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DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T123000
DTSTAMP:20260613T071328
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260613T071328
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:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260613T071328
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:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260613T071328
CREATED:20260421T133619Z
LAST-MODIFIED:20260511T093119Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Panelists\nLars Rye Bertelsen \nPia Preißler \nGoran Lazarevic \nMiriam Akkermann \nLi Zhong \nLi Xiaobing \nModeration: Eckhard Weymann \n  \nAbout the panelists & their perspectives\nLars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \n  \nPia Preißler and Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr. Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \n  \nMiriam Akkermann: “music as sleep aid – between expectation and personalization”\nListening to music can have strong effects on humans\, which can be traced in both subjective reactions and changes in the brain’s neurophysiology. One area that draws on these effects is the use of music to promote relaxation and help people to fall asleep. While positive effects could be already shown in people suffering from e.g. insomnia and dementia\, also healthy adults are using more and more music as a non-pharmaceutical sleep aid to increase individual well-being. Situated at the intersection of music research\, psychology\, neuroscience\, cognitive science\, and computer science\, the research on the effects of music on sleep unfolds as a highly interdisciplinary research field. In our project\, we are particularly interested in the relation between more general effects and individual preferences for music as well as the role of expectation towards the effect of specific sounds or musics. Hereby\, we explore approaches such as the personalization of the music using generative music as well as the associations evoked by technically mediated (audible) space in music productions. \nAbout the panelist\nMiriam Akkermann is musicologist and sound artist. Her research areas include music of the 20th and 21st century\, computer music/music technology\, musical performance practices\, archiving music in the digital age\, as well as the effect of music on sleep. She received a PhD in musicology from the Berlin University of the Arts\, and completed her habilitation at Bayreuth University. As a musician and sound artist\, she performs with flute and live electronic\, and creates compositions and sound installations\, that have been shown at concerts\, festivals and exhibitions\, in Europe\, North America\, and Asia. \nFrom 2024-2026\, she held the Ernst-von-Siemens Musikstiftungsprofessur at FU Berlin\, in March 2026\, she took over the professorship for systematic musicology at TU Dortmund. \n  \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \n  \nLi Xiaobing: “Artificial Intelligence\, Artistic Intelligence @ Machinism”\nThis presentation takes the dialectical relationship between two forms of “AI”—Artificial Intelligence and Artistic Intelligence—as its point of departure\, proposing and elaborating the conceptual framework of “Machinism.” From the interdisciplinary perspective of science\, technology\, and art\, it reconsiders the subject structure of artistic creation and the mechanisms of meaning generation in the age of artificial intelligence. Here\, “Machinism” is not a doctrinal theory about machines\, but rather a conceptual framework for understanding the reconfiguration of subject relations in human–machine collaborative creation.\nMachinism points toward two dimensions: first\, within the framework of human values and ethics\, intelligent systems are incorporated into processes of meaning production\, shifting art from “subjective expression” toward “human–machine co-generation”; second\, as a philosophical extension\, when intelligent systems develop more complex cognitive structures\, artistic creation may evolve into a generative field involving multiple subjects\, thereby opening new possibilities for understanding the “creative subject.” \nIn the future of Artificial Intelligence\, Artistic Intelligence @ Machinism\, where will human art go? \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:http://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
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:20260613T071328
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:20260514T153000
DTEND;TZID=Europe/Amsterdam:20260514T160000
DTSTAMP:20260613T071328
CREATED:20260421T143705Z
LAST-MODIFIED:20260421T143727Z
UID:10000094-1778772600-1778774400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Psyche Loui: Scales for Predictions\, Creativity\, and Music-Based Interventions
