role of real-time feedback in the design of hybrid instruments for performers. \nMinami Kojima\, Takayuki Itoh and Rafael Ramirez: “Factor Analysis of Similarity in the Same Orchestral Piece”\nThere have been conventional research comparing multiple performances of the same classical music piece\, where many of them primarily discussed the similarity between performances but rarely delved into why those performances are similar. Furthermore\, conventional similarity analysis has dealt with the similarity of single features in classical music\, such as timbre\, tempo\, and loudness. However\, since actual audiences perceive these features compounded without separating them\, relying solely on single features is insufficient to fully represent musical style. To overcome this challenge\, our study uses a deep learning model (VGGish\, specialized in audio feature extraction) that captures high-level timbral and textural features\, in addition to acoustic features (timbre\, loudness\, tempo)\, targeting the same orchestral piece. Subsequently\, based on those features\, we define five grouping criteria: (1) same orchestra\, (2) same conductor\, (3) same country of orchestra\, (4) same nationality of conductor\, and (5) same teacher of the conductor. We then evaluate the clustering performance for each criterion. A group exhibiting high clustering performance suggests mutual similarity among the performances within that group\, leading us to conclude that the corresponding criterion represents a major factor influencing performance style. The results in this paper show that conductor identity consistently yields\nthe strongest clustering for tempo-related features\, while orchestra identity dominates timbral similarity in specific movements. We demonstrate that metadata-driven factors explain similarity beyond purely perceptual or affective similarity measures. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-2b-ai-music/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T103000
DTSTAMP:20260609T143719
CREATED:20260415T131848Z
LAST-MODIFIED:20260511T154902Z
UID:10000081-1778576400-1778581800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3a: Music Notation & Representation I
DESCRIPTION:Session Chair: Axel Berndt\n  \nPaper abstracts\nTianze Zhang\, Shingyui He and Lei Xuan\, “CNN-BiLSTM Hybrid Model with Physical Constraints for Automatic Piano Fingering Generation”\nPiano fingering is a pivotal technique that piano learners must master. To address the difficulties in the application and arrangement of fingering during practice and early stages of learning\, this paper proposes an artificial intelligence hybrid model based on Bidirectional Long Short-Term Memory (BiLSTM) network\, Convolutional Neural Network(CNN) and Attention\, with the aim of automatically generating piano fingerings. The model extracts physical features\, including spatial\, temporal\, hand motion\, and fingering information\, and integrates biomechanics constraints during neural network training for the first time. Based on the aforementioned algorithms\, the model achieved a good result. This innovative methodology enhances predictive performance by accurately capturing the complex\nphysical interactions inherent in piano fingering. This paper also compares the model with fingerings generated by other algorithms to verify the reasonableness and effectiveness of the hybrid model in piano fingering prediction. In conclusion\, the model can efficiently and conveniently provide fingering support for piano learners\, and has strong application prospects and practical value. \n\nJuan Carlos Vasquez and Zhonghao Chen: “Recursive Radiance: Multimedia Interpretations of Traditional Chinese Aesthetics”\n\nThis paper presents Recursive Radiance\, a multidisciplinary artwork integrating traditional Chinese practices with contemporary technologies through parallel sonic and visual implementations. The project pairs a four-channel acousmatic composition with an installation of graphic scores\ninspired by the Jianzi notation system. The sonic component transforms improvisations based on the traditional guqin piece ”Cai Zhen You” (Wandering in True Essence) through fab synthesis\, spatial diffusion\, and electronic processing. The composition employs chaotic attractors for spatial movement\, creating an immersive soundscape that embodies Daoist principles of fluidity and transformation. The visual component features a series of hanging scrolls and fragments functioning as both notation and artistic extension. These graphic scores emerge from a hybrid methodology combining traditional ink boxes with tensioned strings\, cyanotype printing\, 3D environmental scans\, and AI-generated imagery created through LoRA models trained on interpretative readings of the Guqin’s notation system. Recursive Radiance functions as both a hybrid physical-digital installation and a framework for cultural preservation.\nThis paper documents the completed musical composition\, graphic scores\, and conceptual approach to public engagement through immersive multimedia. Our research demonstrates how computational tools and engineering techniques can support artistic expression while preserving cultural heritage\, offering new pathways for audience interaction with traditional art forms through contemporary multimedia experiences.\nRob Canning: “Scores That Run: Graphic Notation with Embedded Performance Semantics”\nThis paper presents an approach to digital graphic notation in which performance semantics are embedded directly into the visual surface of the score. Working in standard SVG and authored entirely in Inkscape\, the score is composed as a graphic–semantic document: visual elements carry lightweight cue structures encoded in their identifiers\, and these cues are executed in real time by a browser-based runtime. The score therefore functions simultaneously as image\, temporal structure\,\nand performative interface\, without reliance on symbolic engraving or external playback systems.\nThe framework supports hybrid formal topologies\, including continuous scrolling trajectories\, page-based local environments\, and patterned navigation between sectional states. Animated motion fields provide shared gestural resources for ensemble coordination and may\noptionally drive live electronic processes\, enabling a unified grammar of acoustic and electronic gesture. All cue semantics—structural\, temporal\, gestural\, textual\, and media-based—are authored within the same executable layer as the notation\, so behaviour and interpretation\narise from a single surface. Because the system is based entirely on open web standards\, it enables a direct draw-and-perform workflow accessible to composers and performers without specialised technical infrastructure. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-3a-music-notation-representation-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T223000
DTSTAMP:20260609T143719
CREATED:20260415T132257Z
LAST-MODIFIED:20260511T155028Z
UID:10000083-1778576400-1778625000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3b: Physiological and Physical Foundations of Creative Systems I
DESCRIPTION:Session Chair: Tony de Ritis\n  \nPaper abstracts\nAmir Abbas Orouji\, Ayoub Banoushi and Gilberto Bernardes: “Vibrational Analysis of Traditional Persian Kamanche Sound Box: Experimental and Computational Investigation of Structural Modifications”\nThe kamanche\, a bowed spike fiddle central to Persian classical music\, features a spherical sound box covered with stretched animal skin and is played vertically on the performer’s lap. Despite acoustic similarities to the violin\, comprehensive research on kamanche acoustics remains limited. This study investigates the acoustic contribution of the sound box to resonance characteristics and tonal quality of the closed-back kamanche\, the most prevalent contemporary variant. The research combines COMSOL Multiphysics vibration simulation with experimental validation through impulse response frequency measurements. Investigated modifications include upper and lower hemisphere thickness variations and sound hole area reduction. Results demonstrate that upper hemisphere changes\, while preserving internal air volume\, substantially affect fundamental resonance patterns\, corroborating traditional luthier observations. This study also suggests that the vibration modes 4\,5\, and especially 7 might be good candidates for maximum contribution to the overall amplifica-\ntion of the string’s resonance and the overall sound of the instrument. \nNikolaus Knop: “Ponticello: An Interactive Conducting System for Mixed Music Performance”\nIn composed music that combines acoustic instruments with electronic processing or fixed media\, synchronizing acoustic and electronic layers remains a persistent challenge. The use of click tracks\, while technically effective\, significantly restricts the performers’ freedom to expressively shape musical time. This paper presents Ponticello\, a system that addresses the synchronization problem by inferring the ensemble’s tempo from a video stream of the conductor in real-time. Instead of the ensemble being beholden to a fixed digital click track\, the computer follows the flexible pulse indicated by the conductor\, which already functions as a shared temporal reference for the human performers. Although the idea of interactive conducting systems is not new —it has been researched since the 1970s — research has largely focused on applications that simulate instrumental performances based on MIDI scores\, which limits their applicability to the performance of mixed music. To support a broad range of compositional strategies for mixed music\, Ponticello instead models the electronic part as a timeline of temporally extended\, electronic processes whose playback tempo is continuously controlled by the conductor. The system has proven sufficiently reliable and accurate in rehearsal and concert settings across multiple conductors.\nLucas Ong\, Ruby Crocker and George Fazekas: “Emotion-Based Film Music Retrieval with Handcrafted and Deep Models”\nFilm music powerfully conveys emotion\, yet computational methods for retrieving film tracks that match a target emotional state remain underexplored. This paper presents two approaches for emotion-based film music retrieval using Valence–Arousal (V–A) representations. The models are evaluated on the FME-24 dataset\, which provides time-aligned participant-annotated V–A ratings for film music excerpts. The first approach applies k-Means to handcrafted audio features\, while the second uses a VaDE model with contrastive learning to align audio and V–A embeddings. Results show that both methods capture emotion-related structure\, with the deep model enabling more flexible\, fine-grained selection. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-3b-physiological-physical-foundations-creative-solutions/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T123000
