Nicolas Brochec

Nicolas Brochec is a composer and researcher specializing in computer music. He studied with leading contemporary composers such as Philippe Manoury, Martin Matalon, and Daniel D’Adamo. His works have been commissioned by prestigious institutions including La Philharmonie de Paris, Hammer Jack Yokohama (NHK member ensemble), and the Improtech Paris–Tokyo Festival (IRCAM). He has collaborated with internationally acclaimed ensembles such as Ensemble Cairn (FR), Ensemble Linea (FR), Ensemble Lucilin (LU), and Neue Vocalsolisten (DE). His compositions have earned international recognition, receiving the First Prize at Electric Sound’Ar-te (Portugal) and the Special Prize at the Ise-Shima International Composition Competition (Japan). Currently, he is pursuing a PhD at Tokyo University of the Arts, in the Department of Music Creativity and the Environment, supported by the prestigious Japanese Government Scholarship (MEXT). His research focuses on real-time recognition of instrumental playing techniques, contributing to the ERC-funded REACH project. He regularly presents his work at major international conferences such as ICMC and SMC, as well as in Japan.

Marco Fiorini
Marco Fiorini is a musician and researcher specializing in music improvisation and human-machine interaction. He is part of the Music Representation team at IRCAM, contributing to the REACH project, the development of the co-creative improvisation system Somax2, and the conception and development of SoVo, a new system combining Voyager and Somax2, first presented at ICMC 2025. Pursuing a PhD at Sorbonne University on interactive systems for music improvisation, Fiorini collaborates with renowned artists like Jöelle Léandre, George Lewis, Steve Lehman, and Horse Lords. His work bridges improvisation and human-machine interaction, integrating guitar and live electronics. He has presented concerts, workshops, and lectures at prominent international venues and festivals such as Carnegie Hall, ManiFeste, Klang, Improtech, Mixtur. In 2024 he was an invited lecturer at the Max Summer School at Tokyo Geidai University of the Arts, and in 2025 he will lead a workshop on Somax2 at Berklee College of Music for ICMC 2025, alongside the REACH team from IRCAM. Fiorini holds degrees in Sound and Music Computing, Electronic Music, Jazz Guitar, and Computer Engineering. 

Mikhail Malt

Mikhail Malt, with a dual scientific and musical background in engineering, composition and conducting, began his musical career in Brazil as a flautist and conductor. He is the author of a thesis in musicology, at the École des hautes études en sciences sociales, on the use of mathematical models in computer-assisted composition, as well as an HDR (Habilitation à diriger des recherches). He was an associate professor at the Sorbonne Paris IV from 2006 to 2012, and a lecturer in computer music at the pedagogical department of Ircam, Paris-France until 2021. He is currently a researcher in the Musical Representations team at Ircam and a research associate at iReMus-Sorbonne in Paris. He pursues his creative and research activities, as composer and performer, on generative music, creative systems, the epistemology of representation and different listening strategies.

Gérard Assayag

Gérard Assayag has founded and currently heads the Music Representation Team at IRCAM STMS Lab that he directed from 2011 to 2017. He was involved in the creation of international research institutions s.a. Sorbonne’s AI and Music Institutes, or the Learned Society and Journal of Mathematics and Computation in Music. Assayag has defined through publications and popular technologies (OpenMusic, OMax, Somax & co) the concept of symbolic interaction to account for rich and versatile human/machine musical dialog, laying ground to the CoCreativity concept he has fostered for next generation AI musical interaction. Assayag holds the prestigious European Research Council Advanced Grant, awarding his research career achievement and vision for the future in the project REACH (Raising Co-Creativity in Cyber-Human Musicianship), where he leads an international team developing theory and tools for Artificial Creative Intelligence in Music.

This paper presents a significant advancement in the co-creative capabilities of Somax2 through the integration of real-time recognition of a broad range of flute Instrumental Playing Techniques (IPTs). Building on the concept of interactive systems for musical co-creation, this implementation enables the recognition and response to diverse IPTs, enhancing the depth of interaction during live performance. The approach was tested in collaboration with a professional flutist performing Cassandra’s Dream Song by Brian Ferneyhough, a piece renowned for its complex intrication of extended playing techniques. Through this experiment, the artificial agents demonstrated the ability to adapt and engage with the performer’s techniques, creating a more dynamic and responsive experience. This functionality relies on a CNN-based flute IPT recognition model, which informs the agents’ real-time responses. The paper examines the broader implications of these innovations for music co-creation, interactive performance, and human-AI collaboration, offering new workflows for creative musical systems and potential applications in composition and live improvisation.

Anıl Çamcı

Anıl Çamcı is an Associate Professor and Director of Graduate Studies at the University of Michigan’s Department of Performing Arts Technology. His work deals with worldmaking across a range of media from virtual reality to electronic music with an emphasis on creativity support at the intersection of immersive media and human-computer interaction. Previously, he was a Postdoctoral Research Associate at the University of Illinois Chicago’s Electronic Visualization Lab, where he led research into immersive systems. Prior to this appointment, Çamcı was a faculty member of the Istanbul Technical University, Center for Advanced Studies in Music, where he founded the Sonic Arts Program. His work has been featured throughout the world in leading journals, such as Leonardo Music Journal, Organised Sound, and Journal of New Music Research, as well as conferences, including NIME, CHI, and IEEE VR.

John Granzow

John Granzow is an Associate Professor in the School of Music, Theatre & Dance at the University of Michigan. Granzow explores digital fabrication and physical computing for musical instrument and interface design. He investigates and teaches the science and art of sound through the fabrication of sonic toys, novel musical instruments, and the creation of sound-based installations.

Designing a Digital Musical Instrument (DMI) can be a complex and costly process, wherein the instrument goes through several iterations as the designer implements features pertaining to form, sound, and interactivity. In this paper, we describe a workflow where DMI prototypes can be executed in Virtual Reality (VR), allowing the designer to iterate through features before an instrument is physically manufactured. This way, some of the material and time costs of fabricating prototypes can be mitigated. Furthermore, we present the design and implementation of a proof-of-concept DMI as a case study of the said workflow, highlighting its use of 3D modeling, VR design, audio programming, and spatial audio. We then discuss a workshop in which participants were introduced to this workflow, followed by a hands-on session where they were able to conceive, design, and evaluate DMI concepts rapidly and efficiently before physical realization.

Francesco Roberto Dani was born in Italy in 1993. He obtained a master’s degree in electronic music at conservatory of music “c. Pollini” of Padua (IT), and worked as research collaborator for the department of electronic, information and bioengineering (deib) at Polytechnic University of Milan (IT) in the field of automatic prosody recognition. His performances/installations were performed in various concerts and conferences, including international computer music conference 2016 (NL), colloqui di informatica musicale 2016/2018 (it) and sound and music computing conference 2018 (CY), 2019 (ES) and 2023 (SWE). He taught electronic circuitry and data mining for data sonification at SAE institute of Milan (IT), and sound design for movies at Libera Accademia delle Belle Arti (laba) di Rovereto (IT). Currently he works as scientific collaborator at digital forensics service (DTI-SIF) of Scuola Universitaria Professionale della Svizzera Ttaliana (SUPSI) in Lugano (CH), working on speech analysis and processing, NLP, and AI. His main fields of interest are real-time audio processing and electroacoustic installations.

This paper presents PyChiro, an open-source software for gesture-based music interaction utilizing the Kodály Chironomic Method. Using a standard video camera, PyChiro detects and classifies hand gestures in real time, translating them into musical notes and sending them to MIDI devices to provide immediate auditory feedback. The system integrates a robust feature extraction pipeline with a neural network architecture trained on a curated dataset, achieving high accuracy in gesture recognition. PyChiro’s versatility makes it a valuable tool for music education, live performances, therapeutic applications, and creative composition, bridging the gap between traditional musical pedagogy and modern interactive technologies.

Trinity Melder

Trinity Melder is a research student with a background in Human-Computer Interaction, Artificial Intelligence, and Robotics. She recently completed a Master of Research at Macquarie University and is currently pursuing a MPhil.

Richard Savery

Richard Savery is a developer of artificial intelligence and robotics, using music and creativity as a medium to program better interactions, understandings and models. He is currently a Senior Data Scientist at Jen Music, developing ethically trained, high-fidelity text-to-music. From 2022 to 2024 he was a Macquarie University Research Fellow, focused on developing a rapping and drumming interactive robot. He was recently awarded a DECRA fellowship to commence later 2025-2027 focusing on robots and AI in long-term use and groups. His research has received $3.8 million in funding and significant industry partnerships. His work has been featured in Scientific American, BBC Radio and Disney + with Jeff Goldblum. He completed a PhD in Music Technology (minor in Human Computer Interaction), at the Georgia Institute of Technology.

This study investigates VibroTempo, a wearable device designed to enhance musical performance through tactile feedback. The device provides vibrational cues to help musicians maintain a consistent tempo and reduce cognitive load. We conducted a study with 24 participants that evaluated the effectiveness of the vibrational metronome compared to traditional auditory metronomes. Participants’ performances were assessed using key metrics such as Inter-Beat Interval (IBI) Consistency, tempo drift, and tempo variability. While initial findings indicated significant variability with the vibrational metronome due to unfamiliarity, the results showed potential for improved performance with further training. In addition, accented beats were introduced to influence timing and technique, which led to measurable timing adjustments. The device also demonstrated the ability to reduce cognitive load, allowing musicians to focus more on their performance. Reduced cognitive load was moderately correlated with improved memory recall and timing consistency, suggesting performance benefits beyond tempo control. Future research will involve hardware and AI improvements, as well as a counterbalanced experimental design to minimize familiarity effects. This study highlights the effectiveness of the vibrational metronome and identifies areas for further research and refinement.

Dr. Zeynep Özcan

Dr. Zeynep Özcan is an experimental and electronic music composer, sound artist and performer. She holds a Ph.D. in Music from Istanbul Technical University, an M.A. in History of Architecture, and a B.A. in Philosophy from Middle East Technical University. She explores biologically inspired musical creativity, interactive and immersive environments, and generative systems. Her works have been performed and presented throughout the world in concerts, exhibitions, and conferences, such as AES, ICAD, ICMC, ISEA, NIME, NYCEMF, WAC and ZKM. She is an Assistant Professor and a faculty director of Girls in Music and Technology (GiMaT), Summer Institute at the Department of Performing Arts Technology at the University of Michigan, School of Music, Theatre & Dance. She specializes in the implementation of software systems for music-making, audio programming, sonification, sensors and microcontrollers, novel interfaces for musical expression, and large-scale interactive installations. Her research interests are exploring bio-inspired creativity, artistic sonification, playfulness and failure in performance, and activist art. She is passionate about community building and creating multicultural and collaborative learning experiences for students through technology-driven creativity.

Ilkyaz Sarimehmetoglu

Ilkyaz Sarimehmetoglu is a multidisciplinary designer, researcher, and architect specializing in the intersection of computational textiles, interactive material systems, and sensory design. She holds a Master of Science in Architecture Design and Research from the University of Michigan, Taubman College, where she was a Fulbright Scholar and Master of Science Fellow in the Material Architectures Knitting Lab. Her work aspires to investigate how computational frameworks and hybrid material systems can enhance bodily-sensorial knowledge, integrating additive manufacturing techniques and mediated display environments. Sarimehmetoglu’s practice draws from over 20 years of professional ballet experience, where her foundational exploration of space, movement, and bodily interaction informs her current design research. Sarimehmetoglu is passionate about community-building and participatory design, advocating for accessible making practices through workshops and collaborative installations. She founded the ‘Leftover Project,’ a self-driven initiative exploring material reuse through computational knitting, engaging participants in hands-on material explorations.

ZAP! is an interactive, biomimetic installation inspired by the electric eel’s electrocommunication. The installation translates eel’s ability to sense and interact with its environment through electromagnetic fields into a large-scale,multi-sensory experience. This interdisciplinary project combines sound art, architectural sculpture, and interactive design to create an immersive environment. The installation comprises three integrated layers: a physical sculpture embodying the eel’s anatomy, a live-generated soundscape reflecting its behavior, and interactive elements that allow spectators to engage with the simulated ecosystem. This paper explores the bio-inspiration behind ZAP!, the design and fabrication of the installation, and the multisensory experience it offers, highlighting the potential of biomimicry to inspire innovative forms of artistic expression.

Dr. Seth D. Thorn is Assistant Professor of Interactive Media in the School of Arts, Media and Engineering at Arizona State University. He received his Ph.D. from Brown University in 2018. As PI and co-PI on multiple NSF awards—including AISL and CS4All programs—he leads projects aimed at broadening participation in music computing. Currently he is directing Glitch’n (glitchn.net), a music-first circuits course that drives semiconductor engagement at public events in Phoenix, AZ. He was a finalist at the Guthman New Musical Instruments Competition in both 2019 and 2022. His peer-reviewed work appears in ACM TEI, Creativity & Cognition, MOCO and NIME, and his articles have been published in Leonardo Music Journal, Organised Sound, Wearable Technologies, and others. In 2024, Thorn’s ed-tech startup Matter Squared won $30,000 in grant funding. Electronic Sound Magazine dubbed him a “polymath” in its 100th issue, and ASU Thrive Magazine featured his work in 2023. In 2024 he earned the inaugural Teaching Innovation Award from ASU’s School of Arts, Media and Engineering. His debut experimental album will appear on the prestigious Audiobulb Records label in September 2025.

This paper presents the design and development of a modular Eurorack system adapted for live acoustic violin improvisation. It explores the convergence of embedded digital audio practices and traditional instrumentation, emphasizing co-creative interactions between performer and machine. The system, developed using the Daisy Seed System on Module (“SOM”) and the Oopsy Daisy pipeline for Max/Gen, integrates six custom-programmed modules with bespoke firmware, alongside a selection of open-source and/or off-the-shelf utility modules. The modules implement novel processes, including granular synthesis, looping, and real-time dynamic sampling, to extend violin performance. The study adopts an autoethnographic approach, reflecting on the iterative design process, challenges of limited hardware parameters, and the creative possibilities afforded by modular design constraints. Performance methodologies are also discussed, highlighting both autonomous and manual interaction strategies. This research contributes to the literature on hybrid performance systems and modular synthesis by offering insights into their potential as compositional and improvisational tools. The findings underscore the interplay between design constraints, performer agency, and emergent musical expression.

Matthew Davidson is an American composer based in Cambridge, Massachusetts, and an Associate Professor in the Electronic Production and Design (EPD) department at Berklee College of Music.

His work spans multiple facets of electronic music, including album releases, pedagogical tools like BEAP, monome applications, sample libraries, and the development of commercial synthesizers and software instruments.

This paper introduces a framework for composing within Risset time, building on the mathematical principles outlined by Stowell (2011) and subsequent research. Central to this approach is the Phase Accumulator with Cycle Count, a tool that integrates absolute and relative temporal addressing into a unified system. This framework allows for precise temporal navigation in Risset-based compositions, supporting the creation of dynamic illusions of acceleration and deceleration.