DESCRIPTION:  \nMusic unites listeners through shared predictions and reward. At the heart of this process is the musical scale—a designed object that quantizes pitch into structures capable of generating and fulfilling expectation. A survey of the world’s scales reveals five core design features and a single overarching dimension of enculturation\, ranging from deeply familiar tonal systems to entirely novel sonic environments. The Bohlen-Pierce (BP) scale occupies a unique position in this multidimensional space: combining a non-octave equivalence interval with near-zero enculturation\, it sits at the intersection where the need for rigorous enculturation research is most acute. Harnessing the capacity of the BP scale to generate genuinely new predictions\, this talk presents behavioral and neuroscience findings from the MIND Laboratory examining how children and adults across different countries acquire musical structure from an unfamiliar system. Results illuminate the developmental trajectory of statistical learning\, the neural signatures of prediction error\, and the timescales over which aesthetic preferences emerge from exposure. Beyond perception\, the BP scale serves as a test bed for studying creative cognition\, enabling novel assessments of musical improvisation and imagination. The talk closes by connecting these findings to clinical applications\, considering how principles of enculturation and prediction inform optimal dosage design for music-based interventions targeting cognition and brain health.   \n  \nPsyche Loui\nPsyche Loui is Associate Professor of Music and Psychology at Northeastern University\, where she directs the MIND (Music\, Imaging\, and Neural Dynamics) Lab and serves as Associate Dean of Research in the College of Arts\, Media and Design and Associate Director of the Institute for Cognitive and Brain Health. She brings a unique perspective to music research as both a neuroscientist and performing violinist\, bridging experimental rigor with artistic practice. Loui’s research explores how the brain learns\, processes\, and creates music\, with particular emphasis on using artificial musical systems as controlled laboratories for understanding neural mechanisms. Her pioneering work with the Bohlen-Pierce scale—a microtonal system based on the tritave rather than the octave—demonstrates how novel tuning systems can reveal fundamental principles of musical learning\, prediction\, and pleasure. By creating controlled compositional experiments that exist outside of Western tonal traditions\, she illuminates how brains adapt to unfamiliar sonic worlds and what this reveals about music cognition more broadly. Loui directs the MIND Lab (Music\, Imaging\, and Neural Dynamics laboratory) which combines cutting-edge neuroscience methods (fMRI\, EEG\, diffusion tensor imaging) with computational approaches including machine learning and natural language processing to decode musical experience. Recent work investigates how people generate mental imagery in response to music\, revealing that seemingly idiosyncratic imaginings are often broadly shared across listeners. She has developed novel computational tools to analyze free-response descriptions of music listening\, enabling robust empirical study of subjective experiences previously considered intractable. Loui’s research extends from fundamental discovery to clinical translation. Her work on gamma-enhanced music interventions for Alzheimer’s disease leverages technological advances in sound synthesis to create therapeutic applications\, supported by multiple NIH grants. She has secured over $6 million in external funding\, including an NSF CAREER award for her work on artificial musical systems. \nLoui plays violin in Boston’s Longwood Symphony Orchestra\, advises the Boston Landmarks Orchestra\, and plays banjo and mandolin in a chamber music/indie rock ensemble. She is also author of the forthcoming book Strange Scales: How Novel Music Reveals the Secrets of the Predictive Brain (MIT Press) and co-editor of Science-Music Borderlands (MIT Press\, 2023)\, which won the Ruth A. Solie Award from the American Musicological Society. Her work has appeared in leading journals including Psychological Science\, Journal of Neuroscience\, NeuroImage\, and Cognition\, and has been featured in The New Yorker\, New York Times\, BBC\, and NPR. \nLoui serves as President-Elect of the Society for Music Perception and Cognition and Associate Editor of Cognition. She holds a PhD in Psychology from UC Berkeley and dual bachelor’s degrees in Psychology and Music from Duke University. \nMore about Psyche Loui here. \n  \n  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-psyche-loui-scales-for-predictions-creativity-and-music-based-interventions/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Keynote
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:20260613T071328
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:20260514T090000
DTEND;TZID=Europe/Amsterdam:20260514T103000
DTSTAMP:20260613T071328
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:20260513T160000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260613T071328
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:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T123000
DTSTAMP:20260613T071328
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:20260513T090000
DTEND;TZID=Europe/Amsterdam:20260513T103000
DTSTAMP:20260613T071328
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:20260512T163000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260613T071328
CREATED:20260421T190439Z
LAST-MODIFIED:20260505T075342Z
UID:10000223-1778603400-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Panel A: Physiological and Physical Foundations of Creative Systems