DTSTAMP:20260609T143719
CREATED:20260415T132858Z
LAST-MODIFIED:20260511T155201Z
UID:10000080-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4a: Music Notation & Representation II
DESCRIPTION:Session Chair: Juan Parra\n\nPaper Abstracts\nRodrigo Cadiz: “Composer-in-the-Loop Generation of Motivic Variants Using State-Space Models and Preference Learning”\nMost 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-\nposer 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. \nSolomiya Moroz\, Nicolo Merendino and Massimo Sterlino: “Co-Composing with Plants: Early Experiments in Bio-Responsive Score Design”\nThis 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.\nOrm Finnendahl\, “DSP and the Metalevel Clamps – an integrated environment for algorithmic composition and interactive realtime performance”\nIntegrating 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\nto 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. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-4a-music-notation-representation-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T123000
DTSTAMP:20260609T143719
CREATED:20260415T133949Z
LAST-MODIFIED:20260511T155410Z
UID:10000129-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4b: Physiological and Physical Foundations of Creative Systems II
DESCRIPTION:Session Chair: Simon Linke\n  \nPaper Abstracts\nRolf Bader and Simon Linke: “Impulse Pattern Formulation (IPF) Brain and Larynx Model as a Co-Musician Sound Synthesis Method”\nA sound synthesis method is proposed as a variation of the Impulse Pattern Formulation (IPF) sound synthesis introduced before\, now combining an IPF Brain model previously proposed\, driven by a simple IPF of brain input stimulation and acting on a larynx IPF for vocalization. The resulting sounds produce timbre\, rhythm\, articulation\, and large-scale form with a single algorithm reminding on complex articulated vocalization of living being. A systematic investigation of the Brain IPF with the input IPF shows many kinds of articulations for converging\, bifurcating\, and chaotic IPF input\, but only the chaotic input has a high likeliness to end in a distinct sound. By varying the amount of excitatory vs. inhibitory neuron relations of the IPF Brain model\, realistic relations found in humans are found to have a wider distribution of articulatory possibilities. Varying the adaptation strength of the Brain IPF\, distinct sounds can often only be produced by certain values\, where some sounds can only be produced by no or a strong adaptation but not for medium adaptation strength\nvalues. Overall\, the relation between the Brain IPF output and its parameters are too complex to easily predict its output\, making this synthesis method a co-composer for a musician or composer displaying its ’own will’\, so a unique sound synthesis co-musician method. \nTim Ziemer: “Mel-Frequency Cepstral Coefficients and Recording Studio Features for the Analysis of Producer-Driven Music”\nIn music information retrieval\, Mel frequency cepstral co-efficients are a ubiquitous set of audio analysis features that has proven its value for practical tasks\, like automatic genre recognition or playlist generation. However\, in the recording studio practice\, a very different set of audio analysis tools is consulted. In this study\, we utilize audio analysis tools from the recording studio for house and techno music analysis\, and compare its discriminative power and its interpretability with Mel frequency cepstral coefficients. In a quantitative style classification task\, recording studio features perform slightly worse than Mel frequency cepstral coefficients. However\, they are much more explanatory when it comes to exploring differences between US and German music. The set of features is a promising tool for the research of producer-driven music.\nSimon Linke\, Rolf Bader and Robert Mores: “Designing responsive rhythms utilizing the Impulse Pattern Formulation (IPF)”\nImpulse Pattern Formulation (IPF) is an analytical modeling approach for synergetic systems motivated by research on musical instruments. It describes the nonlinear coupling of system components as the interaction between individually propagating\, exponentially damped impulse trains. Due to this general approach\, the IPF has been successfully applied to topics other than musical instruments and is hypothesized to be capable of modeling the entire process of musical perception and performance in the future. This work investigates how the IPF can be applied as a compositional tool that reproduces fundamental musical behavior by modelling the synchronization of musicians to an external rhythm. The derived model is systematically examined by analyzing its behavior when coupled to numerically designed and carefully controlled rhythmical beat sequences. Thus\, in the future\, the IPF model can be applied\, e.g.\, to replace drum machines and click tracks with more musical and creative solutions. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-4b-physiological-and-physical-foundations-of-creative-systems-ii/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T090000
DTEND;TZID=Europe/Amsterdam:20260513T103000
DTSTAMP:20260609T143719
CREATED:20260415T133500Z
LAST-MODIFIED:20260511T155501Z
UID:10000082-1778662800-1778668200@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 5b: AI\, Machine Learning & Pedagogy
DESCRIPTION:Session Chair: Rodrigo Cadiz\n\nPaper Abstracts\nJeff Kaiser and Gregory Taylor: “Building Loopers: A Pedagogical Framework for Teaching Creative Software Design Through Iterative Tool Construction in Max\, gen~\, and RNBO”\nThis paper introduces the ideas behind our open-access project “Building Live Loopers in Max.”1 The project presents a hybrid pedagogical and technical framework in which students learn signal processing concepts by constructing live-looping tools in Max\, gen~\, and RNBO. By engaging with buffer operations\, timing structures\, playback manipulation\, and parameter mapping\, students develop technical fluency and musical understanding simultaneously. We introduce a sequence of modular\, step-by-step looper designs\, a color-coded instructional method for visualizing patcher development\, and a cross-environment workflow that reinforces transferable pro-\ngramming habits. Our coursework is designed to be sufficiently open-ended that students\, while grounded in familiar musical contexts\, are encouraged to exercise curiosity and explore creative directions beyond the methods presented. Drawing on Dehaene’s work on curiosity and Eagle-\nman’s writing on relevance\, the design aims to engage intrinsic motivation and support students in forming novel connections and actively experimenting with musical ideas. This approach positions looper construction as a bridge between creative music-making and computational thinking\, supporting both performance and pedagogical outcomes. \nNicolas Brochec and Jean-Louis Giavitto: “Automatic Following of Flute Playing Techniques for Real-Time Mixed Music: A Case Study with Antescofo and ipt~”\nThis paper investigates how real-time recognition of instrumental playing techniques can extend automatic score following beyond the limits of pitch-based alignment. While systems such as Antescofo provide robust and largely plug-and-play score following\, their listening model is primarily designed for stable\, pitched events aligned with a fixed symbolic score. This makes them difficult to adapt to extended techniques\, unpitched sounds\, and musical forms involving partial improvisation or open notation. To address these limitations\, we explore a hybrid approach that combines multiple listening machines with complementary capabilities and allows dynamic switching between them during performance according to the musical context. Specifically\, we integrate Antescofo with ipt˜\, a real-time playing technique recognition system based on lightweight machine learning models. We focus on the integration of real-time instrumental playing technique recognition as a means to enrich the listening process and support technique-aware navigation of the score. We evaluate this approach on the case of extended flute techniques\, assessing both the feasibility of technique aware following and the trade-off between system generality and performance. Results suggest that learning-based listening modules provide a practical compromise: they improve\nrobustness for specific techniques while preserving much of the plug-and-play character supporting multiple works and performers. The results highlight a promising balance between generality\, specificity\, and performative robustness.\nColton Arnold\, Zhaohan Cheng and Ajay Kapur: “AI Framework for Dynamic Robotic Instrument Calibration”\nThis paper presents a data-driven calibration framework for robotic musical instruments based on a hybrid ensemble model that combines K-nearest neighbors (KNN) and a multi-layer perceptron (MLP). KNN anchors predictions to recorded acoustic measurements\, while the MLP enables nonlinear generalization and smooth interpolation across the instrument’s playable range. A distance-dependent blending strategy integrates the two models\, improving consistency across sparse and dense data. The proposed approach produces stable and repeatable calibration estimates for both pitched and non-pitched instruments\, outperforming standalone models across a range of sampling conditions. This work establishes a scalable foundation for automated calibration in robotic musical systems.\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-5b-ai-machine-learning-pedagogy/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T090000
DTEND;TZID=Europe/Amsterdam:20260513T103000
DTSTAMP:20260609T143719
CREATED:20260415T134754Z
LAST-MODIFIED:20260512T074538Z
UID:10000130-1778662800-1778668200@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 5a: Novel Concepts in 3D Audio