We explore applications of this framework across Risset rhythms and melodies, introducing techniques such as mute-based transitions, velocity muting, and decoupled melodic progression. By leveraging the dual addressing system, we demonstrate how rhythmic and melodic patterns can be precisely aligned and manipulated to produce compelling temporal effects. Unlike previous approaches that rely on higher-order layering for Risset illusions, we suggest that two layers—1x and 2x—are sufficient to maintain perceptual coherence for rhythmic patterns, simplifying implementation without sacrificing effectiveness.

Our work situates itself within the lineage of Risset-based research, drawing from the mathematical foundations established by Ghisi (2021), and Frane (2024). By addressing practical concerns in implementation and expanding the conceptual framework into melodic domains, we aim to provide composers with intuitive tools for exploring Risset effects. This research highlights the interplay between mathematical constructs and perceptual mechanisms, contributing to the ongoing exploration of temporal illusions in music.

Yu Pan(1986) is a Senior Engineer and Ph.D. candidate at the Central Conservatory of Music, Beijing, China, specializing in Music AI and Music information Technology. A member of the Chinese Musicians Association and committees in CAAI and CCF, he has contributed to major Social Science Fund and Natural Science Fund projects focusing on the intersection of music and AI, and quantitative research on music intelligence and cognitive neuroscience. His interests lie in Control Theory and Algorithmic Music, Music Information Retrieval, Physiological Signal Processing and Music Therapy, and the Philosophy of Music Composition Engineering

Ziqian Qiao (b.1995) is a composer and postdoctoral researcher at the Beijing National Research Center for Information Science and Technology, Tsinghua University, where she focuses on symbolic music emotion recognition and AI-driven computational music composition currently. She holds a Ph.D. in Electronic Music Composition from the Central Conservatory of Music (CCOM), with her works covers acoustic electronic music, mixed electronics integrating live instruments, and interactive electronic music.

Li-Xiaobing

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.
A 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.

This paper explores the integration of fundamental scientific concepts with artistic expression in the creation of music and visual art. Through five case studies, including
Monte Carlo sampling, fractal mathematics, the Second Law of Thermodynamics, the Lorenz attractor, and quantum mechanics, this work demonstrates how mathematical and physical theories can be translated into dynamic and immersive audio-visual experiences. These five scientific phenomena are then composed into a single musical piece, showcasing how algorithms derived from these concepts can be transformed into cohesive musical and visual expressions. The project utilizes tools like SuperCollider, TouchDesigner, and Ableton Live, along with OSC communication, to synthesize sound and visuals in real-time, reflecting the evolving nature of scientific discoveries. By applying basic numerical computation methods and AI-related mathematical techniques, the paper showcases the potential for interdisciplinary collaboration between science and art. Additionally, the emotional resonance of these artistic representations invites viewers familiar with the underlying scientific principles to engage with the work on a deeper, more personal level. The fusion of these two fields not only enhances the understanding of science but also fosters a new form of artistic expression, providing an innovative path forward for future creative endeavors. The engineering and code used in this work are available for reference on GitHub, supporting further exploration and adaptation of these methods.

Mikhail Malt

With a dual scientific and musical background in engineering, composition and conducting, Mikhail Malt began his musical career in Brazil as a flautist and conductor. He is the author of a thesis in musicology, at the École des hautes études en sciences sociales, on the use of mathematical models in computer-assisted composition, as well as an HDR (Habilitation à diriger des recherches). He was an associate professor at the Sorbonne Paris IV from 2006 to 2012, and a lecturer in computer music at the pedagogical department of Ircam, Paris-France until 2021. He is currently a researcher in the Musical Representations team at Ircam and a research associate at iReMus-Sorbonne in Paris. He pursues his creative and research activities on generative music, creative systems, the epistemology of representation and different listening strategies.

Benny Sluchin studied music at the Tel-Aviv Conservatory and the Jerusalem Music Academy while also earning a degree in mathematics and philosophy at Tel-Aviv University. He began his career with the Israel Philharmonic and the Jerusalem Radio Symphony Orchestra before moving to Germany to study under Vinko Globokar at the Hochschule für Musik in Cologne, graduating with honors. Since 1976, he has been a member of the Ensemble intercontemporain, premiering works by major composers like Carter, Berio, and Xenakis. He has recorded significant pieces such as Keren by Xenakis and Sequenza V by Berio, as well as other 19th and 20th-century works.
Sluchin holds a doctorate in mathematics and is involved in acoustic research at IRCAM. He teaches computer-assisted music notation at the Paris Conservatory and is dedicated to music pedagogy. He edited Brass Urtext and co-authored Le trombone à travers les âges. Two of his educational books received the Sacem Prize. His research on brass mutes and computer-assisted interpretation is widely recognized. Sluchin has recorded several works by John Cage and produced a film on Xenakis titled Iannis Xenakis, Le dépassement de soi (2015), released by Mode Records.

This proposal presents an artistic research project exploring the performance of John Cage’s “Solo for Sliding Trombone” using AI generative tools within the Somax2 environment. The performance investigates the interplay between human interpretation, AI-assisted performance, and Cage’s core concepts of silence, indeterminacy, and unintentionality. By integrating AI agents as virtual performers and employing techniques like “coloring the silence” and “expansions,” the research aims to push the boundaries of Cage’s indeterminacy. This artistic research resulted in a unique set of improvised performances, captured and presented in a box set with 7 distinct tracks, showcasing the dynamic interplay between human and AI creativity within the framework of Cage’s innovative musical philosophy.

Sabina Hyoju Ahn is a media and sound artist whose work explores the multisensory interplay between humans and non-human systems. Using sound, tactile feedback, visual elements, and hybrid analog-digital technologies, she investigates imperceptible patterns in natural phenomena and translates them into perceptual experiences. Her practice often involves biological materials interfaced with machines, revealing hidden dynamics between organic life and technology. Rooted in post-digital aesthetics, her recent research focuses on the physical nature of human perception through both scientific and artistic methods. She is currently pursuing a PhD in Media Arts and Technology at the University of California, Santa Barbara.

Her work has been presented internationally at Ars Electronica (Austria), Transmediale (Germany), WRO Biennale (Poland), Mediamatic (Netherlands), Yamaguchi Center for Arts and Media (Japan), ACT Festival (Korea), Sónar Festival (Spain) and Art Center Nabi (Korea), among others. She has been an artist-in-residence at Cité Internationale des Arts in Paris and a fellow at Akademie Schloss Solitude in Stuttgart.

Ryan Millett is a composer, programmer, and PhD student in the Media Arts & Technology (MAT) program at the University of California, Santa Barbara. His work extends an ancient lineage of musical tradition with contemporary theories of computation, mediated by the inherent abstraction of sound, and inspiration drawn from the natural world. His work has been exhibited at Ars Electronica, SIGGRAPH, Sonar +D, NeurIPS, GITEX, GameSoundCon, and CineGrid.

Seyeon Park(Sey Parc)’s work delicately traces the interplay of perception and time, illuminating the unnoticed rhythms embedded in daily life. With a background in Philosophy and Korean Literature, Seyeon pursued a Master’s in Photography, expanding her lens-based practice into multidimensional works that bridge photography, installation, and archival projects. She has participated in renowned residencies such as the Hongti Art Center (Busan), Gwangju International Residency, and the Tongyeong International Triennale Residency. Through collaborations with sound artists, she investigates the intersection of image and sound, creating immersive experiences that reframe the familiar. Supported by institutions like the Songjeong Art and Culture Foundation, Seyeon continues to cultivate cross-disciplinary dialogues, establishing a presence in the international art scene.

Weiliang Luo is a PhD candidate in the Department of Chemistry at the Massachusetts Institute of Technology. Outside the lab, he is an avid music enthusiast and a dedicated member of HAcappella, a student-run a cappella group composed of musicians across the Greater Boston area. Bridging their scientific and artistic passions, he conducts independent research in machine learning for music composition, exploring algorithmic creativity in their spare time. From 2024 to 2026, he serves as the Music Chair of MIT’s Sidney-Pacific Graduate Residence, where they lead efforts to enhance musical life within the graduate community through organizing performances and improving shared music facilities

We present Music102, an advanced model built upon the Music101 prototype, aimed at enhancing chord progression accompaniment through a D12-equivariant transformer. Inspired by group theory and symbolic music structures, Music102 leverages musical symmetry–such as transposition and reflection operations–integrating these properties into the transformer architecture. By encoding prior music knowledge, the model maintains equivariance across both melody and chord sequences. The POP909 dataset was employed to train and evaluate Music102, revealing significant improvements over Music101 in both weighted loss and exact accuracy metrics, despite using fewer parameters. This work showcases the adaptability of self-attention mechanisms and layer normalization to the discrete musical domain, addressing challenges in computational music analysis. With its stable and flexible neural framework, Music102 sets the stage for further exploration in equivariant music generation and computational composition tools, bridging mathematical theory with practical music performance.

Zhang Yuan 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 joint initiative between the Central Conservatory of Music and the European Research Council (ERC). She translated the Chinese edition of The Digital Score: Musicianship, Creativity and Innovation (published by Central Conservatory of Music Press).

She explores innovative pedagogical approaches that integrate artificial intelligence with electronic music composition. Her research focuses on experimental orchestras for networked music creation and performance. She has also contributed to the development of the twelve-tone module for the Conservatory’s automatic composition system, as well as the design of an instructional support system for the Conservatory’s basic theory of composition course.

Xinran Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music. He holds doctoral degrees in both engineering and the arts. He completed his undergraduate and first doctoral studies at the School of Information and Communication Engineering at Beijing University of Posts and Telecommunications. He later achieved the top admission score to join the inaugural cohort of the Music AI Ph.D. program at the Central Conservatory of Music, where he studied under Professor Yu Feng (President of the Central Conservatory of Music and renowned conductor) and Professor Sun Maosong (Executive Vice Dean of the School of Artificial Intelligence at Tsinghua University and Fellow of the European Academy of Sciences). Upon graduation, he joined the faculty as one of the first specialists in music AI at the Central Conservatory of Music. His research focuses on areas such as music signal processing and language models. He has published over 20 papers in prestigious venues, including ACL, IEEE Wireless Communications, and GlobeCom. He also serves as a guest editor for special issues of the IEEE Transactions on Computational Social Systems (SCI Q1, IF 5.0). In 2023, he was the global champion of Track A in the Sound Demixing Challenge. He holds nine authorized national invention patents, leads three research projects, and participates in multiple national-level research initiatives. He edited the proceedings for the 2023 Summit on Music Intelligence (SOMI2023).

Li Xiaobing
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.

A 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.

Prof. Kenneth Fields is currently Adjunct Professor in the Multimedia Art and Technology Program (MAT) at the University of California Santa Barbara. He is also Professor Media Arts and Technology, Chinese Academy of Sciences, and previously Professor of Electronic Music at the Central Conservatory of Music in Beijing, China (since 2003). Ken held the position of Canada Research Chair in Telemedia Arts, investigating aspects of musical performance over high-speed networks (2008-13). He received a Ph.D. in Media Arts from the University of California at Santa Barbara (2000). Ken has been developing Artsmesh since 2009, a live P2P network music platform. He is affiliated with the Global Centre for Advanced Studies as the Director of the GCAS Santa Barbara Centre.

This paper explores the concept of the Virtual Ensemble through a networked digital score, redefining musicking in a technologically mediated environment. By leveraging real-time brainwave data and remote collaboration, performers distributed across different locations contribute to a shared musical experience without physical presence. The networked digital score acts as an interactive medium, dynamically shaping sound based on the participants’ neural and instrumental input. The work challenges traditional notions of time in performance, introducing nonlinear temporal structures that reflect both individual agency and collective synchronization.

Inspired by the idea of “The bright moon shines over the sea, and from far away we share this moment together,” this study takes Shared Moment: The Bright Moon as a case study to illustrate these concepts. This composition embodies a new paradigm of ensemble performance where connectivity replaces co-location. Through this research, we investigate how digital networks, AI, and brain-computer interaction redefine the perception of musical time, presence, and collaboration in contemporary music-making.

PhD in Technical Theory of Modern Electroacoustica Music, Central Conservatory of Music，Studied under Professor Xiaobing Li.
Distinguished Professor, Academy of Music, Linyi University
Executive Committee Member, Computational Art Subdivision, China Computer Federation (CCF)
Member, Beijing Musicians Association

This philosophical inquiry examines the existential dis-tinctions between human and algorithmic music creation through three interpretive lenses: 1) Emotional embodi-ment in Beethoven’s late works versus Magenta’s Mu-sicVAE outputs; 2) Improvisational intentionality in jazz versus FlowMachines’ combinatorial logic; 3) Cultural encoding in Indian Raga versus AIVA’s cross-cultural simulations. Drawing on neuroaesthetic data and eth-nomusicological analysis, we observe significant emo-tional resonance differences between human and AI-generated music, highlighting how AI struggles to evoke the same emotional depth. The study proposes “Third Space” co-creation models, suggesting new pathways for technological mediation while preserving music’s human essence. Findings contribute to ongoing debates in posthumanist musicology and computational creativity studies.

Junson Park is a multimedia artist whose work explores how data-driven systems reshape the conditions of perception, rhythm, and meaning. Through real-time generative environments, he activates culturally embedded sonic and visual vocabularies by treating data not as representation but as a material force capable of reorganizing sensory experience through structural modulation. His practice foregrounds composition as a spatial and temporal reconfiguration process, where computational patterns form the basis of shifting aesthetic conditions. Drawing from post-concrete aesthetics and traditions of perceptual media art, Park creates works that challenge the coherence of recognition and invite audiences into structurally dynamic encounters. He holds an MFA in Music Technology from the California Institute of the Arts and a BM in Electronic Production & Design from Berklee College of Music.

This study introduces UTMORI, a project that reinterprets Korean traditional music through machine learning, not as a tool for replication but as a framework for expanding its compositional possibilities. Rather than treating AI as an autonomous creator, UTMORI defines it as a system for generating and manipulating new musical objects—sonic elements that can be structured and reconfigured within a composition. By reexamining the interaction between rhythm, timbre, and form within a generative framework, the project challenges conventional notions of musical structure and introduces alternative methodologies for AI- driven music creation. Instead of fully automating composition, UTMORI emphasizes the composer’s agency in shaping and refining the generative process, allowing for greater control and exploration. This approach not only redefines how machine learning interacts with traditional music but also proposes new ways to conceptualize sound as compositional material. By integrating computational models with musical intuition, UTMORI demonstrates how AI can function as a medium for reimagining musical language, fostering innovative modes of composition and performance while maintaining a deep connection to cultural heritage.

Zhaohan Cheng is a creative technologist and researcher who recently earned a Master of Fine Arts in Music Technology from the California Institute of the Arts. His work explores the intersection of machine learning, rhythm, and artistic expression, with a focus on symbolic music generation and real-time audio interaction. is a creative technologist and researcher who recently earned a Master of Fine Arts in Music Technology from the California Institute of the Arts. His work explores the intersection of machine learning, rhythm, and artistic expression, with a focus on symbolic music generation and real-time audio interaction.