DESCRIPTION:This panel explores how artistic and creative systems can be understood through physiological and physical models of perception\, cognition\, and material interaction. Bringing together perspectives from musicology\, artistic research\, science\, and technology\, the discussion addresses the relationship between approaches such as physical modelling\, artificial intelligence\, and theories of self-organization in contemporary creative practice. \nA central focus lies on human listening\, embodied perception\, and the question of how technological systems relate to the complexity of musical experience. By connecting theoretical reflection with artistic perspectives\, the panel examines how creative systems emerge between body\, instrument\, environment\, and computation. \n  \nPanelists\nRolf Bader \nAlessandro Anatrini \nJakub Sawicki \n  \nModeration: Andreas Möllenkamp \n  \nAbout the Panelists\nRolf Bader studied Systematic Musicology\, Physics\, Ethnology\, and Historic Musicology at the University of Hamburg where he obtained his PhD and Habilitation. He is Professor for Systematic Musicology at the Institute of Systematic Musicology\, University of Hamburg since 2007. His major fields of research are Musical Acoustics and Musical Signal Processing\, Musical Hardware and Software Development\, Music Ethnology\, Music Psychology\, and Philosophy of Music. He published several books and papers about these topics. He was a visiting scholar at the Center for Computer was also working as a professional musician\, composer\, and artist\, running recording studios\, working as a music journalist\, leading exhibitions\, and running a cinema. He conducted fieldwork as an Ethnomusicologist in Bali\, Nepal\, Thailand\, Cambodia\, Myanmar\, Sri Lanka\, China and India since 1999. \n  \nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has been presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n  \nJakub Sawicki is a music psychologist and physicist whose research combines aspects of both fields. He studied music at Listaháskóli Íslands University and the Berlin University of the Arts. Alongside his position as organ improviser at Berlin Cathedral\, he continued his scientific research and received his Dr. rer. nat. degree from the Technical University of Berlin. He subsequently managed the research project “Synchronization Phenomena Related to Brain and Music (SynProMusic)” at the Potsdam Institute for Climate Impact Research. His research interests include music perception\, modeling of complex systems\, and neural dynamics. His latest book\, Music Psychology—Balance of Relations\, was published by Springer in 2025. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/panel-a-physiological-and-physical-foundations-of-creative-systems/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Panel
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T153000
DTEND;TZID=Europe/Amsterdam:20260512T163000
DTSTAMP:20260613T071328
CREATED:20260421T144640Z
LAST-MODIFIED:20260511T124700Z
UID:10000174-1778599800-1778603400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Falk Hübner: "The artist-researcher as a connector in times of crises: Some questions to computer music"
DESCRIPTION:In the last 5–10 years\, artistic research has undergone a process of growing maturity: often transdisciplinary in nature\, the discipline has grown into an immense diversity\, and out of a “need for syntheses”\, the focus of the discourse is “shifting more towards methodological aspects and best practices” (Craenen 2025). The artist-researcher is a central persona in this field\, that is typically characterised by hybridity and fluidity\, taking part in several practices\, contexts\, and discourses — connecting all of these\, both within and outside the arts.  \nAt the same time\, however\, we live in a time characterised by multiple crises that don’t seem to end very soon\, and leave the world in extreme continuous instability on a global scale. This includes late-stage neoliberalism and capitalism\, climate change and questions of climate justice\, rising fascism and multiple wars\, to mention only the largest and most devastating examples.  \nWhile the arts can never literally “solve” any of these issues\, artists have always related to the world and times they live in\, in one way or another. And just as several scientists have taken more activist stances recently (Heinzen-Ziob 2026)\, artistic research arguably can take (more) responsibility to address social-societal issues\, and explore what kinds of “shifts” might be suggested\, provoked\, proposed\, speculated\, or imagined.  \nIn this lecture\, Falk Hübner will offer various examples of such socially engaged artistic research projects\, and discuss the persona of the artist-researcher as a “connector” and the methodological consequences such a positionality implies. From this perspective\, he develops a series of questions to the field of computer music\, to explore and discuss bridges and potential connections between topics of socially engaged artistic research and the disciplines and discourses of (research in and through) computer music.  \nFalk Hübner\nSince completing his composition and double bass studies at ArtEZ University of the Arts in Arnhem\, The Netherlands\, he has been active in contemporary jazz\, experimental music theatre\, and a wide range of interdisciplinary collaborations within and beyond the arts. Between 2008 and 2013\, he conducted his doctoral artistic research project Shifting Identities at DocARTES/Leiden University\, which led to a series of experimental music theatre works as well as his first book\, Shifting Identities: The Musician as Theatrical Performer (2014). From 2019 to 2021\, Falk conducted postdoctoral research at HKU University of the Arts Utrecht on artistic research methodology and ethics. \nAs a teacher and research supervisor\, he has worked at HKU University of the Arts\, the Master NAIP (New Audiences and Innovative Practices) at the Royal Conservatoire The Hague\, the ArtEZ Master in Music Theatre\, and as Director of Research and Writing for the ArtEZ International Master Artist Educator. \nFalk’s current research focuses on the social and activist potential of