DESCRIPTION:Session Chair: Serge Lemouton\nPaper abstracts\nLaura Call Gomez\, Gabriel Decker\, Jayson Faupel\, Aditya Rajesh Pawar\, Jacob Westerstahl and Henrik von Coler: “BIKES: A Mobile Networked Music Instrument in Interdisciplinary Research and Education”\nThis paper describes how a mobile\, networked instrument for music and sound art is used as a platform for interdisciplinary research and creative practice in higher education. The long-term project\, BIKES\, provides students with the opportunity to engage with real-world challenges by com-\nbining music technology\, experimental composition\, and industrial design. Project activities include interactive installations and sound rides\, iterative development of hardware and software\, as well as the design and fabrication of a new prototype for exhibition contexts. After its first year\, BIKES demonstrates how the multifaceted nature of a modular instrument can facilitate collaborative work and increase the visibility of student-led research and development.\nTeresa Carrasco: “Sonic Urgency: Exploring Perceptual\, Sociopolitical\, and Participatory Dimensions of Spatial Listening”\nThis paper explores spatial listening as a multidimensional practice linking perception\, phenomenology\, and sociopolitical discourse. It outlines psychoacoustic foundations of sound localization and traces key listening theories—from reduced listening and acoustic ecology to\nspectromorphology and spatial dramaturgy—framing listening as an active\, interpretive process. It then examines phenomenological\, participative\, and political aspects\, proposing spatial listening as an embodied\, situated\, and relational practice\, and calls for expanded listening models suited to contemporary sonic environments.\nMauro Cantonetti\, Paolo Malpeli\, Giuseppe Rizzo\, and Alessandro Anatrini: “MetaConcert: A Shared VR Audio-Visual Experience Model Reducing User Isolation Through Synchronized 360 Video on HMDs and HOA Playback on a Multichannel Dome”\nWe introduce MetaConcert\, a system that integrates a VR head-mounted display with multichannel loudspeaker-dome audio. It employs a dedicated workflow for 360° video capture\, Ambisonic audio recording\, and dome-oriented rendering. A key component is a synchronization solution using OSC communication between the WebXR video player and SuperCollider for audio rendering. The system renders third-order Ambisonics\, decoded for a multichannel in-room speaker array. Synchronizing 360° video playback in WebXR with multichannel audio in SuperCollider via OSC messages enables a fully immersive\, headphone-free experience\, making it ideal for shared listening environments. Framed within the concepts of presence and plausibility [1]\, we discuss how dome-based listening reduces the isolation typical of HMD use and fosters scenarios of enhanced social presence \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-5a-novel-concepts-in-3d-audio-including-wireless-multi-channel-audio-as-well-as-physical/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T123000
DTSTAMP:20260609T143719
CREATED:20260415T134319Z
LAST-MODIFIED:20260511T160523Z
UID:10000084-1778670000-1778675400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 6b: AI & Machine Learning
DESCRIPTION:Session Chair: Nicola L. Hein\n  \nPaper abstracts\nGiovanni Roma and Alba Francesca Battista: “Supervised Memory: How Machines Can Preserve What We Cannot Hold”\nThis paper presents an AI framework for preserving electroacoustic works threatened by technological obsolescence and vanishing performance knowledge. Through supervised annotation as “composition of comprehension\,” we transform machine learning into active interpretation rather than passive archiving. Our approach employs a two-level vocabulary system distinguishing universal from composer-specific notational elements\, enabling systematic knowledge transfer across diverse repertoires. We ground the framework in one implemented reconstruction—Jonathan Harvey’s Ricercare una melodia from incomplete documentation—and outline two further experimental\nfronts: analyzing context-dependent notation in Stockhausen’s Solo\, and exploring annotation possibilities in Boulez’s spatial coordinates. The methodology treats annotation not as neutral transcription but as interpretive translation\, where each label embeds aesthetic decisions and performance practice. Harvey’s implementation revealed how editorial simplification between 1984 and 2003 editions created cascading performance challenges\, validating our recovery of embedded procedural knowledge. The framework progresses from mechanical reproduction through systematic reading to conscious reactivation\, establishing foundations for computational preservation while acknowledging fundamental limits. We argue that effective preservation requires not static archives but living traditions maintained by transparent\, contestable machine interpretations. This positions AI-based complements as participants in musical preservation rather than mere repositories\, preserving both structural relationships and the reasoning patterns that animate them. \nAbhirup Saha\, Hans-Ulrich Berendes\, Meinard Müller\, and Ben Maman: “Snapping Matters: Context-Aware Onset Refinement for Automatic Music Transcription”\nPrecise note-level annotations are critical for training automatic music transcription (AMT) systems\, in particular note-onset labels\, which form a core component of many recent AMT systems. However\, high-quality annotations for real-world recordings are scarce. Sequence-level score–audio alignment methods such as dynamic time warping provide only coarse correspondence\, making a local refinement step necessary. This refinement step\, known as snapping\, adjusts aligned score onsets using peaks in a neural onset posteriorgram and often determines whether weakly aligned score–audio pairs become usable training data at all. Despite its practical importance\, snapping is typically treated as a simple post-processing heuristic and implemented with greedy local decisions. We present a systematic analysis of snapping strategies for training instrument-agnostic transcribers\, demonstrating that snapping is essential for learning from weakly aligned data. Building on this\, we formulate snapping as a per-pitch assignment problem and solve it via bipartite graph matching\, yielding context-aware onset decisions under overlapping refinement windows and uncertain initial alignments. Extensive cross-dataset experiments across piano\, chamber\, and orchestral recordings show improved onset alignment and transcription accuracy over greedy snapping\, with gains increasing for wider snapping windows and coarser initial alignments. Qualitative examples are provided on our project page: https://abhirupsaha8.github.io \nYu Foon Darin Chau and Andrew Horner: “Classical Music Mashup System and Compatibility Heuristics”\nWe investigate symbolic classical music mashups and introduce a retrieval-based pipeline for generating them. Unlike audio-domain mashups\, symbolic mashups offer perfect voice isolation and allow for post-generation reinterpretation of tempo\, dynamics\, and instrumentation. While prior work in audio mashups emphasises harmony\, rhythm\, and balance\, symbolic mashups in classical repertoires remain underexplored and lack clear compatibility heuristics. To this end\, we conduct controlled listening tests on classical music excerpts to isolate factors shaping perceived compatibility. Results indicate effective mashups should respect the recognizability of motivic materials\, underlying cadential logic\, and be presented polyphonically. We designed a symbolic mashup pipeline for classical piano music around these findings that maximises pairwise piece compatibility. We discuss implications and limitations for algorithmic composition\, pedagogical tools\, and future extensions to broader styles\, longer forms\, and richer evaluative methodologies. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-6b-ai-machine-learning/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T123000
DTSTAMP:20260609T143719
CREATED:20260415T140923Z
LAST-MODIFIED:20260513T102603Z
UID:10000131-1778670000-1778675400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 6a: Immersive Media & 3D Audio
DESCRIPTION:Session Chair: Henrik von Coler\n\nPaper abstracts\nFelipe Otondo and Leonardo Santos: “Listening Across Spaces: Perceptual Evaluation of an Ambisonics-Based Sound Installation”\nThis paper explores how immersive listening to natural soundscapes is shaped by the spaces in which it unfolds. Using second-order Ambisonics field recordings rendered through a third-order Ambisonics decoding scheme\, five natural soundscape excerpts were reproduced over calibrated 16-loudspeaker Genelec arrays in two contrasting venues: an acoustically controlled laboratory and an untreated museum gallery. Listener evaluations addressed presence\, envelopment\, timbral clarity\, stability and depth using a perceptual framework grounded in recent immersive audio literature. The results reveal distinct perceptual profiles across venues\, where spatial precision emerges in controlled conditions and reverberation contributes to a more diffuse sense of overall immersion in the museum. The study highlights immersion as a situated experience shaped by sound content\, room acoustics\, and reproduction conditions\, with implications for artistic sound installations and exhibition design \nYu Chia Kuo: “Tree Rings: Ecological Memory and Linguistic Traces in an Immersive Dome Composition”\nTree Rings is a site-specific dome composition that weaves ecological recordings\, linguistic material\, and generative 3D forms into a layered audiovisual environment. Granular and spectral processing emphasize microscopic textures\, while VBAP spatialization and text-to-3D diffusion produce concentric structures that expand toward landscape-scale processes. Treating environmental sound and language as parallel acoustic and cultural archives\, the work frames ecological memory as an immersive\, temporally scaled experience\, offering a metaphor-driven approach to spatial sound and generative visual design within research-creation contexts.\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-6a-immersive-media-3d-audio/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T160000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260609T143719