Ajay Kapur is the Associate Provost for Creative Technologies and Director of the Music Technology program (MTIID) at the California Institute of the Arts. A technologist, musician, and entrepreneur, his interdisciplinary work merges computer science, engineering, music, and psychology. He earned a Ph.D. from the University of Victoria and a B.S.E. from Princeton University. Ajay has co-founded several ventures in education technology, interactive art, and AI. His Machine Orchestra, combining human performers and robotic instruments, has toured internationally with performances at festivals and institutions worldwide. He has presented work at venues such as LACMA, the Singapore Arts Festival, and the Winter Olympics, and has published nearly 200 papers on music technology, human-computer interaction, and creative AI.

Symbolic music generation has been widely explored using deep learning techniques, yet capturing rhythmic structures with coherence and variation remains a challenge. In this work, we propose a Transformer-LSTM+FNN hybrid architecture that integrates self-attention for long-range dependencies with recurrence-based sequential modeling. This architecture enhances rhythmic consistency while maintaining computational efficiency. Our approach represents drum sequences as symbolic tokenized events, leveraging a language modeling framework for structured generation. We evaluate its performance through both quantitative and qualitative analysis, demonstrating superior results over the Transformer baseline in rhythmic stability and diversity. Additionally, we explore real-world applications by implementing this approach in robotics and mechatronic arts, enabling real-time adaptive drumming systems. Our findings highlight the effectiveness of hybrid language modeling techniques for expressive and coherent symbolic music generation.

Dr. Sophie Rose is an award-winning multi-instrumentalist, composer, improviser, enthusiast of extended vocal techniques, and multimedia artist. She specializes in gesturally mediated vocal composition and performance, using interactive technologies to explore the intersection of human expression and machine affordances. Her doctoral research at the University of Melbourne developed a trauma-informed approach to composition by integrating trauma-informed therapeutic movement practices and wearable technologies.
As a performer, Rose enjoys the liminal spaces where human potential and the affordances of technology coalesce, embracing the fluidity of sound and gesture. Her academic contributions include numerous publications and presentations on new musical interfaces, voice, embodiment, and gender narratives in computer music. She continues to push the boundaries of music technology and creative expression through her commissioned works, publications, and live performances

Breathing I-III is a sonic triptych investigating the therapeutic and artistic potential of trauma-informed practices, particularly bilateral coordination, as a framework for mapping gestures and sonifying psychological states. Designed for voice and wearable gestural interfaces, these works leverage embodied gestures to externalise internal emotional states and provide a narrative arc of panic, grounding, and resolution through sound, live movement-generated projections, and performance. This research integrates therapeutic principles with interactive performance art, demonstrating how movement, sound, and space converge to explore themes of anxiety, connection, and resilience. Trauma-informed practices, such as bilateral stimulation, have shown potential in grounding emotional states and regulating the body’s responses to stress [1], [2]. By integrating these practices with gesture-controlled interfaces and spatialised soundscapes, Breathing I, II, and III bridge the gap between therapeutic applications and artistic expression. This paper examines the methodologies, thematic depth, and technological frameworks underpinning these compositions while emphasising their broader implications for interactive music technology and trauma-informed practice.

Juan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague.
In 2014, he completed a PhD at Leiden University with his thesis
“Multiple Paths: Towards a Performance Practice in Computer Music.”
A guitarist trained in Robert Fripp’s Guitar Craft, Parra has received
grants from NFPK, Prins Bernhard Cultuurfonds, and the International Music Council. Founder of The Electronic Hammer, Wiregriot, and Three States of Wax, he collaborates with Jan Michiels, Hermes Ensemble, and others. A researcher at Orpheus Institute since 2009, he currently serves as Regional Director for Europe of the International Computer Music Association (2022–2026).

Harald Bode’s impact on the history of electronic music, particularly through his innovative design of musical instruments, is undeniable. A close examination of his

diaries and interviews reveals his continuous pursuit of being a ‘well-rounded’ individual, which involved nurturing his creativity across various domains. This research centers on Bode’s musical output, specifically focusing on the reconstruction and preparation for a performance of the first section of his Phase 6. The text explores the material analysis and selection process for creating a performance score, while also detailing the instrumental setup designed to faithfully reproduce and extend this work in a live performance context. Through this experimental interpretation, the aim is to learn from Bode’s compositions and recordings, thereby deepening and broadening our understanding of his creative process, beyond the musical tools he designed.

Arne Eigenfeldt is a composer of live electroacoustic music, and a researcher into intelligent generative music systems. His music has been performed around the world, and his collaborations range from Persian Tar masters to free improvisers to contemporary dance companies to musical robots. He has presented his research at major conferences and festivals, and published over 50 peer-reviewed papers on his research and collaborations. He is a professor of music and technology and an Associate Dean Academic at Simon Fraser University.

Kathryn Ricketts is Associate Professor of Arts Education at University of Regina. Ricketts is a dance educator and performer, with a practice of improvised dance/theatre and somatic study. She is an active member of the dance community in Regina, SK, including work with professional company, New Dance Horizons, and is an active participant in the REACTING improvisation group, coordinated by the Regina Improvisation Studies Centre. She has served as external examiner for one of Regina Institute’s students (John Trinh). Her PhD research at Simon Fraser University was on practice-based research in the area of auto-ethnography, a/r/tography, improvised poetic narrative and movement.

We describe an artistic collaboration between a composer-coder and a movement artist that includes intelligent agents – musebots. The collaboration had numerous constraints, such as limited preparation and interaction time; we describe how shifting both menial tasks – audio editing – to autonomous tools, as well as higher-level considerations to the intelligent agents provided meaningful artistic results.

Iris Garrelfs works on the cusp of music, art and technology across improvised performance, multi-channel installation and fixed media projects. One of the UK pioneers in combing voice with digital processing in live improvisation, her work has been compared to Yoko Ono, Henri Chopin, Joan La Barbara, Meredith Monk and Arvo Part and involves “generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” (Wire Magazine). She is currently focusing on low-fi wearable electronics and the performative relationship with spaces and audiences.

Garrelfs work has featured internationally, including Tate Britain (London), National Gallery (London), Café Oto (London), Royal Academy of Arts (London), fruityspace (Beijing), Palazzo delle Esposizioni (Rome), Gaudeamus (Amsterdam), MC Gallery (New York), Sonologia (Belfast), Rencontres Internationales (Paris, Madrid), Transmedia Borders (Mexico). Residencies have included Grizedale Art, Institute of Modern Art Celje (Slovenia), Onassis Cultural Centre (Athens).

At Goldsmiths, University of London, Garrelfs convenes the MMus Sonic Art, directs the Improviser Collective and heads the Sound Practice Research Unit.

Jenn Kirby is a composer, performer and music technologist, who writes instrumental, electroacoustic, and electronic music. Making hybrid musical instruments using software, sensors and re-purposed controllers, the work engages with physicality and the body and often intersects with performance art and movement. Jenn has been commissioned by Irish National Opera, New Music Dublin/Evlana, Crash Ensemble, Kirkos Ensemble, Glasshouse Ensemble, Light Moves Festival, Larissa O’Grady, and Ensemble Entropy, and has undertaken residencies with Cove Park, soundSCAPE Festival and National Theatre Wales. Her work has been performed throughout Europe, North America and in parts of East Asia. She has released 4 solo albums (2 with pan y rosas discos) and 3 EPs, and has performed live on RTÉ Lyric FM and BBC Radio 3’s Late Junction and New Music Show. Her work has been described as “digital surrealism”, “intoxicatingly strange” and “a sonic meditation on the fleeting temporality of embodied existence.”

Current interests focus on intersections of sound, body, and technology. Jenn is a former president of the Irish Sound, Science and Technology Association, has worked on the board of the International Alliance for Women in Music and is currently a lecturer in music at University of Liverpool.

Embodied Dialogues is a collaboration-in-progress between Jenn Kirby and Iris Garrelfs, exploring the intersection of wearable technology, voice, and improvised performance. Central to the project is Kirby’s Sensor Dress, a motion and touch-sensitive wearable instrument, paired with Garrelfs’ unamplified, extended vocal improvisation. The Sensor Dress generates and processes sound shaped by the performer’s movement. Garrelfs activates the dress while moving through the audience and improvising with extended vocal techniques, fostering an intimate and spatially aware performance experience. This collaboration engages with postdigital aesthetics, emphasizing the fluidity, unpredictability and materiality of sound-making. Contributing to ongoing conversations within digital musical instruments (DMIs), embodiment and gendered technology, Embodied Dialogues values identity, agency, and entanglement in human-object relationships, and explores how wearables can expand embodied improvised performance through emergent interactions between voice, movement, technology and environment. This paper discusses relevant context and technological parameters.

Dr. Zeynep Özcan

Dr. Zeynep Özcan is an experimental and electronic music composer, sound artist and performer. She holds a Ph.D. in Music from Istanbul Technical University, an M.A. in History of Architecture, and a B.A. in Philosophy from Middle East Technical University. She explores biologically inspired musical creativity, interactive and immersive environments, and generative systems. Her works have been performed and presented throughout the world in concerts, exhibitions, and conferences, such as AES, ICAD, ICMC, ISEA, NIME, NYCEMF, WAC and ZKM. She is an Assistant Professor and a faculty director of Girls in Music and Technology (GiMaT), Summer Institute at the Department of Performing Arts Technology at the University of Michigan, School of Music, Theatre & Dance. She specializes in the implementation of software systems for music-making, audio programming, sonification, sensors and microcontrollers, novel interfaces for musical expression, and large-scale interactive installations. Her research interests are exploring bio-inspired creativity, artistic sonification, playfulness and failure in performance, and activist art. She is passionate about community building and creating multicultural and collaborative learning experiences for students through technology-driven creativity.

This paper presents “Customs and Borders,” a transducer-based interactive live performance that uses playful engagement to challenge audience perceptions of social identities, emphasizing interactive participation to reflect on power dynamics within border-crossing contexts. By utilizing symbolic objects associated with immigration, such as passports, stamps, and single-hole punches, the performance underscores the tangible artifacts linked to border crossing. As the performer enacts the role of a customs and borders officer, they blur the lines between authority and absurdity, prompting reflection on power structures. Through audience participation, the performer integrates the roles of performer and participant, fostering a collaborative exploration of social identities. The paper describes the performance’s concept and objectives, the symbolism of the objects involved, and the impact of performer-audience interactions. It also details the technical implementation, including the interactive performance system and sound manipulation techniques. The discussion that follows focuses on the social commentary and dynamic power structures presented in the performance. The paper concludes by reflecting on the outcomes of audience engagement, highlighting the effectiveness of using playfulness to prompt reflection and dialogue about immigration and identity. Future directions for enhancing the exploration of social identities through interactive
playfulness are also considered.

Matsuura Tomoya(松浦知也) is SoundMaker: who makes a sound, makes instruments to make a sound, and makes environments to make the instruments. He calls his own research area “Civil Engineering of Music”, which designs socio-technical infrastructure around sound and music critically through practices. He develops “mimium” a programming language for music(2019~), and does performances with “Exidiophone”, an electro-acoustic instrument that makes sound with only an audio-feedback. Currently working as Project Assistant Professor at Art Media Center in Tokyo University of the Arts.

This paper critically reviews the history of programming languages for music, distinct from computer music as a genre, by drawing on discussions from sound studies. The paper focuses on the universalist assumptions around pulse-code modulation and the Unit Generator concept established by the MUSIC-N family, which established a lineage of role between composers and scientists which tends to turn composers into consumers. The paper concludes that programming languages for music developed after the 2000s present alternatives to the often-invisible technological infrastructures surrounding music, such as formats and protocols, rather than solely aiming to create novel musical styles.

Alex Harker is a composer, creative programmer and lecturer at the University of Huddersfield. His research focuses on the use of audio technology to explore sound and musical structures and involves the creation of bespoke software for use in both general and very specific scenarios. His technical tools (AHarker Externals, HISSTools Impulse Response Toolbox, FrameLib) are used around the world by academics, musicians and engineers. His compositional work has been presented internationally, including appearances at Minimal Festival, Sound and Music Computing Conference, Meet Music Code and Huddersfield Contemporary Music Festival.

Owen Green‘s research pings between musical practice, technology and theory. From 2017-2023 he worked on the ERC Fluid Corpus Manipulation project at the University of Huddersfield, led by PA Tremblay. Since 2023 he has been working on the ERC MusAI project led by Georgina Born; first, at the Max Planck Institute for Empirical Aesthetics, Frankfurt, where he researched questions around musical genre and computational modelling with Born, Bob Sturm and Melanie Wald-Fuhrmann, and from 2025 at University College London, devising pedagogical strategies for radical interdisciplinarity at the intersection of music and AI, with Born, Rebecca Fiebrink and Jon Gillick.

Across the musical creative coding community, a number of creative coding environments are in use that support compiled extensions via C APIs. Because these APIs are quite different, innovative extensions rarely end up diffusing through the whole community. This contributes to undesirable siloing, loss of potential musical innovation, and community fragmentation. Whilst there have been some limited prior efforts to make it easier to produce portable code, there is currently no general solution to this problem. Here we explore the potential of addressing this problem in the context of modern C++. We describe the requirements for portability between the Max, pd, and SuperCollider environments along with modern C++ constructs that can be used to fulfil these requirements. To make this concrete, we then describe two relatively mature medium-scale projects, FrameLib and FluCoMa, detailing how the codebases for these projects make use of C++ to produce portable extensions, balancing different sets of priorities. The hope is that sharing and documenting these techniques helps to demystify the potential of modern C++ as a powerful resource for making useful and shareable computing resources benefitting the wider musical creative coding community.

Pierre Couprie is Professor of Musicology at the University of Evry Paris-Saclay, and a permanent researcher in the Research in Arts, Performance and Music team at the Centre for the Cultural History of Contemporary Societies (RASM-CHCSC). His research interests include electroacoustic music, sound studies and digital musicology. His latest work aims to elaborate an epistemology of digital musicology by articulating music historical and analytical methods, the development of digital audio technologies and the design of data visualizations

Kazuko Narita studies music at the C.N.S.M. in Paris (1975-1985) . Composer of instrumental, orchestral and opera works, as well as works fusing Western and Japanese instruments, and electroacoustic music works. She is also a researcher in the field of electroacoustic music performance. Professor at Doshisha Women’s College in Kyoto.

Saburo Hirano (Japan) started Hirano’s artist activity that is creating sound tracks for video art and computer graphics at undergraduate days. After that Hirano worked at YAMAHA corporation as a software engineer. At the same time Hirano has collaborated with video artists, media artists and CG artists for sound track design and system design. In recent years, Hirano’s art work on the subject of the interaction between image, sound and human movement. So that Hirano’s works consist of not only image and sound but also computer program and interactive system design. Kyoto SEIKA University Faculty of Media Creation Professor. Master of Design from kyushu institute of design. Doctor of Engineering from Kwansei Gakuin University.

Nathanaëlle Raboisson has a PhD in digital arts aesthetics and has been performing acousmatic music on an acousmonium for over twenty years. She is the administrator of the Motus music company, where she directs the MotusLab research laboratory, and leads master classes and performance workshops. In 2020, she has been in the Villa Kujoyama Research and Creation Residency Program (Japan), and in 2024, was laureate of the Institut Français’ International Artistic Research Mobility Program.