artistic research\, transdisciplinarity\, artistic research methodologies\, practices of care and care-fulness\, climate justice\, circularity\, and anti-racism. He is part of the Dutch research network Creating Cultures of Care and a member of the Graduate Committee of the Professional Doctorate in Arts & Creative Practices. He currently supervises two Professional Doctorate candidates and four PhD candidates. \nAmong other publications\, Falk is the author of Method\, Methodology and Research Strategy in Artistic Research: Between Solid Routes and Emergent Pathways (2024) and co-editor (with Henny Dörr) of the volume on the collaborative transdisciplinary artistic research project If You Are Not There\, Where Are You? (2017). Together with Annelys de Vet\, he is co-editor-in-chief of Forum+\, a journal for research and the arts based in Antwerp. \nIn addition to his professional life\, Falk is an (ultra-)marathon runner. He lives in Rotterdam with his partner and their five children. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-falk-hubner-the-artist-researcher-as-a-connector-in-times-of-crises-four-questions-to-computer-music/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Keynote
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:20260613T071328
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:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T103000
DTSTAMP:20260613T071328
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:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T170000
DTSTAMP:20260613T071328
CREATED:20260421T082545Z
LAST-MODIFIED:20260422T143423Z
UID:10000078-1778515200-1778518800@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Robert Henke: "My Life as a Toolmaking Artist: A Personal Reflection on the Challenges and Rewards of Building My Own Instruments"
DESCRIPTION:I had the privilege of witnessing—and participating in—the historic shift of computer-generated music from an academic pursuit to something accessible in a bedroom studio. I embraced this opportunity wholeheartedly\, using environments like IRCAM’s Max to explore new sonic and structural territories. This allowed me to move beyond the constraints of physical instruments I could afford\, the limitations of my own hands\, and the rigid mental models of established MIDI sequencing software. \nDriven by a desire to achieve unique and personal results with limited computing power and knowledge\, I came to value the creative freedom found in self-imposed limitations. This experience led to a deep appreciation for simple yet powerful concepts\, algorithms\, and interfaces. \nSince the beginning\, my music emerged from an iterative process: building instruments\, being surprised and inspired by the results\, and then revising the instruments in response. The insights I gained not only informed a successful commercial product but\, more importantly\, shaped my identity as an artist and my approach to computer-based creation. \nIn my talk\, I will examine selected works of mine from a critical toolmaker’s perspective: did I reinvent the wheel again\, or did I achieve an artistic outcome which justifies the effort? \n  \nRobert Henke\nRobert Henke is an artistic toolmaker and a toolmaking artist\, exploring the creative potential of technology. His practice spans musical compositions\, concerts\, large-scale audiovisual installations\, and computer graphics. His work frequently involves inventing custom algorithms and machines\, blending rigid structure with controlled randomness. His music channels the raw\, repetitive energy of techno culture\, as well as the intricate details and textures of abstract contemporary works. His visual art builds on the legacies of Minimal Art and early computer graphics pioneers.\nSince 1995\, he has recorded and performed as Monolake\, initially a duo with Gerhard Behles and\, since 1999\, a solo project. His artistic collaborations include works with Marko Nikodijevic\, Tarik Barri\, and Christopher Bauder\, among others.\nHenke is also a co-creator of Ableton Live\, software that revolutionised music production and electronic performance. He lectures and writes on sound and creative computing\, and has taught at institutions such as the Berlin University of the Arts\, Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) and IRCAM in Paris.\nHis installations\, performances\, and concerts have been presented at leading venues worldwide\, including Tate Modern\, Centre Pompidou\, PS1\, MUDAM\, MAK\, Palazzo Grassi\, and countless music festivals. \nMore about Robert Henke: www.roberthenke.com \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-robert-henke/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T153000
DTEND;TZID=Europe/Amsterdam:20260511T160000
DTSTAMP:20260613T071328
CREATED:20260421T083405Z
LAST-MODIFIED:20260421T083405Z
UID:10000146-1778513400-1778515200@icmc2026.ligeti-zentrum.de
SUMMARY:Introduction & Welcome to ICMC HAMBURG 2026
DESCRIPTION:ICMC HAMBURG 2026 welcomes this year’s conference community to Hamburg. On this first full conference day\, the team shares a few words about the week’s program before Robert Henke gives his keynote about his life as a toolmaking artist. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/introduction-welcome-icmc-hamburg-2026/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,General
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:20260613T071328
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:20260511T090000
DTEND;TZID=Europe/Amsterdam:20260511T103000
DTSTAMP:20260613T071328
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
END:VCALENDAR