CREATED:20260421T172024Z
LAST-MODIFIED:20260511T160839Z
UID:10000086-1778688000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Music Program Overview\nHe（龢）\nXiangbin Lin \nSpores: A Physarum-Inspired Instrument for Agent-Based Ecological Interaction\nKyle Smith \nRemnants \nNikos Baskozos \n  \nSession Chair: Rodrigo Cadiz\nPaper Abstracts\nXiangbin Lin\, Du Huang\, Qi Qian and Maosong Sun Beyond Musique Concrète: “Perceptual Morphing via Audio Latent Embeddings Manipulation”\nThis paper proposes “Neural Musique Concr`ete”\, a compositional paradigm that reinterprets the Quantized Audio Latent Embedding produced by Neural Audio Codecs (NACs) as a malleable digital “Sound Object” (L’Objet Sonore) amenable to direct artistic intervention. While end-to-end generative AI has dramatically accelerated music production\, it confines creators to prompt-level interaction\, effectively reversing the long-standing trend toward increasingly fine-grained control over acoustic micro-structures. To restore this creative agency\, we introduce Latent Manipulation Functions (LMFs)—weighted summation with independent time-varying coefficients—that operate directly on the continuous latent space\, enabling “Perceptual Morphing”: the deep semantic and\nacoustic fusion of heterogeneous sound materials beyond waveform-domain superposition. The framework is validated through the electronic composition “He” (Harmony)\, whose three compositional phases (spectral fusion\, stochastic granular scattering\, and order-chaos coupling) demonstrate that tensor-based latent editing supports structurally complex musical forms; a complementary survey of five NACs further establishes the requirements for codec applicability. Our results indicate that direct manipulation of NAC latent embeddings effectively\nbridges the high fidelity of modern AI systems with the fine-grained compositional control central to avant-garde electronic music. \n  \nKyle Smith and Alexandria Smith Spores: “A Physarum-Inspired Instrument for Agent-Based Ecological Interaction”\nThe ecosystem is the interface. Spores (2025) is a touchscreen instrument where sound is activated based on simulated slime mold colonies finding food. The performer becomes part of the ecosystem and a caretaker alongside the slime mold. They read health\, growth rate\, stress\, and territorial spread through observable organism behavior\, the way one reads an animal’s body language. The per- former distributes resources rather than issuing commands\, acting as caretaker to a system that resists mastery. In this paper\, I discuss the theoretical underpinnings engaging with ecological systems\, biomimetic systems\, multi-agent systems in composition/instrument design\, technical implementation\, and composing for and performing with living environments where the performer becomes the care taker of an environment instead of the ”commander” of the environment. I discuss incorporating biophilic design practices into working with agent-based models (ABM) and\nartificial intelligence in music\, modes of interaction\, and my biologically inspired process of collaborating with artificial intelligence. A seven-minute event-based improvisation demonstrates this approach across six sections exploring hunger\, competition\, and abundance. \n  \nNikos Baskozos and Thanos Polymeneas-Liontiris: “Data-driven algorithmic composition with large sample libraries: a modular system for the dynamic formation and control of spatialised sound groups”\nThis paper presents a Max/MSP abstraction library for data-driven algorithmic composition. It utilises large sample collections for the formation and temporal control of multiple subselections of the corpus. Each subselection is hosted in a separate container object and may be formed with its own querying rules\, using various querying modes. These subselections are typically predefined and can be dynamically recalled and modified. Each subselection container is connected to its own pitch\, timing\, effects and playback modules. In addition to sequential playback of samples\, which is more suitable for melodic and rhythmic explorations\, the presented system offers the possibility of vertical playback. The vertical playback module provides temporal control of individual voices and is more suitable for harmonies and spectral techniques. Granular synthesis is possible with both playback modules. The system has been used for the composition of a few fixed-media works. The piece ‘Remnants’\, described in this paper\, partially explores the system’s available features. \n  \nAbout the pieces & artists\nXiangbin Lin: He（龢）\nThe electronic music composition “He” (龢) explores deep fusion mechanisms for heterogeneous sound materials through the direct manipulation of Audio Latent Embeddings (ALE). “He” (龢) is an ancient Chinese character. The conceptual framework derives from the etymology of the title character\, where “Yue” (龠) symbolizes artificially constructed musical structures\, while “He” (禾) signifies nature and vitality . Situated at the intersection of artificial operation and sonic origins\, this work implements a novel method of sound fusion through the computational manipulation of the latent space. \nAbout the artist\nXiangbin Lin is a master’s student in Electronic Music Composition at the Central Conservatory of Music. He received his bachelor’s degree in Electronic Music Production from the same institution\, where he ranked first in his cohort and was recommended for direct admission to the master’s program. He studies under Professor Qi Qian\, Associate Director of the Department of Music Artificial Intelligence and Music Information Technology at the Central Conservatory of Music. \nHe has received numerous honors\, including the National Scholarship for Undergraduate Students\, the Outstanding Graduate of Beijing award\, the Beijing Advanced Class Collective Award\, and the First-Class Academic Scholarship for Graduate Students. He has also been a multiple-time recipient of the Outstanding Student Scholarship and the Merit Student title of the Central Conservatory of Music. \n  \nKyle Smith: Spores: A Physarum-Inspired Instrument for Agent-Based Ecological Interaction\nSpores (2025) explores the relationship between non-deterministic emergence\, artificial co-agency\, and musical expression by reimagining the controller as an ecological system. The performer tends virtual slime mold colonies on a touchscreen running a real-time Physarum polycephalum agent-based model\, seeding new colonies\, distributing nutrients\, and disturbing the environment. Health\, stress\, and territorial spread are continuously extracted and mapped to synthesis parameters via OSC and MPE MIDI. No food\, no colonies. No colonies\, no sound. The constraint becomes visible before it becomes audible. Six sections explore hunger\, competition\, and abundance across a seven-minute event-based improvisation\, each isolating a different ecological condition. The ecosystem itself becomes the interface. \nAbout the artist\nKyle Smith (b. 2000) is a designer\, engineer\, and multimodal artist working at the intersection of music technology\, biomimetic design\, and immersive systems. His research focuses on sensor-driven soundscapes\, generative instruments\, and ecological approaches to musical interaction. He is a second-year master’s student in the Creative Music Technology Lab (CMTL) at Georgia Institute of Technology and holds a B.S. in Creative Technology & Design from the University of Colorado Boulder. \n  \nNikos Baskozos: Remnants\nThis fixed-media piece explores rhythmic patterns and creative sample browsing using a large sound collection. As detailed in the accompanying ICMC 2026 paper\, “Data-driven algorithmic composition with large sample libraries: a modular system for the dynamic formation and control of spatialised sound groups”\, the piece is realised with a custom system which utilises Music Information Retrieval for offline analysis and various querying modes for real-time navigation. For this piece\, a corpus of about 20\,000 one-shot samples is used\, consisting of commercial libraries\, personal recordings\, and random sounds stored in random folders. Four subselections of sounds from the larger library are used and they are dynamically modified during the piece. Each group focuses on different frequency bands and structural roles in the music. Frame drum sounds comprise the low end\, while mostly metallic sounds are present in the mid-range and high frequencies. From a reflective perspective\, images of scrapyards emerge\, both through the sound palette and as an analogy for the retrieval and recombination of materials. The sounds\, as found in the library\, are unsorted and decontextualised\, with folk instruments coexisting alongside office foley sounds. Selection based on audio characteristics allows samples to be found and placed in a musical context. Samples are triggered continuously at 130 BPM\, and rhythmic variations are generated through constrained random selection from the contents of each group. ‘Browsing solos’ integrated into the rhythm are heard frequently. These are created through continuous descriptor querying\, allowing smooth transitions in sample selection. \nAbout the artist\nNikos Baskozos is from Athens\, Greece. He holds a diploma in architecture (U. Patras) and a master’s degree in music creation for new media (NKUA). In recent years\, his main focus has been computer music\, particularly working with large sound collections in Max/MSP. He recently completed an internship at IRCAM-STMS Lab\, focusing on corpus-based synthesis and spatialisation. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/piece-paper-session-hamburg/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T090000
DTEND;TZID=Europe/Amsterdam:20260514T103000
DTSTAMP:20260609T143719
CREATED:20260422T134949Z
LAST-MODIFIED:20260511T160941Z
UID:10000220-1778749200-1778754600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 7b: Interactive Media I