The article discusses a partnership between France and Japan on the subject of interpreting acousmatic music. The project began in France, in collaboration with the Motus musical company, CNRS, and the Paris-Saclay University. It aims to capture, analyze, and preserve interpretation by loudspeaker orchestra, known as ‘acousmoniums’. A device has been developed to record audio, MIDI and video performances. The MotusLab-Tool software was specially designed for analyzing and teaching interpretation using adapted visualizations. Since 2018, collaborations with the ACSM116 Festival have made it possible to create recordings using Japa-nese acousmoniums. These collaborations have also enhanced the quality of recording equipment, as well as initiated artistic style comparisons. In this way, several pieces were performed in France and Japan by various artists, with different acousmoniums.

Matthew Keating is an incoming PhD student in computer science at Dartmouth College, advised by Professor Michael Casey. His research focuses on leveraging artificial intelligence and machine learning for music education.

Michael Casey is the Francis and Mildred Sears Professor in Computer Science and Music at Dartmouth, USA. His lab conducts research in MIR, music neuroscience, and neurologic music therapies. Funding for his research has been awarded by the National Science Foundation (NSF), the Mellon Foundation, and the Engineering and Physical Sciences Research Council (EPSRC).

We present a graph-based engine for computing chord tone soloing suggestions for guitar students. Chord tone soloing is a fundamental practice for improvising over a chord progression, where the instrumentalist uses only the notes contained in the current chord. This practice is a building block for all advanced jazz guitar theory but is difficult to learn and practice. First, we discuss methods for generating chord-tone arpeggios. Next, we construct a weighted graph where each node represents a chord-tone arpeggio for a chord in the progression. Then, we calculate the edge weight between each consecutive chord’s nodes in terms of optimal transition tones. We then find the shortest path through this graph and reconstruct a chord-tone soloing line. Finally, we discuss a user-friendly system to handle input and output to this engine for guitar students to practice chord tone soloing.

Miriam Akkermann is musicologist and sound artist. She received a PhD in musicology from the Berlin University of the Arts, and completed her habilitation at Bayreuth University. Her research areas include music of the 20th and 21st century, computer music and music technology, digital musicology, musical performance practices and archiving music. A special emphasis lies on examining the intersection of music research and artistic practice. Within the framework of “Lullabyte,” the researches focus is set on the effect of music on sleep. Her artistic activities include sound art, experimental music, and live electronic performances and have been performed at shows and festivals worldwide.
Currently, she holds the Ernst-von-Siemens Musikstiftungsprofessur at FU Berlin.

Finding sensible ways of implementing machine learning processes and artificial intelligence methods in music creation is currently one of the leading topics for both music technology development and music creators, as it promises on the one hand the development of labor- saving and easy-to-use tools for standard processes, and on the other hand methods that allow to explore new fac- ets of artistic creation. However, as new as the discussion appears, many challenges and chances have been already mentioned and discussed over thirty years ago. This rais- es the question how current developments and debates relate to the approaches and expectations addressed back then. In this paper, Curtis Roads’ observations on music and artificial intelligence AI from 1985 are used as back- ground against which current developments in music and AI are reflected from a historic perspective.

Sanjay Majumder is an engineer specializing in Music Technology and Acoustics, with a focus on signal processing, spatial audio, and acoustic analysis. He is currently working as an Audio Test Engineer, where he is responsible for validating the performance and reliability of advanced audio hardware and software systems through both automated and manual testing workflows.

He holds a strong interest in machine learning applications in acoustics, particularly in developing data-driven methods for spatial audio analysis and predictive modeling. With a background that bridges technical rigor and creative insight, Sanjay is interested in applying analytical approaches to real-world challenges in audio technology and signal processing. He thrives in multidisciplinary environments and enjoys collaborating with teams that blend engineering, design, and research. He is always eager to explore new tools, methodologies, and perspectives that expand his capabilities as both an engineer and a thinker.

Outside of his professional work, he is passionate about scuba diving and boating, pursuits that reflect his broader interest in the natural acoustics of marine and open-air environments.

Recombining two or more music pieces to create a new composition is a captivating yet underexplored research challenge. This paper seeks to advance the field of music recombination by enhancing the architecture of the genetic algorithm proposed by Majumder and Smith [1]. Building on this foundation, essential genetic algorithm concepts are incorporated from the technical paper by Hermawanto [2], emphasizing musical aesthetics and computational efficiency.

The core challenges addressed in this work include extracting features from original music pieces, designing an effective algorithm for generating new compositions, ensuring musical correctness and variation, and preserving the unique style of the resulting piece. To achieve these objectives, the music21 toolkit [3] is utilized to extract features from MIDI (Musical Instrument Digital Interface) files. This research evaluates the computational efficiency, pitch accuracy, and musical aesthetics of compositions generated by the improved system, comparing them with those created using the method outlined by Majumder and Smith [1]. This study bridges critical gaps in music recombination research and provides a solid foundation for future advancements in this innovative field.

Antonio Carvallo was born in Chile in 1972. Parallel to private piano lessons, studied counterpoint and harmony. Then, he studies at “Universidad de Chile”, where he gets a Bachelor of Composition degree. He was a student of Pablo Aranda, Cirilo Vila, Aliosha Solovera and Miguel Letelier. After that he moved to Rome, Italy, studying Electroacoustic Music at “Conservatorio Santa Cecilia” getting a First Level Academic Degree and a Second Level Specialization Degree. Back in Chile he got a Master of Art degree in Composition and a PhD in Esthetic and Art Theory at Universidad de Chile. His compositions have been performed and he has lectured in Chile, Argentina, Perú, Uruguay, United States, Italy, Holland, France, Spain, Sweden, Germany, Austria, Slovakia and Ireland. He has permanently published his works in CD and score. Has published the books “Partituras” and “De cruces y fronteras”.
He began to teach Musical Analysis in 2000 at Universidad de Chile. Nowadays he teaches at Universidad de Chile, Pontificia Universidad Católica de Chile and Universidad Mayor. From 2015 to 2018 was the President of the National Association of Composers, Chile.

For music, Gilles Deleuze proposes Making Inaudible Forces Audible, particularly time. What does making time audible mean in musical practice?

For the French author, what is essential is to work with the musical material itself at a molecular level and within a material/force duality, always considering the concept of unity. In tune with Arthur Prior’s considera-tions regarding the flow of time, for Deleuze, the objec-tive will be the production of a floating time that detaches itself from a pulsed time: a time over another time.

To bring these considerations to the musical practice, we propose a process of composition of sounds and syn-tactic structures based on a close relationship between all the parameters of sound and music in the work, which are managed by establishing basic proportions and using fractals. These resources will put in close and permanent relation all the aspects of the material and the work, from the micro to the macro, producing a floating time that rests on the pulse and can pass from a state of suspension of time to another where temporal processes become perceptible.

Paolo Montella is an electroacoustic composer, multi-instrumentalist, and programmer. Field recording and radical improvisation practices are central to his aesthetic. He focused his research on the relationship between sound and source, which is meant to be a complex phenomenal system. He is pursuing a Ph.D. in Performing Arts at the “Accademia di Belle Arti di Napoli”. Since 2016, he has been curator of “Geografie del suono”, a concert series that has hosted prominent artists worldwide. He has held concerts, diffused his work, and performed throughout Europe and in Canada, Egypt, Ecuador, Brazil, Mexico, Argentina, Australia, Hong Kong, Korea, Taiwan, and China.

Giuseppe Di Taranto is a philosopher, musician, and writer. He graduated in Philosophy from the University of Naples Federico II and in Electronic Music under Elio Martusciello at the San Pietro a Majella Conservatory. He has released three albums with the musical project la bestia CARENNE: Ponte (2011), Catacatassc’ (2014), and Coriandoli (2017). In 2018, he published the novel Il liquore delle vergini with Ad Est dell’Equatore, followed in 2020 by the poetry collection L’allevamento di lumache with Kolibris Edizioni. His research also explores the recovery and reinterpretation of traditional music and folk songs.

This article examines the intersection of digital platforms and electroacoustic music, focusing on compositional practices. It investigates the role of digital platforms and their contents—specifically Instagram reels—as dynamic soundscapes where content is consumed and transformed. Employing a dialectic framework that integrates the notions of space, field, and landscape, the study reinterprets digital environments as sonic domains, highlighting the interplay between user interactions and algorithm-driven content dissemination.

The research delves into Instagram reels’ memetic and symbolic dimensions, exploring their potential as compositional resources. “The meme went extinct in January 2025” concludes this investigation as an acousmatic work that utilizes unpredictable digital content manipulated through convolution and granular synthesis. This project underscores the aesthetic relevance of memes in social media as mediators, illustrating their capacity to construct shared horizons of meaning. This study offers fresh insights into audience engagement and the transformative possibilities inherent in digital soundscapes by situating electroacoustic practice within the broader context of digital culture.

Dr. Zeynep Özcan

Dr. Zeynep Özcan is an experimental and electronic music composer, sound artist and performer. She holds a Ph.D. in Music from Istanbul Technical University, an M.A. in History of Architecture, and a B.A. in Philosophy from Middle East Technical University. She explores biologically inspired musical creativity, interactive and immersive environments, and generative systems. Her works have been performed and presented throughout the world in concerts, exhibitions, and conferences, such as AES, ICAD, ICMC, ISEA, NIME, NYCEMF, WAC and ZKM. She is an Assistant Professor and a faculty director of Girls in Music and Technology (GiMaT), Summer Institute at the Department of Performing Arts Technology at the University of Michigan, School of Music, Theatre & Dance. She specializes in the implementation of software systems for music-making, audio programming, sonification, sensors and microcontrollers, novel interfaces for musical expression, and large-scale interactive installations. Her research interests are exploring bio-inspired creativity, artistic sonification, playfulness and failure in performance, and activist art. She is passionate about community building and creating multicultural and collaborative learning experiences for students through technology-driven creativity.

Natalia Quintanilla Cabrera is an electroacoustic music artist, composer, and multi-instrumentalist based in Detroit. She studied composition and theory at CIEM in Mexico City and earned an M.A. in Media Arts from the University of Michigan’s School of Music, Theatre & Dance. In Fall 2025, she will begin a Ph.D. in Digital Arts and Experimental Media (DXARTS) at the University of Washington. Her research centers on hybrid spatial audio systems that combine binaural headphones, Ambisonics arrays, and natural acoustic sound fields to create augmented immersive experiences. Her work has been presented in Mexico, the U.S., Austria (Ars Electronica), and Slovenia (Festival IZIS), and at institutions including the University of Michigan, University of Gloucestershire, and University of Colorado Boulder. She was commissioned by the Hopkins Center for the Arts at Dartmouth through The Mexican Repertoire Initiative, with wind ensemble works published by The Valley Winds. Natalia’s practice engages social narratives, especially gender violence in Mexico. Her thesis used hybrid diffusion and 3D audio to explore this theme, expanding on her sound design for Ni Une Más. She performs under the solo project Nati Bu, blending electronics with Latin American sounds. She plays accordion, sings, and integrates live electronics and sensors into her performances.

This paper explores the potential of using a hybrid audio diffusion system (HADS) in electroacoustic music composition. “disonancia” (dissonance) is part of a four-part composition series called “Inward Voices, Outward Struggles.” The composition “disonancia” utilizes the HADS to enhance the auditory experience by combining egocentric (head-fixed) frames of reference via open-back headphones with allocentric (room-fixed) frames of reference through a speaker array, resulting in a fully immersive 3D audio environment. By examining both the creative implementation of the HADS and the artistic framework guiding its use, this paper highlights how 3D audio techniques and hybrid systems offer new possibilities for immersive, narrative-driven electroacoustic compositions and soundscapes.

Marco Amerotti is a research engineer at KTH Royal Institute of Technology in Stockholm, part of the MUSAiC project led by Prof. Bob Sturm. His research focuses on generative models for symbolic music and real-time interactive performance modeling, in particular for traditional music.

Steve Benford is the Dunford Professor of Computer Science at the University of Nottingham where he co-founded the Mixed Reality Laboratory. He is a UKRI funded Turing AI World Leading Research Fellow exploring “Somabotics: Creatively Embodying Artificial Intelligence”. He also directs the EPSRC-funded Horizon Centre for Doctoral Training. Steve’s research explores artistic applications of digital technologies through performance-led methods that engage artists in creating, touring and studying unique interactive experiences. In turn, these have inspired fresh perspectives on interaction such as trajectories and uncomfortable interactions. He directs the EPSRC-funded Horizon Centre for Doctoral Training and the University’s newly founded Cobot Maker Space that is exploring human interaction with robots. He was previously an EPSRC Dream Fellow. He is also a keen musician.

Bob L.T. Sturm is Associate Professor of Computer Science at the Royal Institute of Technology (KTH) in Stockholm, Sweden. He has also held academic positions at the Center for Digital Music at Queen Mary University of London and Aalborg University Copenhagen. He has a PhD in Electrical Engineering from the University of California, Santa Barbara.

Juan Martinez Avila is an Assistant Professor in Computer Science at the University of Nottingham. As part of the Mixed Reality Lab, he steers an interest group that investigates intelligent and interactive music technology research through practice-based methods, ethnography, participatory design, and embodied design ideation.

Our previous work on modeling Irish traditional dance music performance focused on modeling a single player interacting with a human musician. We now create a virtual session simulation where multiple virtual musicians play together interactively, mimicking a common practice within Irish traditional music. We devise (1) a tempo synchronization system that allows the virtual musicians to play together and (2) a leadership negotiation system enabling them to take different roles during the session. Following a practice-led approach, we explore emerging behaviors in the resulting sessions and discuss how this work relates to and can impact traditional music practice.

Johanna Devaney is an Associate Professor at Brooklyn College and the Graduate Center, CUNY, where she teaches courses in music theory, music technology, and data analysis. Previously, she was an Assistant Professor of Music Theory and Cognition at Ohio State University and a postdoctoral scholar at the Center for New Music and Audio Technologies at the University of California at Berkeley. She currently serves as the Co-Editor-in-Chief of the Journal of New Music Research. Her research seeks to understand how humans engage with music, primarily through performance, with a particular focus on the singing voice, and how computers can be used to model and augment our understanding of this engagement. She is also interested in computational audio understanding more broadly, as well as how human learning practices can inform the development and evaluation of machine learning models. Her work draws on the disciplines of music, psychology, and computer science, primarily contributing to the field of Music Information Retrieval. Johanna’s research has been funded by the Social Sciences and Humanities Research Council of Canada, the Fonds de recherche sur la société et la culture, the Google Faculty Research program, the National Endowment for the Humanities, and the National Science Foundation.

Daniel McKemie is a composer, percussionist, programmer, researcher, and arranger based in Oneonta, New York. His work focuses on applying techniques from Music Information Retrieval (MIR) feature extraction and low-level signal processing to explore timbre, integrating that data with original synthesis methods to create new musical works. Additionally, Daniel designs innovative methods for interfacing handmade circuitry, modular synthesizers, and embedded systems with both legacy and contemporary software. This approach enables the creation of complex, responsive performance environments, where software generates compositional processes as analog signals sent to hardware, and analyzes hardware feedback to influence musical behavior in real time. He earned his MS in Computer Science and Health Informatics at Brooklyn College, where he worked as a graduate research assistant in Professor Johanna Devaney’s Laboratory for Understanding Music and Audio (LUMaA). He also served as an adjunct lecturer, teaching courses in computer music and programming.