DESCRIPTION:Session Chair: Mara Helmuth\n  \nPaper abstracts\nAdriano C. Monteiro and Rafaela B. Pires: “Exploring DIY Cassava-Starch Bioplastic Interfaces with EFT-Based Touch Sensing in an Interactive Sound Installation”\nThis paper reports the design\, implementation\, and preliminary validation of a tangible interface that combines electrical field tomography (EFT)\, support vector machines (SVM)\, and cassava-starch bioplastics for an interactive sound installation. The system addresses two main challenges: 1) creating low-cost\, large-area touch surfaces with flexible geometries\, and 2) integrating bio-degradable materials into electronic interfaces while preserving sufficient electrical and mechanical stability for real-time performance. It consists of bioplastic interfaces\, custom hardware for multiplexed current injection and voltage measurement\, and a software pipeline for signal conditioning and SVM-based touch classification. Results show that the system can reliably distinguish a vocabulary of touch gestures on irregular bioplastic objects\, while also revealing limitations related to long-term stability\, calibration\, and object-specific training. Finally\, the paper discusses its integration into De/Re:Generation\, a sound installation where bioplastic sculptures operate both as scenographic elements and as interactive surfaces within a vibro-acoustic environment inspired by the cicada life cycle.\nGuanjun Qin\, Yunxuan Jia and Neal Farwell: “Reimagining Athletic Gesture: Transforming Basketball Sound into Narrative Electroacoustic Music”\nThis paper presents FMVP\, an electroacoustic fixed-media composition that transforms the sounds of basketball into a narrative of doubt\, struggle\, and redemption. Built entirely from field recordings captured on an indoor court\, the work reimagines sport as a metaphor for resilience and creative endurance. Through granular time-stretching\, spectral transformation\, dynamic filtering\, and spatial motion\, physical gestures such as dribbling\, sliding\, and impact are translated into evolving sonic textures and large-scale form. Inspired by the career arc of NBA player Stephen Curry\, the composition explores how kinetic rhythms can be reshaped into emotional trajectories\, aligning with the conference theme of Innovation\, Translation\, Participation. Methodologically\, the project sits within artistic research\, using composition as a mode of inquiry into the relationship between embodied action and sound narrative. The paper discusses the conceptual framework\, sound-design process\, and structural strategies underpinning FMVP\, arguing that everyday athletic environments offer rich material for electroacoustic storytelling and for rethinking how listeners participate in narratives constructed purely through sound.\nSitong Wu and Jinshuo Feng: “Gestalt: A Symbiotic Framework for Real-Time Collaboration  between Performers and Mass Audiences”\nThis paper presents Gestalt\, a real-time co-creative audiovisual performance system for professional performers and large-scale audiences. To address participation barriers\, interaction latency\, and unequal creative agency in Networked Music Performance (NMP)\, Gestalt adopts a browser-based heterogeneous architecture: performers retain structural control via MediaPipe-based motion capture\, while 50 –200 audience members participate through a mobile web multi-touch interface. Centered on a mechanism termed “Translation\,” the system performs a dual reconstruction. On the audio side\, an activity-weighted aggregation algorithm transforms large volumes of discrete gestures into coherent musical textures. On the visual side\, audience touch inputs are streamed in real time to a physics-driven WebGL particle stage\, translating collective crowd activity into ordered audiovisual forms. Technically\, the web frontend connects to a Max/MSP audio engine via OSC (Open Sound Control)\, and to the visual stage via WebSocket. Benchmark tests and pilot workshops examine how the architecture can preserve performer-led form while enabling audience aesthetic agency. Gestalt is released as an open-source platform for future interactive media creation. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-7b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T090000
DTEND;TZID=Europe/Amsterdam:20260514T103000
DTSTAMP:20260609T143719
CREATED:20260422T135320Z
LAST-MODIFIED:20260512T072400Z
UID:10000224-1778749200-1778754600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 7a: Signal Processing I
DESCRIPTION:Session Chair: Guilherme Coehlo\n  \nPaper abstracts\nNeal Anderson and Sanjay Majumder: “MBHD: A Modular Audio Playback and Manipulation System for Loop-Based Performance”\nThis paper outlines the development of MBHD (Modular Beat Handling Device)\, a real-time audio performance system using Cycling ’74 Max that connects the reliability of DJing with the expressiveness of live electronic composition. While DAWs provide reliable synchronization\, achieving a harmonically coherent alignment of loops from different library collections typically requires significant manual editing of metadata. MBHD addresses this challenge with a new\, lightweight naming convention based on filename-encoded musical attributes (tempo\, root note\, and instrument role)\, providing automatic harmonic coherence. This system is organized around four independent layers of musical content that can be reused and rerouted (drums\, bass\, harmony\, and melody); and utilizes real-time digital signal processing (DSP) to dynamically adjust the pitch and timing of each layer so as to align to a global key and tempo. In addition to the description of the system’s architecture\, we also describe the integration of the system with external environments (via Ableton Link) and the design of the user interface to allow for minimal latency during the performance process. Lastly\, we report results of evaluations (technical benchmark\, user study) of the MBHD\, which demonstrate how transparent systems using filename-driven architectures can be used to facilitate the use of loops for improvisation. \nThe Max patches for this project can be accessed at: phewsh.com/mbhd/max/. Additionally\, a browser-based companion application is available at: phewsh.com/mbhd/. \n  \nSam Pluta and Ted Moore: “The MMMAudio Computer Music Environment”\nWe introduce MMMAudio\, a new audio creative coding environment designed to close the gap between instrument building and low-level DSP development while reducing the maintenance burden typical of monolithic\, compiled systems. Contemporary computer music languages such as Max\, Pure Data\, and SuperCollider excel at graph-based instrument design but impose steep barriers when custom DSP is required\, pushing users into C/C++ plugin workflows with unfamiliar APIs\, build systems\, and cross-platform complexities. MMMAudio addresses these issues by centering its programming model on Mojo for high-performance DSP and seamless Python–Mojo interoperability for tooling\, AI\, and scientific libraries. In MMMAudio\, unit generators (UGens) are simple Mojo structs\, enabling users to write\, test\, and distribute new UGens without leaving their code editor or contending with external build pipe-lines. This design simultaneously encourages new DSP creation\, leverages Python’s mature ecosystem for machine learning and data processing\, and exploits Mojo’s performance features (e.g.\, SIMD) for fast\, real-time audio processing. We present the system’s architecture\, programming model\, and extension mechanisms.\nTian Cheng\, Tomoyasu Nakano and Masataka Goto: “Exploring Masked CE Losses to Enhance Word Offset Estimation in CTC-based Lyrics-to-Audio Alignment”\nLyrics-to-audio alignment is an important task for real-world applications such as karaoke systems. Despite alignment performance improved with the release of large datasets and the utility of advanced deep learning models\, accurate word offset estimation remains challenging.\nTo address this problem\, we extend our previously proposed masked cross-entropy (CE) loss by proposing new masks to enforce model predictions at masked frames with frame-wise phoneme labels derived from word-level annotations. We train a Convolutional Recurrent Neural Network (CRNN) by using both the masked CE loss and the Connectionist Temporal Classification (CTC) loss. By comparing the results obtained by using different masks in the masked CE loss\, we find that word offset estimation performance is improved by using masks which cover all silent frames. In addition\, we find that masks on word onset frames are essential for improving word onset estimation performance. We achieve comparable word onset estimation results and provide benchmark word offset estimation results for future research.\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-7a-signal-processing-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T123000
DTSTAMP:20260609T143719
CREATED:20260415T141437Z
LAST-MODIFIED:20260511T161304Z
UID:10000092-1778756400-1778761800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 8: Signal Processing II
DESCRIPTION:Session Chair: Kerry Hagan\n\nPaper abstracts\nAlexandre Francois: “Real-Time\, Low-Latency\, High Resolution Audio Spectral Analysis: Phase Matters”\nThis paper introduces an original approach to computing a spectral representation of audio signals\, with high temporal and frequency resolution and high amplitude accuracy\, in real-time and with low latency. Applying techniques from phase vocoders to make use of phase information\, a new tracking resonator model extends the original Resonate model while retaining its iterative formulation and computational efficiency. A bank composed of frequency tracking resonators constantly self-tunes to the contents of the input signal\, rendering the precise tuning of the resonators irrelevant\, as long as the bank offers an appropriate coverage of the frequency range of interest for the target application. Self-tuning banks form the basis for an analysis technique that produces\, in real-time\, for each input sample\, a list of uniquely identified and precisely tracked frequency components present in the input signal\, together with their correct amplitudes. High temporal and frequency resolution spectrograms illustrate the spectral analysis of real musical signals in a familiar format. The detailed representations produced can potentially improve the quality and accuracy of any traditional application. They also offer promising prospects for real-time\, low-latency applications such as accompaniment and improvisation systems. Encouraging initial synthesis experiments also motivate further investigation.\nRobert Esler: “Pd++: A C++ Library of Pure Data’s DSP Objects”\nPd++ is a real-time C++ audio synthesis library that implements Pure Data’s DSP (digital signal processing) objects as C++ classes\, making it usable with object-oriented programming languages like C++\, Java\, or C#. The library has been designed to follow similar logic and naming conventions of Pure Data. It includes bindings for Java which allows the library to work with the Processing development environment and C# providing a native code interface to the Unity game engine. Pd++ has also been extensively tested on all major operating systems including iOS and Android\, single board CPUs like the Raspberry Pi\, as well as C++ based Application Programming Inter- faces (APIs) such as Unreal Engine\, Wwise\, JUCE and FMOD. In this article the author presents how the library works in design\, practice and philosophy\, its perceived workflow as a design and educational tool\, as well as future developments for Pd++. \nJeremy Hyrkas: “Vibrato Matching for Modulation Control and Blending in Sound Mixtures”\nIn sound mixtures of more than one musical source\, different vibrato patterns act as a cue that multiple sources are present for both human listeners and source separation algorithms. Matching the vibrato patterns of the signals in the mixture reduces the perception of multiple sources\, particularly when the sources play in unison. This work introduces the vibrato matching algorithm\, which first suppresses vibrato in a target signal and then transfers vibrato from a source signal to the target. An existing vibrato suppression algorithm is combined with a new algorithm for vibrato transfer\, which imparts frequency modulation and amplitude modulation to the harmonics of the target signal\, and amplitude modulation onto the spectral envelope of the non-harmonic residual component. Examples demonstrate the algorithm’s utility as a vibrato control mechanism and as a tool for blending sound sources. Matching vibrato degrades the performance of source separation algorithms\, suggesting a similar degradation in listeners ability to detect the presence of multiple sources.\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-signal-processing-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T170000
DTSTAMP:20260609T143719
CREATED:20260415T142150Z
LAST-MODIFIED:20260511T161549Z
UID:10000098-1778774400-1778778000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 9: Music & Health
DESCRIPTION:Paper abstracts \nYunze Mu\, Lorna Segall and Zhixin Xu: “Acoustic Interactive Sand Tray Therapy System: An Em-bodied Interface for Multisensory Sound Interaction”\nFoundational work in computer music and gestural interface design has emphasized embodied and tangible interaction as a central component of expressive musical systems [1\, 2]. This paper introduces the Acoustic Interactive Sand Tray System\, an innovative interface that translates the continuous physical manipulation of sand into real-time auditory feedback. Utilizing an overhead depth-sensing camera and the YOLO v11 object detection model\, the system captures complex surface geometries and identifies physical artifacts within the tray. We ex-tract perceptually salient features\, such as surface flat-ness and regional elevation\, which are transmitted via OSC to a hybrid sound engine implemented in Max/MSP\, Unity\, and RTcmix (RTcmix and WebRTcmix). While the system supports interdisciplinary applications\, this paper focuses on its technical architecture\, specifically the sensing pipeline and the many-to-many mapping strategies that link material deformation to sound synthesis. By prioritizing material affordances over symbolic control\, the system facilitates exploratory\, low-cognitive-load engagement\, allowing users to intuitively shape ”sound worlds” through tactile interaction. The Acoustic Interactive Sand Tray System contributes a robust framework for material-based sound control\, demonstrating the potential for non-rigid\, natural inter-faces to foster immersive and embodied musical experiences. \n\n  \nSophie Rose: “CALM: Translating Somatic Experience into Compositional Structure as a Trauma-Informed Methodology”\nCALM is a performance work and compositional system that translates bilateral\, body-focused movement into sound behaviour and spatial form. Drawing on trauma-informed movement practices\, the work treats somatic engagement as a generative compositional constraint rather than a representational or expressive metaphor. CALM deliberately subverts common assumptions that stillness and meditative movement are inherently calming. Instead\, it externalizes bodily instability\, fragmentation\, and heightened internal noise that can arise for some trauma survivors during periods of stillness. Using wearable gestural interfaces\, spatial audio\, and voice-based synthesis\, CALM maps movement rate\, bilateral coordination\, and physical effort to sonic density\, timbre\, and spatial distribution. Musical structure emerges through sustained bodily negotiation\, constraint\, and breakdown rather than through virtuosic control or symbolic gesture. The paper positions CALM as a practice-based methodological framework for translating somatic experience into sound behaviour\, contributing to research in embodied computer music\, trauma-informed creative practice\, and participatory listening contexts.\n\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-9-music-health/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260609T143719
CREATED:20260415T142419Z
LAST-MODIFIED:20260511T161723Z
UID:10000099-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10b: Interactive Media II
DESCRIPTION:Session Chair: Felipe Otondo\n\nPaper abstracts\nFabian Ostermann: “BbMuse: A Blackboard-Driven Framework for Real-Time Interactive Music”\nInteractive music systems are frequently built as ad hoc multi-agent architectures with custom communication protocols and project-specific execution models\, while recent machine-learning approaches often encapsulate behavior in monolithic\, computationally expensive black boxes. This paper revisits blackboard architectures for real-time interactive music generation and argues that composition and musical interaction can be modeled as distributed decision-making processes operating on shared musical state. We introduce BbMuse (BlackBoard MUSic Engine)\, an open-source\, platform-independent Python framework that implements a dataflow-oriented blackboard variant inspired by real-time robotics. System state is encoded as typed representations on a global blackboard\, while modules explicitly declare required and provided information\, enabling automatic scheduling via topological sorting. As a result\, system development becomes incremental and module-focused\, since no inter-module dependencies must be specified. Further\, the framework supports concurrent execution and demonstrates that real-time performance is possible with Python using native-library acceleration. We provide a growing collection of example projects\, discuss diverse use cases and outline future features for learning-based module replacement as well as a GUI editor. \nEun Ji Oh\, Jun Woo Beck and Alexandria Smith: “The Singing Skin: An Audience-Centered Biofeedback System for Musical Interaction Based on Galvanic Skin Response”\nMusic can evoke measurable physiological responses\, yet these responses have been predominantly explored from the performer’s perspective in interactive and biofeedback-based music systems. In contrast\, the sonification of audience physiology remains relatively underexplored in live music contexts. We present The Singing Skin\, a real-time\, audience-centered biofeedback system for live performance that integrates listeners’ physiological responses into musical control. The system measures galvanic skin response (GSR) and uses the phasic component of the GSR signal as an index of moment-to-moment audience engagement. This phasic GSR–based control signal is normalized and mapped to the rhythmic subdivision of a monophonic lead line generated by a wavetable synthesizer. Rather than directly modifying tempo or pitch\, the control signal modulates the cutoff rate of a low-pass filter\, producing an indirect pacing effect that influences perceived musical drive and energy. The system is demonstrated in a live performance setting involving a violinist and a listener equipped with GSR sensors. This work contributes a novel approach to audience-inclusive musical interaction by extending audience physiology as an active control source in live music\nperformance.\nPenelope Bekiari and Anastasia Georgaki: “Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study”\nThis paper investigates how EEG-driven biofeedback systems influence performability and listening strategies in contemporary electroacoustic performance. We introduce Hyponoia (Hyper-Observational Neuro-Oscillation Interactive Agency)\, a real-time interactive system that translates performers’ neurophysiological activity into state-based compositional behaviours. Unlike conventional EEG-based musical interfaces that map signals to discrete parameters\, Hyponoia operates at the level of musical processes\, structuring sonic form through inferred neuro-affective states. The system integrates EEG and heart-rate data within a closed biophysical feedback loop\, in which performers’ internal cognitive and affective states dynamically interact with the evolving sonic environment. A comparative case study was conducted with expert and non-expert musicians performing in open-form electroacoustic contexts. We hypothesise that performers with sound-based expertise exhibit distinct patterns of neural engagement and interaction with the system. Results indicate that expert performers demonstrate richer theta activity\, more coherent alpha modulation\, and greater neural variability\, associated with enhanced internal auditory imagery and anticipatory listening. In contrast\, non-expert performers exhibit more constrained neural responses and reduced sensitivity to spectromorphological change. These findings suggest that performability in biofeedback-driven systems depends less on instrumental technique than on listening literacy and embodied sonic awareness. Rather than acting as an autonomous agent\, the system functions as a responsive mediator that amplifies differences in perceptual and cognitive engagement\, contributing to an emerging performance aesthetic grounded in physiological feedback and real-time interaction. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260609T143719