Alexander Morgan is a Python developer experienced with time-series data analysis and languages.

A graduate of the doctoral program in music theory at McGill, Alexander has previously worked on the VIS Framework (Vertical Interval Successions) for music analysis of scores in symbolic notation and CRIM (Citations: The Renaissance Imitation Mass) Search and Analysis Tools projects.

pyAMPACT (Python-based Automatic Music Performance Analysis and Comparison Toolkit) links symbolic and audio music representations to facilitate score-informed estimation of performance data from audio. It can read a range of symbolic formats and can output note-linked audio descriptors/performance data into MEI-formatted files. pyAMPACT uses score alignment to calculate time-frequency regions of importance for each note in the symbolic representation from which it estimates a range of parameters from the corresponding audio. These include frame-wise and note-level tuning-, dynamics-, and timbre-related performance descriptors, with timing-related information available from the score alignment. Beyond performance data estimation, pyAMPACT also facilitates multi-modal investigations through its infrastructure for linking symbolic representations and annotations to audio.

Alexandre R.J. François’ research focuses on the modeling and design of interactive (software) systems, as an enabling step towards the understanding of perception and cognition. His interdisciplinary research projects explore interactions within and across music, vision, visualization and video games. He was a 2007-2008 Fellow of the Radcliffe Institute for Advanced Study at Harvard University, where he co-lead a music research cluster on Analytical Listening Through Interactive Visualization.
From 2004 to 2010, François was a Research Assistant Professor of Computer Science in the USC Viterbi School of Engineering at the University of Southern California. In 2010, he was a Visiting Associate Professor of Computer Science at Harvey Mudd College. In 2008-2009, he was a Visiting Assistant Professor in the Department of Computer Science at Tufts University. From 2001 to 2004 he was a Research Associate with the Integrated Media Systems Center and with the Institute for Robotics and Intelligent Systems, both at USC.
François received the Diplôme d’Ingénieur from the Institut National Agronomique Paris-Grignon (France) in 1993, the Diplôme d’Etudes Approfondies (M.S.) from the University Paris IX – Dauphine (France) in 1994, and the M.S. and Ph.D. degrees in Computer Science from USC in 1997 and 2000 respectively.

This paper describes Resonate, an original low latency, low memory footprint, and low computational cost algorithm to evaluate perceptually relevant spectral information from audio signals. The fundamental building block is a resonator model that accumulates the signal contribution around its resonant frequency in the time domain, using the Exponentially Weighted Moving Average (EWMA).A compact, iterative formulation of the model affords computing an update at each signal input sample, requiring no buffering and involving only a handful of arithmetic operations. Consistently with on-line perceptual signal analysis, the EWMA gives more weight to recent input values, whereas the contributions of older values decay exponentially. A single parameter governs the dynamics of the system. Banks of such resonators, independently tuned to geometrically spaced resonant frequencies allow to compute an instantaneous, perceptually relevant estimate of the spectral content of an input signal in real-time. Both memory and per-sample computational complexity of such a bank are linear in the number of resonators, and independent of the number of input samples processed, or duration of processed signal. Furthermore, since the resonators are independent, there is no constraint on the tuning of their resonant frequencies or time constants, and all per sample computations can be parallelized across resonators. The cumulative computational cost for a given duration increases linearly with the number of input samples processed. The low latency afforded by Resonate opens
the door to real-time music and speech applications that are out of the reach of FFT-based methods. The efficiency of the approach could reduce computational costs and inspire new designs for low-level audio processing layers in machine learning systems.

Georg Essl is a Research Professor in the Department of Mathematical Sciences at the University of Wisconsin-Milwaukee and recipient of Guggenheim fellowship. He holds a Ph.D. in Computer Science from Princeton University. Previously he served on the faculty of the University of Michigan, and the University of Florida, and has held research positions at MIT Media Lab Europe, and Deutsche Telekom Laboratories at the Technical University of Berlin. His current research focuses on topological methods in digital sound synthesis. His research interests include mobile phones as musical instruments, and the design of new interfaces for musical expression. He founded and directed the Michigan Mobile Phone Ensemble (Michigan MoPho) and is also co-founder and co-director of the Stanford Mobile Phone Orchestra (MoPho) and is founding director of the Berlin Mobile Phone Orchestra (Berlin MoPho). He has served as research coordinator on the board of the International Computer Music Association and serves on the advisory board of NIME.

Robin Belton received her Ph.D. in Mathematics from Montana State University and did a postdoctoral fellowship at Smith College. She is currently an Assistant Professor in the Department of Mathematics and Statistics at Vassar College. Her research is in topological and geometric data analysis, and she teaches undergraduate statistics and data science classes.

Topology provides both strong and principled invariants as well as defines spaces of deformability. We extend a method for segmentation and deformation of fixed length audio sample data to the case of streaming data. This method uses sublevel set persistent homology to segment audio data into extremal and monotone blocks called box snakes, where monotones can be deformed so long as monotonicity is preserved. We employ surgery on box snakes to realize shifts of data. We discuss this process with respect to both linear and circular domains. This allows box snake structures to be matched with the topologies of other audio signal processing techniques such as the Discrete Fourier Transform which naturally operates on a circular topology.

Jeremy Wagner is a composer, performer, and sound designer currently living and working in the San Francisco Bay Area. His compositions have been performed across the United States and Europe by some of the world’s most gifted soloists & ensembles including Irvine Arditti, the Arditti Quartet, Duo Gelland, & Noriko Kawai, among many others. His sound design for the films of Hisham Bizri has featured at leading festivals worldwide including the Cannes and Sundance film festivals. Jeremy is recipient of the McKnight Composer Fellowship and is a founding member, with composer James Dillon, of Minnesota’s Contemporary Music Workshop (CMW).

Since moving to Berkeley, CA in 2012, in addition to work in composition, Jeremy has played an active role in the Bay Area contemporary music scene facilitating the production of adventurous new works involving emerging technologies. He has appeared regularly as computer music performer, sound designer and technical director with the San Francisco Contemporary Music Players (SFCMP) under conductor Steven Schick, Eco Ensemble under David Milnes, West Edge Opera under Jon Kennedy and Jonathan Kuhner, as well as numerous events at UC Berkeley and Stanford Universities. This experience has led to major projects with the Spoleto Festival USA, the Fort Worth Symphony Orchestra and Roulette in Brooklyn, NY, among many others. Since 2016 Jeremy has served as Research Composer and Technical Director at UC Berkeley’s Center for New Music & Audio Technologies (CNMAT) where he develops new hardware and software technologies for use in contemporary music. This work was recognized in April 2024 with the Chancellor’s Outstanding Staff Award which is among the highest honors bestowed upon staff at UC Berkeley.

We introduce an algorithm for the near-real time automated computation of resonant models for use with the CNMAT Externals resonators~ object for Max/MSP. Unlike prior workflows that focus on precision at the cost of non-real time computation, this method can accurately estimate resonant models in near-real time. Utilizing fractional bin analysis and exponential fitting, analysis of arbitrary input signals is performed with the goal of delivering a fully functional model within fractions of a second of a note onset. We introduce a new Max/MSP object [name redacted]~ that implements this algorithm and is suitable for analysis and synthesis in live performance contexts. We conclude the paper with an assessment of the model accuracy and discussion of areas for improvement.

Jeremy Hyrkas is a music technology researcher and educator based in San Diego. His research focuses on psychoacoustics-inspired signal processing techniques for sound mixtures, corpus-based synthesis and spatial audio. Jeremy’s research and compositions have been shown at ICMC, DAFx, CMMR, ISMIR and CHI. He is currently a Ph.D. Candidate in Computer Music at the University of California San Diego.

An algorithm for deriving delay functions based on real examples of vibrato was recently introduced and can be used to perform a vibrato transfer, in which the vibrato pattern of a target signal is imparted onto an incoming sound using a delay line. The algorithm contains methods that computationally restrict a real-time implementation. Here, a real-time approximation is presented that incorporates an efficient fundamental frequency estimation algorithm and time-domain polyphase IIR filters that approximate an analytic signal. The vibrato transfer algorithm is further supplemented with a proposed method to transfer the amplitude modulation of the target sound, moving this method beyond the capabilities of typical delay based vibrato effects. Modifications to the original algorithm for real time use are detailed here and available as source code for an implementation as a VST plugin. This algorithm has applications as an audio effect in sound design, sound morphing, and real-time vibrato control of synthesized sounds.

Courtney Brown creates new musical instruments and works, allowing embodied glimpses into another’s experience, whether that other is a human, dinosaur, or another being. She is a performer/composer, Argentine tango dancer, and researcher combining music with paleontology, dance, and engineering. Her work deeply involves the voice, her primary musical instrument. Her work has been featured globally including Ars Electronica (Austria), National Public Radio (NPR), Diapason Gallery (Brooklyn), CICA Museum (South Korea), New Interfaces for Musical Expression (London), International Computer Music Conference (Chile), the Telfair Museums (Savannah), Athens Digital Arts Festival Online (Greece), Royal Alberta Museum (Canada), and Wired.com. She has received a Fulbright to Buenos Aires, Argentina, where she began work on her ongoing project, Interactive Tango Milonga, creating interactive Argentine tango dance. Her work on dinosaur vocalization has received an Honorary Mention from the 2015 Prix Ars Electronica for Rawr! A Study in Sonic Skulls, an International Computer Music Conference 2015 Best Student Music Submission Award for How to Speak Dinosaur, and a 2022-23 Fulbright Canada Research Chair position for her project, Dinosaur Choir. She is an Associate Professor at the Center of Creative Computation, Southern Methodist University, Dallas, TX. Her work can be found at https://www.courtney-brown.net.

Qien Shensun is a Statistical Science major, Data Science major, and Computer Science minor at Southern Methodist University, where she blends interests in data analysis, programming, and the arts. Her interdisciplinary work explores how computation intersects with storytelling and sound. Qien has participated in Stanford University Mathematics Camp (SUMaC), UCLA’s Statistical Reasoning Summer Program, and HackSMU. She serves as the Community Development Chair of the SMU Asian Council and contributes to event planning and logistics. Skilled in Java, R, Python, and SAS, Qien has applied these tools to creative and academic projects, such as building a website, conducting film-based statistical analysis, and developing interactive digital experiences. With a musical background in guitar performance, Qien is interested in how coding and sound design can work together to express emotion and narrative. Her work frequently engages themes of culture, identity, and media representation, with recent research and writing focused on gender, family, and race in popular culture. Combining technical precision with artistic curiosity, Qien aims to create work that bridges disciplines and resonates with a wide range of audiences.

Ella Halverson is a Music (voice specialization) and Psychology double major at Southern Methodist University. She enjoys exploring various aspects of learning and engagement within her communities through different leadership positions and experiences. She has completed 900 volunteer hours and in that has developed a sense of story that drives her art and passion for others. She has been part of various choirs, including ILMEA District and a diverse range of ensemble and solo performances. She is inspired to help others both through her recent investigation into PFA’s related to water and blood concentrations in the U.S. as well as investing time in a charity working with homeless kids over the Summer of 2025. With soft skills in public speaking, problem solving and creativity, she seeks to implement these into her new roles as President of SMU Performer’s Collective and prospective work in a Memory and Cognition research lab in the Fall of 2025. She is interested in the intersection of the human mind with music and how it can both strengthen and connect others in deeper ways.

Anger at the Asteroid reimagines the long lost sound and fury of a Corythosaurus (a duck-billed dinosaur) herd after Chicxulub impact, leading to the extinction of all the non-avian dinosaurs. This musical concert work is written for Dinosaur Trio, consisting of three dinosaur skull musical instruments, one from the Rawr! A Study in Sonic Skulls (2011-2017) project and two from the Dinosaur Choir (2021-present) project. Dinosaur vocalizations are recreated via biological computational models of bird vocal boxes altered according to dinosaur skull measurements, a mechanical dinosaur vocal box, and CT Scans of adult and subadult Corythosaurus skull fossils. As part of the compositional process, we developed a novel performance practice employing the hadrosaur skull musical instruments. We also iterated upon our musical instrument design of the Dinosaur Choir musical instruments, fine-tuning them from interactive exhibitions for the general public into musical instruments better able to create nuance and precise rhythms. This paper presents our process as a case study with insights for technicians and musicians engaged in working, composing, and developing new musical instruments for musical longevity, including multiple outcomes such as for musicians playing concert music and the general public playing the work as an interactive exhibition.

Eric Lyon is a composer and audio researcher focused on high-density loudspeaker arrays, dynamic timbres, virtual drum machines, and performer-computer interactions. His audio signal processing software includes “FFTease” and “LyonPotpourri.” He has authored two computer music books, “Designing Audio Objects for Max/MSP and Pd,” a guidebook for writing audio DSP code for live performance, and “Automated Sound Design,” a book that presents technical processes for implementing oracular synthesis and processing of sound across a wide domain of audio applications. In 2015-16, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with high-density loudspeaker arrays. In 2025 he created the Spatial Audio Tidepool to provide technical instruction for creative uses of high-density loudspeaker arrays. Lyon’s compositional work has been recognized with a ZKM Giga-Hertz prize, MUSLAB award, the League ISCM World Music Days competition, and a Guggenheim Fellowship. Lyon is Professor of Practice in the School of Performing Arts at Virginia Tech, and is a Faculty Fellow at the Institute for Creativity, Arts, and Technology.

This paper discusses a general approach to mapping the parameters of a digital music instrument (DMI) with a focus on Virtual Studio Technology (VST) plug-ins. This approach is characterized by its simplicity of implemen-tation, its general applicability to existing DMI signal processing algorithms, and its ability to produce rich, dynamic timbres for musical performance. The focus is on VST plug-ins because there are many thousands of VSTs in existence, but the techniques described here can be applied to DMIs coded in Csound, Max, Pd, Super-Collider, or any other acoustic compiler. High-level control is applied to the DMI through interpolation of its parameters, which can create a constantly changing timbre environment for performers. Despite the simplicity of the method, a surprising amount of sonic variety and musical behaviors can be generated that would be diffi-cult or impossible to produce through more traditional manipulation of DMI parameters. The implications of this approach for machine learning are also discussed.

Mahya Khazaei holds a Master of Computer Science degree from the University of Victoria, where her research focused on machine learning, digital signal processing (DSP), and music information retrieval (MIR). With a strong foundation in algorithm development and data-driven analysis, she is passionate about exploring innovative applications of machine learning in audio, robotics, and interdisciplinary domains. Her work reflects a blend of rigorous academic training and a forward-looking approach to research in the evolving landscape of AI.

Ali Bahrani is a software engineer at StarFish Medical and an independent computer music researcher with a strong background in classical singing. He is also an active performer in musical theatre. His work bridges the worlds of technology and the arts, combining engineering expertise with a deep passion for creativity and human-centered design. At StarFish Medical, Ali focuses on the development of innovative medical technologies that aim to improve healthcare outcomes. He holds a master’s degree in software engineering from the Iran University of Science and Technology.