CREATED:20260423T140937Z
LAST-MODIFIED:20260511T161811Z
UID:10000226-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10a: AI & Sonification
DESCRIPTION:Session Chair: Paulo Chagas\n  \nPaper abstracts\nBob Sturm and Elin Kanhov: “oljud—ʇᴉnɹq(n): A Sonic Manifesto of Resistance to Generative AI in Music”\nSome discourses about music and AI are frustratingly shallow and insular\, raising outdated musical tropes and ignoring modern developments\, flattening the rich and varied functions of music in life\, and overlooking serious ethical issues with the technology (creating it\, maintaining it\, using it\, and imposing it). We respond to this shallowness via artistic activism and agonistic artistic research\, resulting in the site-specific work “oljud—bruit (n)”. Our action was directed at an “AI music composition” competition in 2025 organised as part of a very expensive engineering workshop focused on music generation research\, but our motivations are more broad. This paper records the context\, composition and realization of our “sonic manifesto of resistance”\, which was ultimately disqualified from the competition. \nLing Qi\, Teng Ma and Alexandria Smith: “Music of Changing Lines: Toward a Culturally Situated Approach to the I-Ching”\nThe I-Ching is one of the most influential texts in Chinese intellectual history\, integrating divination\, cosmology\, and ethical reflection. While Western experimental music\, most notably John Cage\, has drawn on the I-Ching as a source of chance operation\, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work\, Music of Changing Lines\, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users per- form Wen Wang Fa coin casting\, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model\, Gemini\, in relation to the user’s inquiry. This textual interpretation is then translated into a prompt for a generative music model\, Lyria\, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority\, the system foregrounds the I-Ching’s ritual\, interpretation\, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory\, meaning-driven musical processes without prescribing musical structure or replacing human agency. \nChangda Ma\, Sunshiyu Wang\, Canting Zhu and Alexandria Smith: “Extending Xenakis: From Architectural Geometry to Sonification of the Philips Pavilion”\nArchitecture and music have been linked through proportion and temporal structure\, yet architectural geometry is rarely viewed as a source of generative music. Revisiting Xenakis’ one-directional transformation from string glissandi in Metastaseis to the ruled surfaces of the Philips Pavilion\, we invert this workflow and sonify the completed Pavilion as a temporal composition. We reconstruct the Pavilion as nine ruled surfaces\, extract their governing ruling lines\, and subdivide each surface into structural lines and spatial sampling points. Four evenly spaced ruling lines per surface generate continuous string glissandi\, while 3\,357 sampled points develop five density-based energy blocks and a sparse brass and woodwind subsequence. Implemented in Python\, the system produces MIDI rendered in Ableton Live\, accompanied by a real-time 3D visualization that reveals architectural motion\, stasis\, and structural contrast through sound and image. In general\, this work paves the way for the transfer of architectural geometry as a performable musical structure\, extending Xenakis’s architectural and musical thinking to sonification and interactive music practice. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10a-ai-sonification/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T133000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260609T143719
CREATED:20260421T172624Z
LAST-MODIFIED:20260516T112612Z
UID:10000178-1778851800-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Music Program Overview\nLinear A\nChristopher Trapani\nBP clarinet: Sophie Kockler \nRituals of Forgetting and Remembering\nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya \n雨/Rain \nYuan Zhang and Xinran Zhang \n  \nPaper abstracts\nChristopher Trapani: “Linear A: A Composer’s Integrated Workspace”\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: “Magnetic Memory Rushnyk”\nIn what ways can two separate but traditionally gendered types of memory—symbolic embroidered memory encoded in ritualistic textile objects and magnetically encoded memory in historic aeronautical computing—intersect to create a performative decoding instrument? This paper introduces Magnetic Memory Rushnyk\, a woven score-instrument that synthesizes symbolic embroidered memory with hand-woven magnetic memory. The project investigates the convergence of ritual textile embroidery (historically used to carry social and generational meaning) with the ”core memory” techniques developed for early computing and aerospace contexts. By embedding magnetic elements into a traditional East Slavic rushnyk (ritual cloth)\, we create a single performative object where weaving serves as a material practice of memory-making. The installation is activated through a custom-built electromagnetic interface\, allowing performers to ”read” the cloth through touch\, gesture\, and sound. This work extends the Women’s Labor artistic research project\, moving from the sonification of domestic tools to the performative decoding of ritual objects\, proposing a model of memory that is materially durable and physically traversable. \n  \nYuan Zhang and Xinran Zhang: “Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance”\nRecent AI-assisted composition systems often emphasize sound generation and continuous parameter control\, treating semantic embeddings as latent spaces for producing musical material. This paper proposes an alternative approach in which semantic computation supports compositional decision-making rather than sound generation. Building upon prior work on semantic-driven digital scores\, we introduce a method that extracts semantic embeddings from a composer-defined corpus and intentionally reduces and discretizes the resulting continuous space into hexagram indices. These indices are interpreted as symbolic compositional states\, not as predictors of musical content. Each state configures structural conditions — such as the balance between fixed and open score layers\, performer agency\, and degrees of stability and change — within which musical behavior may emerge. Hexagrams neither encode musical materials nor prescribe performer actions; instead\, they function as compact interfaces for selecting and constraining compositional worlds. An artistic example demonstrates how this hexagram-based discretization supports interpretable\, repeatable\, and open-ended improvisational performance within a digital score framework. By combining semantic embedding reduction with a highly compressed symbolic system\, this work reframes AI-assisted composition as a decision-oriented practice that assists composers in shaping musical worlds rather than automating sound production. \n  \nAbout the pieces & artists\nChristopher Trapani: Linear A\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \nAbout the artists\nChristopher Trapani earned a Bachelor’s degree from Harvard\, then spent most of his twenties in London\, Istanbul\, and Paris\, where he studied with Philippe Leroux and worked at IRCAM.\nAt thirty he moved to New York City\, earning a doctorate at Columbia in 2017. He is currently Assistant Professor of Electronic Music and Digital Media at Louisiana State University.\nRecent commissions have come from Klangforum Wien\, Ensemble Modern\, and Radio France. His works have been heard at Carnegie Hall\, Southbank Centre\, Wiener Konzerthaus\, Ravenna Festival\, and Wigmore Hall.\nChristopher is a Guggenheim Fellow (2019)\, winner of the Rome Prize (2016) and the Gaudeamus Prize (2007). Waterlines\, his debut portrait CD\, was released on New Focus Recordings in 2018\, followed by Horizontal Drift in 2022 and Noise Uprising in 2024.\nChristopher splits his time between his hometown of New Orleans and his European base in Palermo\, Sicily.\nFor more information: www.christophertrapani.com \nBP clarinet: Sophie Kockler \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: Rituals of Forgetting and Remembering\nRituals of Forgetting and Remembering is a performance work for three interrelated instruments: the new Magnetically Memory Rushnyk\, the EM Embroidery Hoop\, the Embedded Iron\, together with ritualistic found objects. Together\, these instruments explore gestures of women’s domestic and ritual labour\, activated as sound.\nThe work responds to forms of labour that are historically taken for granted and structurally forgotten—embroidering\, weaving\, ironing\, maintaining—labour that sustains life yet leaves little trace. The Rushnyk functions as a woven site of memory\, carrying patterned inscription through embroidery and embedded magnetic structures. It is activated through performance rather than display.\nThe EM Embroidery Hoop\, developed in Housework Commons\, operates as an electromagnetic sensing instrument. As performers move the hoop across the surface of the cloth\, variations in proximity\, speed\, and pressure are translated into sound. It decodes signals that are invisible and inaudible through performance gesture. The Embedded Iron\, likewise developed in earlier Women’s Labor works\, extends this reading through acts of pressing\, hovering\, and traversal. Gestures associated with smoothing\, care\, and repetition—often understood as erasing traces—are refigured as acts that reveal and activate what is embedded in the cloth.\nSound in Rituals of Forgetting and Remembering does not emerge through instantaneous access or clean retrieval. It unfolds through physical effort\, friction\, and sustained engagement. Memory is encountered as something that must be worked for: activated through the body\, maintained through repetition\, and made audible through care.\nBy treating textile gestures as both labour and performance\, the work reframes forgotten memory\, rituals\, and techne and their remembering as intertwined processes. The piece offers remembering not as representation\, but as embodied practice—enacted through textiles\, tools\, and the persistence of women’s work across time. \nAbout the artists\nHo\, Schedel\, and Yuditskaya form the core team for Women’s Labor\, presenting work internationally at venues including the Smithsonian Museum (Washington\, D.C.)