George Tzanetakis is a Professor in the Department of Computer Science at the University of Victoria, with cross-listed appointments in Electrical and Computer Engineering and the School of Music. He holds a PhD in Computer Science from Princeton University and completed postdoctoral research at Carnegie Mellon University. His interdisciplinary research spans computer audition, human-computer interaction, music robotics, and computer-assisted music education. In 2012, he received the Craigdarroch Research Award in Artistic Expression from the University of Victoria. He also served as a visiting faculty member at Google Research in 2011. Dr. Tzanetakis has published over 230 papers. He is also an active musician playing saxophone and piano.

We introduce a real-time, human-in-the-loop music, and personalizable gesture control framework that can dynamically adapt audio and music based on human movement by analyzing live video input. By creating a responsive connection between visual and auditory stimuli, this system enables dancers and performers to not only respond to music but also influence it through their movements. Designed for live performances, interactive installations, and personal use, it offers an immersive experience where users can shape the music in real time. The framework integrates computer vision and machine learning techniques to track and interpret motion, allowing users to manipulate audio elements like tempo, pitch, effects, and playback sequence. With ongoing training, it achieves user-independent functionality, requiring as few as 50 to 80 samples to label simple gestures. This framework combines gesture training, cue mapping, and audio manipulation to create a dynamic, interactive experience. Gestures are interpreted as input signals, mapped to sound control commands, and used to naturally adjust music elements, showcasing the seamless interplay between human interaction and machine response.

An internationally-acclaimed pianist, multidisciplinary artist, theorist and composer, Dr Jocelyn Ho engages practice and scholarship in a dialogic process to challenge and enliven contemporary concert practices. Ho’s artistic practice involves integrating bodily experience into new experimental performance artforms, and rethinking the classical music genre through multimedia technologies, interdisciplinarity, and audience interactivity. As a music researcher, she has published in the areas of embodied cognition and gestures, music and technology, and early recording analysis. Her accolades include the 2021 International Alliance for Women in Music Ruth Anderson Prize for sound installation, the 2022 Society of Music Theory Emerging Scholars Award for Articles, the SMT Post-1945 Music Analysis Interest Group Publication Award, and multiple piano competition prizes. Currently a Lecturer in Musicology at The University of Sydney, Ho previously taught at The University of California-Los Angeles (Performance Studies) and Adelphi University (Music Theory).

Dr. Margaret Schedel is a Professor of Music at Stony Brook University with a core appointment in the Institute for Advanced Computational Science. A classically trained cellist and computer music composer, her work lies at the intersection of sound, technology, and the body. She has a rare form of synesthesia that allows her to feel sound as motion, shaping her innovative approaches to composition, sonification, and AI-enhanced creativity.

She co-founded Lyrai, a startup that creates digital acoustic twins of architectural spaces using AI, with applications in sustainable design, immersive experiences, and sound optimization. Her research spans topics from musical gesture and data sonification to media archaeology and transcoding visual information into sound.

Dr. Schedel has presented and performed internationally and regularly organizes conferences and symposia. She envisions a future where creative technologies amplify human expression, connect diverse disciplines, and address pressing global challenges through collaboration and ethical design.

Sofy Yuditskaya (@_the_s0urce_) is a site-specific media artist and educator working with sound, video, interactivity, projections, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, and participatory art. Sofy’s performances enact and reframe hegemonies, she works with materials that exemplify our deep entanglement with petro-culture and technology’s effect on consciousness. She has worked on projects at Eyebeam, 3LD, the Netherlands Institute voor Media Kunst, Steim, ARS Electronica, Games for Learning Institute, The Guggenheim (NYC), The National Mall and has taught at GAFFTA, MoMA, NYU, Srishti, and the Rubin Museum. She has a PhD in Audio-Visual Composition with a focus on Feminist STS from NYU/GSAS.

This paper introduces a feminist textile-musical practice that reimagines domestic labor as a site for artistic expression and social commentary, bridging the fields of craft, technology, and contemporary music. Part of the ongoing Women’s Labor project, which transforms household tools into musical instruments, we explore how weaving, embroidery, and three-dimensional textile arts can serve as the foundation for a novel instrument design. This approach expands upon the project’s prior creations: the Embedded Iron and Rheostat Rotary Rack, which foregrounded the sonic potential of color and weight, respectively. The new textile-based instrument engages the dimension of texture, allowing for a multi-sensory experience that revalues traditionally feminized and devalued domestic crafts.

Dr. Scott Petersen is a composer, performer, electronic musician and laptop improviser. His current creative work and research revolve around improvisational electronic music, analog electronic instrument design, experimental music programming, and open music technologies. His artistic output is diverse and includes works for large orchestra, small ensemble with and without electronics, works for large homogeneous instrumental groups, film/animation, sound installation, and laptop improvisation with custom-designed hardware and software interfaces. Scott has performed and had his work performed and exhibited throughout the United States and Europe. He is a founding member of both the collaborative New Haven Electronic Music Composers group (El MuCo) and of MakeHaven, a DIY maker space.

Scott is a senior lecturer in the Computer Science department at Yale University. He is the Director of Undergraduate Studies for the Computing and the Arts major and teaches computer music and intermedia courses. Scott is the Director of the Open Music Initiative, an initiative he began in the Music Department at Yale in 2014 to introduce open source hardware and software to faculty, students and staff. Previously, Scott worked as the Technical Director of the Yale Music Technology Labs.

Alejandro Mayagoitia is a recent graduate of Yale University where he studied Electrical Engineering and Computer Science as a member of the class of 2025. At Yale, Alejandro’s studies revolved around embedded systems and music technology. He has played in orchestras, laptop ensembles, and several jazz groups. Outside of academe, Alejandro has worked on the efficiency of power systems at General Electric and University College Dublin.

CAFFEINE is a mixed hardware/software framework that enables real-time low-latency sonification of sensor data from wearable embedded systems. The framework utilizes a many-to-many network topology, allowing unlimited pods

and clients, constrained only by hardware availability. Wireless, battery-powered pods, built around the ESP32 microcontroller platform, host sensor arrays that capture diverse data, including motion, sound, distance, and light. Data is transmitted to a broker program that routes them to registered clients for sonification or further processing. CAFFEINE prioritizes accessibility and affordability, designed for artists and musicians with minimal technical expertise. Its extensible architecture supports creative applications, from live movement sonification to environmental data-driven compositions, reducing barriers to networked sensor technologies. The framework files and utilities can be found at github.com/anonymous.

Giuseppe Pisano (b. 1991, Naples) is an electroacoustic music composer and a researcher in the field of sound studies.
His work is characterised by the use of field recordings as a means of exploring space and understanding society. His writing explores sound perception, storytelling, epistemology and politics. As a musician, he composes acousmatic music and is known as a computer music improviser and acousmonium performer.
His formal education includes studies in electroacoustic music composition and music technology in Italy, the Netherlands and Norway. In Italy he studied with Prof. Elio Martusciello, while in Oslo he focused on immersive audio and spatialisation techniques with Prof. Natasha Barrett.
Giuseppe has worked at InaGRM, EMS – Stockholm and CityU Hong Kong. He is currently a doctoral candidate at the Norwegian Academy of Music

The considerable impact of Schafer’s ‘Soundscape’ and its widespread application to all disciplines concerned with sound can be attributed to its adaptability and the multiplicity of possible definitions it allows. However, these very qualities also raise questions about its relevance, for if everything is a soundscape, then nothing is.
This article analyses the directions taken by the discourse around the soundscape and the critiques proposed by various authors in order to re-appropriate the term and use it consciously. In particular, we focus on its meaning in the contexts of music and sound perception, as well as on the question of environmental recording, which, despite Schafer’s definition of ‘schizophony’, is a necessary practice for the existence of the soundscape itself and its perception.

Jeff Kaiser is an interdisciplinary creative practitioner who authors, develops, and performs with his own software and hardware interfaces for live digital signal processing. He has a long history of creative collaborations in the arts: working with engineers, dancers, poets, actors, visual artists, historians, and even musicians.

Pedagogy and the changing world of music technology is an important area of research interest for Kaiser, with recent papers on three areas of pedagogy: curiosity, relevance, and equity. As a champion of removing barriers of entry into the professional audio world, he avidly works against gatekeeping and has presented on the topic at conferences, including his papers “The Death of ‘Industry Standard’” and “Developing a Curiosity-centered Pedagogy.”

He has a strong interest in the digital humanities, presenting research using the methods of digital humanities at several conferences, including his work on the use of metaphors by musicians at the symposium, “Naming, Understanding, and Playing with Metaphors in Music.”

As an educator, Kaiser has taught a variety of classes at the undergraduate and graduate level: including topics on technology and culture, creative software design, audio production, and more as Associate Professor at the University of Central Missouri.

For more: jeffkaiser.com

In this paper I examine the development of a new course on the analysis of contemporary electronic music that began with two simple questions: what is music theory and what does it mean to analyze contemporary electronic music?

In addition to the examination of sonic and technological elements of the music, this presentation draws upon recent scholarship in cognitive science (Stanislas DeHaene), critical and digital pedagogy, music theory (Philip Ewell), and Data Feminism (Catherine D’Ignazio and Lauren Klein) to create a theory-based examination of electro-acoustic music that does not erase the people behind the music. It is my argument that by including these concepts we can create a “socially responsible and meaningful” examination of this music that takes into consideration “how power is organized, maintained, and challenged” in the world of music theory, music technology, and music composition.

This presentation will also look at other texts that examine the relationship between bodies and technology and how this informs the development of this pedagogy.

Timothy Roth is a percussionist, technologist and researcher based in Toronto, Canada. As an artist and researcher, he has a diverse range of interests ranging from topics in live performance, music analysis, and archival musicology. As a performer–both behind the mixing board and in front of it¬¬–he enjoys tackling works for performers with live electronics, both new and old. Tim has presented his research at conferences in North America, Europe and Asia and performed at the 2023 New Music Gathering in Portland, Oregon and the 2022 Transplanted Roots Percussion Research Symposium in San Diego, California. Holding dual Masters degrees in Percussion Performance and Music Technology/Digital Media from the University of Toronto, he actively contributes as a research assistant at the Technology and Performance Integration Research (TaPIR) Lab at U of T while also serving as an Adjunct Instructor at SUNY Niagara.

Aiyun Huang enjoys a musical life as soloist, chamber musician, researcher, teacher, and producer. Globally recognized since winning the 2002 First Prize and Audience Prize of the Geneva International Music Competition. She is a champion of existing repertoire and a prominent voice in the collaborative creation of new works. Huang has commissioned and premiered over two hundred works in her three decades as a soloist and chamber musician. The Globe and Mail critic Robert Everett-Green describes Huang’s playing as “engrossing to hear and to watch” and her choice of repertoire as capable of “renovating our habits of listening.”Born in Taiwan, Aiyun holds a DMA degree from the University of California San Diego. She currently serves as the Head of Percussion at the Faculty of Music, University of Toronto. Aiyun directs the University of Toronto Percussion Ensemble, and the Technology and Performance Integration Research (TaPIR) Lab. She is the Artistic Director of soundSCAPE Festival which takes place at the Hindemith Music Centre in Blonay, Switzerland.

The Technology and Performance Integration Research (TaPIR) Lab, a performer-led program, researched and organized a concert titled New Ways For Old Works to address challenges posed by technological obsolescence in the programmed compositions. We began by following conventional methods to prepare the works, acquiring the knowledge and creating tools necessary for their performance. Additionally, we developed detailed docu-mentation to facilitate future performances.
However, during the preparation and rehearsal process, we diverged from typical approaches in several ways. By adapting or arranging the works for new in-strumentation and technologies, we prioritized creating interpretations that were ideal for our concert rather than faithful archival reconstructions. We characterized this approach as “performance-driven,” as an alterna-tive to the conventional “archive-driven” approach which focuses on faithfulness to the original material. We argue that this performance-driven approach is cru-cial to ensuring the sustainability of this repertoire.

Margaret Schedel is a composer, cellist, and researcher working at the intersection of music, art, and technology. As Full Professor of Music and core faculty member of the Institute for Advanced Computational Science at Stony Brook University, she pioneers innovative approaches to digital arts and music technology. Schedel is also the co-founder of LyrAI, a cutting-edge venture creating digital acoustic twins through artificial intelligence.
Her academic journey combines prestigious credentials in both music and technology, establishing her as a thought leader in electronic music composition. Known for her work in data sonification and interactive performance, Schedel creates immersive experiences that transcend traditional disciplinary boundaries.
Her compositions have been featured internationally, while her research appears in leading academic journals. She mentors emerging digital artists and musicians, fostering collaborative projects that merge artistic expression with technological advancement.
A passionate advocate for diversity in STEM and arts fields, Schedel has secured significant grants for research initiatives exploring human-computer interaction and multimedia art. Her collaborative approach bridges academic research with artistic practice, creating meaningful connections across disciplines.
Website: www.schedel.net

Susie Green is a Miami-based audio/visual artist, composer, music technology innovator, and professor at the University of Miami. Her work bridges music, art, and science through a neurodivergent perspective. Susie’s artistic journey began at prestigious institutions like New World School of the Arts before her music career took flight at Crescent Moon Studios with Emilio and Gloria Estefan.
Pursuing innovation, Susie earned a graduate degree with Distinction in the UK, developing cutting-edge systems like a motion-to-sound interface. Upon returning to Miami, she established Studio 7 Productions, creating immersive multimedia experiences and mentoring through Guitars Over Guns, alongside her academic role.
A dedicated researcher and advocate for inclusivity, Susie has published papers, beta-tested music technologies, and spoken at conferences. Her portfolio spans interactive installations and film scores, blending artistic expression with technological advancement.
Born and raised in Miami, Susie’s connection to her hometown infuses her creative work and teaching, exemplifying the transformative power of risk-taking and curiosity.
Website: www.susiegreen-music.com

Dimitrios E. Smailis is an academic scholar, accomplished musician, and music technologist with extensive experience in education, performance, and research. Since 2016, he serves as an academic scholar at the Ionian University developing educational curricula, teaching undergraduate courses, conducting research in music pedagogy and technology, publishing in academic conferences and journals, and advising students. His teaching experience also includes a decade as a music educator in England and Greece, where he developed lesson plans, organized performances, and incorporated technology into music classes of secondary and tertiary education. He is currently a PhD candidate at Ionian University, specializing in the development of interactive software for artists and educators.
As a professional musician and music technologist, he has worked for over 20 years across Europe and the UK performing music, designing and handling music software, collaborating on productions for discography, theatre, and film, managing recording studios, and providing sound engineering services for cultural events.

Associate Professor Georgios P. Heliades has been within the Human-Computer Interaction discipline since the early 90’s. He has a rich professional, research and teaching experience in the design of interactive systems and UX being a faculty member since 2007 and serving as the Head of Dept. of Sound Technology at the Ionian Technology Center. At the same time, he demonstrates participation in a sufficient number of research programs, scientific publications and announcements, as well as membership in a number of prestigious scientific bodies. Currently, he is the Director of the Influence and Interaction Technologies Laboratory of the Digital Media and Communication Department of the Ionian University, Greece where he runs a research group on the design of learning experiences using emerging technology.