\, Goethe Lounge (Sydney)\, and Governors Island (New York). \nDr. Jocelyn Ho is an internationally acclaimed pianist\, multidisciplinary artist\, theorist\, and composer whose work integrates embodied performance\, multimedia technologies\, and audience interaction to reimagine contemporary concert practices. She has published on embodied cognition\, gesture\, music and technology\, and early recording analysis\, and is a Lecturer at the Sydney Conservatorium of Music. \nDr. Margaret Schedel is an interdisciplinary researcher and Professor of Music at Stony Brook University\, and Co-Director of the Human-Centered Computing group at the Institute for Advanced Computational Science. Her work bridges sound art\, AI\, and human-centered applications\, including machine learning in creative practice and neurorehabilitation. \nDr. Sofy Yuditskaya is a site-specific media artist and educator working with sound\, interactivity\, code\, and salvaged material. Her practice explores techno-occult ritual\, participatory performance\, and the entanglements of technology\, petro-culture\, and consciousness. She is research faculty at De Vinci Higher Education in Paris. \n  \nYuan Zhang and Xinran Zhang: 雨/Rain\nRain / 雨 is a digital-score composition that explores how semantic meaning can be translated into performative musical states. The work begins with Chinese poetic fragments related to rain\, which are processed through language embeddings and mapped onto hexagram-based structures. Rather than using AI to generate musical material directly\, the system uses semantic computation to select symbolic states that shape the behaviour of the score. \nThe resulting digital score presents six animated layers\, corresponding to the six lines of a hexagram. These layers guide density\, gesture\, continuity\, and interaction\, while leaving space for performer agency. For this ICMC presentation\, Rain is presented as one realization of the same digital score\, whose identity lies not in fixed instrumentation\, but in its semantic state\, layered score behaviour\, and shared field of listening. In this work\, “rain” emerges not as a fixed image or sound effect\, but as a field of resonance\, accumulation\, and transformation. \nAbout the artists\nYuan Zhang\, Central Conservatory of Music\nYuan Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds a PhD in Electronic Music Composition. She is a core member of the Digital Score Laboratory\, a collaboration with the European Research Council (ERC)\, and translated the Chinese edition of The Digital Score: Musicianship\, Creativity and Innovation.\nHer work focuses on digital scores\, semantic-driven composition\, and performer-centered AI systems. She served as Conference Organising Chair for TENOR 2025 and edited the conference proceedings. \nXinran Zhang\, Central Conservatory of Music\nXinran Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds doctoral degrees in engineering and the arts. His research focuses on music signal processing and language models. He has published over 20 papers in venues including ACL and IEEE\, serves as a guest editor for IEEE Transactions on Computational Social Systems\, and was the global champion of Track A in the 2023 Sound Demixing Challenge. He edited the proceedings of SOMI 2023. \n  \nVolunteers\nSession Chair\nViola Yip \nSound Engineering \nIlia Viazov\nAssistants\nSeha Kim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/piece-paper-session-lubeck/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260609T143719
CREATED:20260415T142737Z
LAST-MODIFIED:20260511T161933Z
UID:10000102-1778922000-1778927400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 11: Studio Reports I
DESCRIPTION:Session Chair: Dong Zhou\n  \nPaper abstracts\nTakeyoshi Mori: “Studio Report: Laboratory of Advanced Music Production\, Senzoku Gakuen College of Music”\nThe Laboratory of Advanced Music Production at Senzoku Gakuen College of Music explores new forms of artistic expression through the integration of music and technology. Our mission is to expand the possibilities of music creation\, performance\, and listening beyond the framework of traditional music research and practice. The Laboratory brings together artists\, engineers\, and researchers in a collaborative environment that integrates education\, creative production\, research\, and international\nexchange. The facility supports immersive and technology-driven artistic work\, including multichannel and spatial audio systems\, multi-projection environments\, and motion-capture technologies. These systems can be flexibly combined through a dedicated high-speed media network within the college campus\, enabling large-scale and experimentally oriented productions. This studio report introduces the structure\, facilities\, and activities of the Laboratory\, outlining its research and creative directions in the field of computer music. By sharing our work with the international community\, we aim to contribute to the ongoing development of technologically informed musical expression. \n\nJosé Ricardo Barboza and Gilberto Bernardes: “Studio Report: A Third-Order Periphonic Ambisonics System for Teaching and Research at FEUP and INESC TEC’s SMC Lab”\nWe present the design\, implementation\, and educational deployment of a third-order periphonic Ambisonics loudspeaker system at the FEUP and INESC TEC’s Sound and Music Computing Lab. The installation comprises twenty lightweight coaxial loudspeakers mounted at the vertices of a dodecahedral layout in four elevation rings\, yielding symmetric sampling of the sound field around a central sweet spot. The system decodes 16 higher-order Ambisonics (HOA) channels (N=3) to 20 outputs and was specified to be laptop-friendly\, cross-platform\, and cost-effective. We justify the choice of HOA over Dolby Atmos and Wave Field Synthesis and detail the geometric derivation of loudspeaker directions\, practical mounting solutions\, and a calibration workflow that combines precise mechanical alignment with decoder-level angle and gain compensation. Over four years of continuous use\, the array has supported courses\, theses\, and studio projects in immersive audio\, with consistent reports of convincing externalization and localization despite modest driver fidelity. We share azimuth/elevation coordinates and integration notes for open-source Ambisonics tools\, enabling reproducibility and rapid onboarding for new users. The system offers a flexible foundation for research and teaching and a clear upgrade path toward higher orders and hybrid reproduction formats.\n\nLudger Brümmer\, Götz Dipper and Dan Wilcox: “20 Years Zirkonium and Klangdom at ZKM”\n2026 marks the 20th anniversary of the first release of the Zirkonium spatialized-music composition environment\, created over three versions from 2006-2026. Initiated for use with the Klangdom\, ZKM’s 47.4-channel dome sound system\, Zirkonium is focused on accessible use of spatialization algorithms for composers and live performers. This paper describes the historical development stages of the three versions of the Zirkonium software\, provides an overview of practical working methods with Zirkonium\, and explains the current technical status of development in the third generation of the project\, as well as future plans. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-11-studio-reports-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T123000
DTSTAMP:20260609T143719
CREATED:20260415T143012Z
LAST-MODIFIED:20260513T102541Z
UID:10000104-1778929200-1778934600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 12: Studio Reports II & Immersive Media
DESCRIPTION:Session Chair: Konstantina Orlandatou\n\nNote: Two studio reports and one paper will be presented.\nPaper abstracts\nHefang Ma\, Jingyu Luo\, Paul Francis\, Mara Helmuth\, Sangbong Nam and Wei-Huai Chen: “Studio Report: Center for Computer Music 026″\n\nThe Center for Computer Music continues to function as an active site for research\, composition\, performance\, and pedagogy in computer music. During the current period\, research at the Center has focused on algorithmic and AI-assisted composition systems\, real-time sonification and data-driven sound synthesis\, beat tracking and performance synchronization\, and music programming environments developed by faculty and students. These projects emphasize structured workflows\, probabilistic processes\, real-time analysis\, and their application with- in compositional and interactive performance contexts. Creative output includes electroacoustic works\, live electronics\, spatialized sound\, and multimedia performances presented at CCM as well as at national and international venues.\n\nPedro Rebelo and Craig Jackson: “SARC Studio Report”\nWe outline recent developments at SARC\, Queen’s University Belfast following its re-formation on the occasion of its 20th anniversary as SARC: Centre for Interdisciplinary Research in Sound and Music. This transition prompted a re-evaluation of research scope alongside significant investment in technologies and facilities. This studio report summarises the rationale for these changes and presents current state-of-the-art facilities supporting research in immersive sound\, composition\, performance\, improvisation\, inclusive music making\, instrument and interaction design\, virtual acoustic instruments\, ecological sound\, participatory practice\, and music scholarship. \nGuilherme Coelho: “Latent Music: Emergent Sonic Forms and Sonic Liminality in Text-to-Audio Systems”\nThis paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space\, where physical movement becomes a means of navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria\, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914)\, as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits\, four choreographies are performed\, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment\, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora\, the relationship that emerges between movements width\, corpus dimensions\, and virtual space volume\, and the role of real-time feedback in the design of hybrid instruments for performers. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-12-studio-reports-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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