This article provides details on the implementation and design of the ’Make Your Own Band’ software suite, a suite of standalone software applications utilizing machine learning (ML) and music information retrieval (MIR) developed for use in school classrooms. Preliminary results through testing, surveying, and interviewing music teachers suggest that the system holds significant promise for advancing music education. It could promote inclusion through kinesthetic and gestural methods, has the potential to simplify music activities, address instrument shortages in resource-limited environments, enhance participation, and increase student engagement.

Roger B. Dannenberg is Emeritus Professor of Computer Science, Art & Music at Carnegie Mellon University. He received a Ph.D. in Computer Science from Carnegie Mellon University and is a Fellow of the Association for Computing Machinery, known for his research in the field of computer music. He is the co-creator of Audacity, an audio editor that has been downloaded 100’s of millions of times, and his patents for Computer Accompaniment were the basis for the SmartMusic system used by hundreds of thousands of music students. His current work includes live music performance with artificial computer musicians, automatic music composition, interactive media and high-level languages for sound synthesis. Prof. Dannenberg is also a trumpet player and composer. He has performed in concert halls ranging from the historic Apollo Theater in Harlem to the modern Espace de Projection at IRCAM in Paris. Besides numerous compositions for musicians and interactive electronics, Dannenberg co-composed the opera La Mare dels Peixos with Jorge Sastre, and translated and produced the opera in English as The Mother of Fishes, in Pittsburgh in 2020.

Arco is a sound analysis, processing, and synthesis framework. Arco is small, configurable and language-agnostic, offering a modular approach to music systems building as opposed to monolithic systems offering a more encompassing but less flexible solution. Arco can be configured as a small library with only the code needed for a particular application. Arco builds upon O2, an OSC-like message system, allowing Arco to operate as a separate server process or thread, avoiding synchronization problems between stringent Arco signal processing timing and less predictable control applications. The design of Arco unit generators is described in detail and supported by benchmarking studies to evaluate the cost of each feature. To avoid introducing yet another unit generator library, Arco leverages FAUST and its library for algorithms which are translated automatically to be compatible with Arco. Arco also includes some interesting analysis functions for pitch, RMS and onset detection.

Jeff Morris coordinates the new Music Technology Program at Texas A&M University. He creates musical experiences that engage audiences’ minds with their surroundings and the situations from which music emerges. He has presented work in the Onassis Cultural Center (Athens), Triennale Museum (Milan), and the Lyndon B. Johnson Presidential Library and Museum (Austin). He created the Weblogmusic project (weblogmusic.org) and the Fresh Minds Festival, and is an editorial consultant for Computer Music Journal (MIT Press). His music is on Ravello Records (distributed internationally and online by Naxos) and can be found on Spotify, Apple Music, and Amazon Music.

Morgan Jenks is a multimedia artist who navigates ecology, technological dependence, club culture, and the supernormal. Their work spans graphics, sound, performance, and interaction, and is exhibited internationally at venues including the Telfair Museum (US), the CICA Museum (KR), the Torpedo Factory (US), and Ponderosa (DE), among others.

Jenks currently conducts technical R&D in motion capture and virtual production at Texas A&M University, specializing in developing custom tools that integrate 3D scanning, real-time rendering, and embodied performance. Their creative systems have supported projects from forest mapping to breath-controlled musical instruments, reflecting an ongoing investigation of human-machine and mediated-environment relationships.

This paper presents an open framework that uses a uniform approach to realize a variety of rhythmic musical structures as well as exploring their intersections and outward extensions. Building on the concepts of general circle maps and functional iteration synthesis and decoupling the timing ramp from event patterns, this approach encapsulates the circle map’s modulation term as a variable for sequential transformations, here with a small set of example modulations that can be mixed freely by a text-command syntax. The method is applicable for conventional rhythmic values, compound meter, and polyrhythmic swing, as well as arbitrary step counts and more extreme manipulations of time. We present a variety of musical applications.

Alex Chechile is a sound and electronic artist whose work develops in parallel with research in psychoacoustics and neuroscience. With a particular interest in the relationship between sound and the body, his immersive compositions, installations, and performances aim to bring transparency to otherwise invisible processes in biological and technological systems. Questions that arise in his artistic work lead to formalized studies, and the results cyclically inform his sonic practice. As a performer, Chechile was a founding member of Pauline Oliveros’ band Tintinnabulate, collaborated with Mercury Rev, and performed a solo opening act for Primus. His projects have been supported by the Mellon Foundation, the New York State Council on the Arts (NYSCA), Harvestworks, Issue Project Room, the Deep Listening Institute, and the American Embassy, among others. His work has been presented worldwide at institutions and festivals including IRCAM, MoMA, ICMC, Electronic Music Midwest, EMPAC, the New York Electronic Arts Festival, and Cité Internationale des Arts. Chechile holds a PhD from Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), an MFA in Electronic Art from Rensselaer Polytechnic Institute, and a BA in Music from Tufts University.

Stephen Cooke is an interdisciplinary artist and technologist originally from Bath, UK. He has collaborated with artists, designers, educators, scientists and engineers for over 20 years, and is committed to supporting emerging artists in thoughtfully integrating technology and digital processes into their creative work. His current projects include the development of custom open-source tools and systems, including speaker arrays, modular synthesizer interfaces, and data-collecting marine platforms. This work reflects a broader interest in the roles of machines, autonomy and observation within both artistic and technological contexts. His practice embraces making as an experimental, iterative process – grounded in material engagement and driven by conceptual enquiry. Cooke’s research explores how emergent technologies can be used in artistic practice, and how the systems behind them function and influence creative work. He currently serves as the Senior Academic Technologist for the Digital + Media graduate program at the Rhode Island School of Design, where he supports research, studio practice, and the integration of emerging technologies into contemporary art and design.

Will Johnson is a multimedia artist and composer from New York City. Themes from past work include black digital memory, phantom archives and the coded poetics of audio engineer-speak. He is the recipient of the Fellowship for Sound Art/Composition from the Jerome Foundation and the McKnight Foundation’s Fellowship for Musicians. His commercial work includes sound design and composition for Acura, GAP, Beats Electronics, HBO and vocal contributions for Grammy-winning best electronic album Skin. Live performances by Johnson have been commissioned by Lincoln Center, the Kitchen, 92Y and Mass MoCA. Recent collaborative work includes Eternal September (with composer Bill Britelle) and an ongoing work with performer Okwui Okpokwasili that began during her 2022 artist-in-residence at MoMA. His multichannel audio and sound installation work has been featured in artist Hebru Brantley’s Nevermore Park and as part of the University of Johannesburg’s 2022 Black Sonic exhibition. Johnson is a doctoral candidate at Brown University in the Music and Multimedia Composition program.

Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST) and is the Department Head for Digital + Media. His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques. Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2024 Utrecht, 2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2024, 2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others. Greenlee holds a Ph.D. in Computer Music and New Media from Brown University.

This paper presents a novel loudspeaker enclosure design for wave field synthesis that features bidirectional stacking modularity. In addition to horizontal alignment with multiple units, the design supports vertical stacking with incremental offsets. This attribute decreases the distance between drivers, allowing an increased range of frequencies to be reproduced in wave field synthesis without spatial aliasing. Build details and acoustical analysis are provided for one and three-tier enclosures. Before describing the system, we provide its theoretical foundation, our motivations, and design methodology. Our system is a cost-efficient, open-source approach to wave field synthesis intended for students, professionals, and non-specialists to use for innovating new research and creative work.

Nick Collins is a Professor in the Durham University Music Department with strong interests in artificial intelligence techniques applied within music, the computer and programming languages as musical instrument, and the history and practice of electronic music. He has performed as composer-programmer-pianist and codiscian, from algoraves to electronic chamber music. Many research papers and much code and music are available from www.composerprogrammer.com

The rapid growth of generative AI capability has not left singing voice synthesis and voice transformation untouched. This paper details compositional experiments in the use of AI voice conversion models outside of their normal intended purpose. Deepfake vocal models emulating well known celebrity singers have been used for singing voice substitution in popular song to make new songs with the vocal timbre of already established voices, or for new forms of mash-up. In the current paper, however, more experimental vocal improvisation, or non-vocal sounds, are used as the guide track for singing voice substitution, often multi-tracked across multiple voice models, leading to some interesting experimental AI choral music. The current technology for singing voice substitution is reviewed, and more radical vocal model experiments detailed. A suite of six studies, the ‘Music for Celebrity AI Voice Model Choir’ are detailed, and ethical issues discussed.

Brian Lindgren is composer, instrument builder, and violist based in Charlottesville, VA. He is pursuing his PhD in Music Composition and Computer Technologies at the University of Virginia. He holds a BA from the Eastman School of Music (John Graham) and an MFA in Sonic Arts from Brooklyn College (Morton Subotnick, Doug Geers).
His work has been featured in the International Computer Music Conference, SEAMUS, and NYC Electroacoustic Music Festival. His work has been performed by LINÜ, HYPERCUBE, Popebama, and Tokyo Gen’on Project. He has performed with Alarm Will Sound, the Triple Helix Piano Trio, and Wordless Music. His music has been featured at gallery openings by Anton Kandinsky, and Shari Belafonte. He has recorded for Tyondai Braxton (Warp), RA The Rugged Man (Nature Sounds), and Joe Phillips (New Amsterdam). He was a semi-finalist in the 2022 Guthman Musical Instrument Competition for the EV, a new digital-acoustic instrument, which was also presented at the NIME 2022 conference.

The Anonymous Instrument is a 3D-printed augmented stringed instrument that combines the acoustic string and a digital synthesizer through convolution. Its development reflects David Wessel’s thoughts on instrument design, emphasizing embodied musical creation, responsiveness and detailed control, and the investigation of new musical languages. The instrument’s evolution balances intentional design with unexpected discoveries, shaping its unique sonic identity. Mentors and the interplay between the Anonymous Instrument’s development and compositional practice play a crucial role in its ongoing refinement and creative potential.

Dr. Andrea Salgian is Professor and Chair of the Department of Computer Science at The College of New Jersey, where she teaches courses in introductory computer science, discrete structures, computer graphics, and human-computer interaction. Her research focuses on computer vision and vision-based human-computer interaction. She has mentored various undergraduate student research projects in these areas that resulted in numerous publications. She holds a BS in Computer Science from the Babeş-Bolyai University in Cluj, Romania, and a PhD in Computer Science from the University of Rochester.

Laylah Burke is a graduating Computer Science major at TCNJ with five years of trumpet experience in concert band from elementary through high school. She participated in middle school jazz band and was a jazz soloist in the band as first trumpet. Her musical background in classical and jazz performance helped her understand the music fundamentals in this research.

Hi, I’m Jeffrey Ernest, a junior at The College of New Jersey majoring in Computer Science and Interactive Multimedia. I am especially interested in the intersection of technology and design, with a focus on computer vision. I have worked on a range of interdisciplinary projects involving design, gesture-based interaction using MediaPipe, and game development with tools like Pygame. During my time at the college, I also served as President of our professional technology fraternity, Kappa Theta Pi. Overall, I am passionate about designing software and experiences that make technology more inclusive and accessible.

The analysis of a conductor’s gestures throughout a musical piece has multiple applications, ranging from educational, where the system can provide feedback to a beginner practicing alone, to research, where it can provide statistical information about conductors whose video recordings are publicly available, and performance, where data about conducting can be used as input to devices that augment the musical performance. Previous conductor tracking systems were not able to rely on simple video input, and have used various motion capture devices that were sometimes intrusive. Other systems rely on extensive training data.
In this paper, we introduce an approach that relies on
body pose landmark detection performed by the newly introduced Google MediaPipe API. Using simple video recordings, we detect undesired movements, such as swaying
and mirroring, and extract tempo and time signature without the need for any training data. Our system works on any video, including previous recordings found on the internet.

Ricardo Arbiza is a Uruguayan trombonist, composer, and music technologist currently a Ph.D. candidate in Music Performance and Composition at New York University, advised by Dr. Robert Rowe (music technology) and bass trombonist David Taylor (performance). His research focuses on developing non-intrusive digital interfaces for brass players, bridging performance and interaction design.
A Fulbright Scholar and recipient of the Organization of American States Scholarship, Ricardo holds a B.M. in composition from UDELAR (Uruguay), an M.M. from Mannes/The New School, and an M.Phil. from NYU. As a performer, he has played with the Montevideo Symphonic Band, the Uruguayan National Symphony Orchestra, and the American Composers Orchestra, and has collaborated with artists including Tito Nieves and Aymeé Nuviola. He is co-founder of Urubrass, a major South American brass festival.
His creative work includes DIY electroacoustic instruments, circuit bending, and web-based sound tools. He has received awards from the 2023 Uruguayan National Composition Contest and the Trombonanza Festival, and served as composer-in-residence at the 2022 International Trombone Festival. Recent sound art projects include residencies at Binaural Nodar (Portugal) and the Asian Art Center (Korea), and co-directing the Sonic Time Machine project, a UNESCO-endorsed soundscape reconstruction initiative.
Website: ricardoarbiza.com

This paper introduces MIDImyFACE, a browser-based platform that translates real-time facial movements into MIDI control signals for musical performance. Building on earlier systems such as Mouthesizer, InterFACE, FaceOSC, and Mugeetion, MIDImyFACE uses MediaPipe FaceMesh to track 468 facial landmarks and the Web MIDI API to connect with both in-browser audio synthesis and external digital audio workstations or hardware. The system measures continuous real-time values from facial features such as the mouth, eyes, and nose, allowing users to either set thresholds for triggering specific events or use continuous data for dynamic control. Users can configure gesture mappings, thresholds, and ranges through a flexible interface, and choose between two main modes: Percussion, for discrete event triggering, and Theremin, for continuous modulation of musical parameters. Sub-modes refine activation based on intensity or motion. With Tone.js integration, MIDImyFACE supports browser-based audio synthesis while enabling seamless external routing. The system runs entirely in a web browser, requiring only a standard webcam, and offers an accessible tool for creative applications in live performance and studio production.

Hyunkyung Shin is a composer, bassist, and researcher in music technology, currently pursuing a master’s degree at the Georgia Institute of Technology. Her research focuses on spatial audio, sonic interaction, and multimodal interface design within immersive media, with particular emphasis on human-computer interaction and user experience in AR/VR environments.

As a composer and bassist, she explores embodiment and improvisation through spatialized sound and gestural control. Her performances have been featured at international festivals and conferences including ICMC, NYCEMF, and OHBM.

Henrik von Coler is a composer/performer of electronic music and researcher. From 2015-2023 he was director of the TU Studio (TU Berlin). He is now an Assistant Professor at Georgia Tech’s School of Music. His research encompasses spatial audio, human-computer – and human-human interaction and live electronics. In his performances and compositions, he combines state of the art digital systems with analog and simple sound generators to create immersive experiences with digital to organic textures and timbres.

2CUBES is a multi-user augmented reality (AR) performance that explores new modes of musical interaction through spatialized sound and gesture. The performance features the ARCube, an AR interface that allows performers to manipulate virtual sound objects in real time using head-mounted displays. Two musicians performing on double bass and modular synthesizer use hand gestures to control audio parameters and integrate the AR interface into their instrumental expression in improvisational collaboration. The performance creates an immersive audiovisual environment where sound can be layered, transformed, and spatially projected within a shared performance space. 2CUBES was presented in two public performances and reflects on the artistic and practical implications of AR-based interaction in live-electronic music performance.

Timothy W. McDunn (b. 1994) is a composer and theorist with an international profile. He specializes in just intonation and electroacoustic composition. His music and research is regularly presented and performed at major peer-reviewed conferences and festivals including the Society for Electroacoustic Music in the United States National Conference, the New York City Electroacoustic Music Festival, the International Computer Music Conference and others. His background in classical languages and literature strongly influences his work as a composer. He holds a DMA in Composition from the University of Illinois at Urbana Champaign and a Biennio Degree in Composition from the Verdi Conservatory of Milan. His education also includes a Bachelor of Music in Composition and a Bachelor of Arts in Greek and Roman Studies. McDunn currently teaches music theory and composition full-time at Wheaton College. He resides in Glendale Heights with his wife, Jasmine—the most selfless, supportive, and objectively beautiful woman in the world. His music is influenced by elements of philosophy, faith, and spirituality.

Traditional approaches to just intonation involve a limited number of pitches tuned in relation to a single fundamental. This means the music will gravitate toward a single tonal center, making it difficult to modulate. This paper presents a digital augmented instrument, called the archinovica, which addresses this common compositional challenge. The instrument operates via a generative, deterministic algorithm, which retunes a MIDI keyboard during live performance, based on what the musician plays. The tuning process is a variant of a shortest-path algorithm. All pitches are tuned relative to other pitches just played, using composite intervals of the smallest number possible of just perfect fifths and just major thirds. This results in intervals that are as ‘simple’ or resonant as possible. Alternatives to this default tuning are available on the instrument via ‘intonation pedals,’ which can be held during the attack of a chord. By enabling composers and performers to move freely through five-limit space, the instrument preserves just intonation while opening up limitless possibilities for modulation with shifting fundamentals. The software also includes a tool for composition with the instrument, which can generate fractals in five-limit space.

Yonghyun Kim is pursuing a Master of Science in Music Technology at the Georgia Institute of Technology, conducting his research within the Music Informatics Group under the supervision of Alexander Lerch, Ph.D. He previously conducted research in the Music and Audio Computing Lab at KAIST and earned his Master of Science in Culture Technology, advised by Juhan Nam, Ph.D. He holds a Bachelor of Science with a dual major in Computer Science and Electrical Engineering from UNIST.

His research interests are centered at the intersection of Music, AI, and HCI. Yonghyun’s work particularly focuses on the integration of multimedia, with an emphasis on audio and visual elements, through multimodal AI. This approach aims to enrich the human experience of music and foster creative expression. Driven by the overarching goal of enhancing human life via the ethical and creative fusion of art and technology, he is actively pursuing two primary research visions: (i) Building Smart Assistants for Learning and Enjoying Music, and (ii) Creating Rational AI Artists.

Sangheon Park is a Master’s student in Music Technology at the Georgia Institute of Technology, specializing in Music Information Retrieval (MIR) and Computational Musicology. His research focuses on applying state-of-the-art MIR techniques and computational data analysis to traditional and cultural music, aiming to uncover valuable insights from diverse musical and historical contexts through cutting-edge technology. Sangheon’s ultimate goal is to develop user-friendly computational tools that support practitioners of traditional music while also engaging and inspiring general audiences.

Marcus Parker is a current Master’s of Music Technology student at the Georgia Institute of Technology. His primary research area is robotic musicianship, specifically the continued development of GuitarBot. Marcus received a Bachelor’s of Computer Science from the Georgia Institute of Technology in spring 2024.

Donghoon Seu is a master’s student in Music Technology at Georgia Tech. His research focuses on human-robot interaction, auditory perception, and real-time interactive sound design. He is currently contributing to the Medusai project, a large-scale robotic installation, at the Robotic Musicianship Lab. Donghoon holds an M.S. in Industrial Engineering from Seoul National University, where he worked on auditory user experience, user-centered design, and human-computer/human-machine interaction.

Alexandria Smith is currently an Assistant Professor of Music at the Georgia Institute of Technology. She received her Ph.D. from the University of California, San Diego, and holds an M.M. and B.M. from Mannes the New School for Music.

Alexandria specializes in recording/mixing/mastering music that mixes different genres and experimental music. Her work has been referred to by Downbeat as “splendidly engineered.” Alexandria’s recent project as tracking/mix/mastering engineer and co-producer of Grammy-nominated bassist Mark Dresser’s Tines of Change was favorably reviewed by Downbeat, the Wire Magazine, San Diego Union Tribune, Percorsi Musical, All About Jazz, jazz-fun.de-Magazin für Jazz Musik, and more and was rated as one of the ‘Best Solo Albums of the Year’ by bestofjazz.org and best of 2023 by Downbeat. She has worked on recordings by Basher, Filera (Carmina Escobar, Natalia Pérez Turner, and Wilfrido Terrazas), Alvin Lucier, Rand Steiger, Treesearch, TJ Borden, Judith Hamann, and more. Her audio engineering work can be heard on labels such as Pyroclastic Records, Infrequent Seams, Black Truffle, New Focus Recordings, 577 Records, 1980 Records, and Blank Forms.

This paper introduces NeoLightning, a modern reinterpretation of the Buchla Lightning. NeoLightning preserves the innovative spirit of Don Buchla’s “Buchla Lightning” (introduced in the 1990s) while making its gesture-based interaction accessible to contemporary users. While the original Buchla Lightning and many other historical instruments were groundbreaking in their time, they are now largely unsupported, limiting user interaction to indirect experiences. To address this, NeoLightning leverages MediaPipe for deep learning-based gesture recognition and employs Max/MSP and Processing for real-time multimedia processing. The redesigned system offers precise, low-latency gesture recognition and immersive 3D interaction. By merging the creative spirit of the original Lightning with modern advancements, NeoLightning redefines gesture-based musical interaction, expanding possibilities for expressive performance and interactive sound design.

Bilkent Samsurya is a versatile audio professional whose expertise encompasses sound design, software development, and applied research. His portfolio includes the development of an advanced audio ray-tracing engine in Unity and Csound—demonstrating real-time, physically based acoustic reflections within immersive environments. In addition to his engineering achievements, Bilkent has presented his research at industry conferences, collaborated with composers and sound designers to integrate innovative tools into production workflows, and continuously investigated novel techniques in procedural and spatialized audio.

Currently, as Audio Software Engineer at Bitreactor Game Studios, Bilkent leads the design and integration of Star Wars: Zero Company’s audio systems, partnering with cross-functional teams to craft immersive, narrative-driven soundscapes.

Accurate sound propagation simulation is essential for delivering immersive experiences in virtual applications, yet industry methods for acoustic modeling often do not account for the full breadth of acoustic wave phenomena. This paper proposes a novel two-dimensional (2D) finite-difference time-domain (FDTD) framework that simulates sound propagation as a wave-based model in Unreal Engine, with an emphasis on capturing lower frequency wave phenomena, embedding occlusion, diffraction, reflection and interference in generated impulse responses. The process begins by discretizing the scene geometry into a 2D grid via a top-down projection, from which obstacle masks and boundary conditions are derived. A Python-based FDTD solver injects a sine sweep at a source position, and virtual quadraphonic microphone arrays record pressure-field responses at pre-defined listener positions. De-convolution of the pressure responses yields multi-channel impulse responses that retain spatial directionality which are then integrated into Unreal Engine’s audio pipeline for dynamic playback. Benchmark tests confirm agreement with analytical expectations, and the paper outlines hybrid extensions aimed at commercial viability.

Anıl Çamcı is an Associate Professor and Director of Graduate Studies at the University of Michigan’s Department of Performing Arts Technology. His work deals with worldmaking across a range of media from virtual reality to electronic music with an emphasis on creativity support at the intersection of immersive media and human-computer interaction. Previously, he was a Postdoctoral Research Associate at the University of Illinois Chicago’s Electronic Visualization Lab, where he led research into immersive systems. Prior to this appointment, Çamcı was a faculty member of the Istanbul Technical University, Center for Advanced Studies in Music, where he founded the Sonic Arts Program. His work has been featured throughout the world in leading journals, such as Leonardo Music Journal, Organised Sound, and Journal of New Music Research, as well as conferences, including NIME, CHI, and IEEE VR.

Michael Cella is an artist and software developer from the Midwest, USA. He earned a Master of Arts degree in Media Arts from the University of Michigan, School of Music, Theatre & Dance, where he worked as a research assistant in the Department of Performing Arts Technology. He develops browser-based tools for algorithmic art and live coding. Additionally, he develops open-ended tools for generative music using Max. In his art, he explores the corners of these self-made tools. Michael has released albums with various labels including EVEL, 3OP, Active Listeners Club, and Tokinogake 時の崖.

Wax is a free, web-based, open-source audio synthesis environment, accessible to anyone with an internet connection. It enables users to design efficient, low-latency audio synthesis graphs directly in the browser, without requiring any software installation. This versatility facilitates audio programming in a range of musical and educational contexts, including mobile and multi-channel applications. Wax operates as a flow-based programming environment, similar to Pure Data and Max, where users create node graphs to generate and process digital audio signals. It also features a nested live-coding environment through its “pattern” object, which is built on Facet, a JavaScript-based live-coding language. This enables the creation of complex musical structures within Wax without needing to substantially reconfigure an audio graph. In this paper, we present the design and implementation of Wax and outline its features. We then discuss some of the novel applications it enables. Finally, we report the feedback we gathered during various phases of Wax’s design and identify directions for its future development.

David Minnix is an artist, researcher, and engineer working at the intersection of technology, culture, and the arts. He is interested in issues of longevity, sustainability, and community as they pertain to artistic technologies. In particular, he is interested in how cultures of technology affect our ability to live within our planetary limits while exploring novel artistic expression. He hopes to one day design an electronic instrument that will make beautiful sounds for 100 years or more. He has over a decade of experience working as a software engineer. He holds an M.A. in Media Arts from University of Michigan and a B.A. in Physics from Earlham College. He also runs a plugin company called Fellhouse Audio. You can follow his work on mastodon at xinniw@post.lurk.org, on his website xinniw.net, or at fellhouseaudio.com.

Anıl Çamcı is an Associate Professor and Director of Graduate Studies at the University of Michigan’s Department of Performing Arts Technology. His work deals with worldmaking across a range of media from virtual reality to electronic music with an emphasis on creativity support at the intersection of immersive media and human-computer interaction. Previously, he was a Postdoctoral Research Associate at the University of Illinois Chicago’s Electronic Visualization Lab, where he led research into immersive systems. Prior to this appointment, Çamcı was a faculty member of the Istanbul Technical University, Center for Advanced Studies in Music, where he founded the Sonic Arts Program. His work has been featured throughout the world in leading journals, such as Leonardo Music Journal, Organised Sound, and Journal of New Music Research, as well as conferences, including NIME, CHI, and IEEE VR.

Manufacture, use, and disposal of computing technology causes significant ecological and social harms. Eglash has proposed Generative Justice as a framework for considering a broad set of ecological and social concerns in technology by analyzing the extraction of value in harmful systems. He contrasts these extractive systems with just and sustainable systems in which value remains unalienated and is circulated back to its human and non-human sources. Informed by generative justice, this paper describes an approach to developing music technology that utilizes discarded devices and fosters community-building through musical creativity. More specifically, we discuss the implementation of an audio library and music software that were designed for upcycled Android phones to be used in the community of a local teen center. We then detail performances and workshops carried out with these tools, exploring their ability to promote circulation of value and sustainability in and through design.

Rodrigo F. Cádiz studied engineering (BSc) and composition (BA) at Pontificia Universidad Católica de Chile (UC) and obtained his Ph.D. in Music Technology from Northwestern University. He has composed around 70 works for different formats and authored about 70 scientific publications in indexed journals and international conferences. His music has been presented at several venues and festivals around the world. He has received several artistic creation and research grants. In 2018, he was a Tinker Visiting Professor at Stanford University. In 2019, he obtained the Excellence in Artistic Creation Prize from UC. He is currently full professor with a joint appointment at both the Music Institute and the Department of Electrical Engineering at UC in Santiago, Chile.

Esteban Gutiérrez is a PhD student at the Universitat Pompeu Fabra in Barcelona, where he researches sound representations for conditioned sound generation under the supervision of Xavier Serra and Frederic Font. He holds undergraduate and master’s degrees in Mathematics from the Pontificia Universidad Católica de Chile, where he studied K-theory and its connection to edge currents in the Quantum Hall effect with Dr. Giuseppe De Nittis. He later completed a Master’s in Sound and Music Computing, focusing on statistics-driven DDSP approaches to texture synthesis with Lonce Wyse. He has also taught mathematics courses at PUC, USACH, and UPF.

Carlos A. Sing Long received the Diplôme d’Ingénieur from Ecole Polytechnique, Palaiseau, France in 2007 and both a professional degree in Electrical Engineering and a B.S. degree in Physics from Pontificia Universidad Católica de Chile, Santiago, Chile in 2008. In 2016, he received the M.S. and the Ph.D. degree in Computational and Mathematical Engineering from Stanford University, Stanford, CA, US. Since 2016, he has been Assistant Professor at Pontificia Universidad Católica de Chile at Santiago, Chile with a joint appointment at the Institute for Mathematical and Computational Engineering and the Institute for Biological and Medical Engineering. His research focuses on the mathematical analysis of discrete inverse problems with an emphasis on imaging applications. His research interests include statistical signal processing, mathematical imaging, applied harmonic analysis, and mathematical optimization.

Frederic Font is a senior researcher at Phonos, a pioneering centre in the field of music technology research associated with the Music Technology Group of the Department of Engineering at Universitat Pompeu Fabra, Barcelona. He obtained his master’s and PhD degrees in Sound and Music Computing from Universitat Pompeu Fabra in 2010 and 2015, respectively. His research focuses on the analysis of large audio collections, including sound characterization, classification, and retrieval, to facilitate content reuse in scientific and creative contexts. Frederic Font is the coordinator and lead developer of Freesound—a website dedicated to sound sharing, established in 2005 by the Music Technology Group, which contains over half a million sounds. He has also coordinated several research projects related to sound and artificial intelligence, receiving local, national, and European funding.

Xavier Serra is a Professor at the Universitat Pompeu Fabra in Barcelona, where he leads the Music Technology Group within the Department of Engineering. He earned his PhD in Computer Music from Stanford University in 1989, focusing on spectral processing of musical sounds, a foundational work in the field. His research spans computational analysis, description, and synthesis of sound and music signals, blending scientific and artistic disciplines. Dr. Serra is very active in the fields of Audio Signal Processing, Sound and Music Computing, Music Information Retrieval and Computational Musicology at the local and international levels, being involved in the editorial board of several journals and conferences and giving lectures on current and future challenges of these fields. He received an Advanced Grant from the European Research Council for the CompMusic project, promoting multicultural approaches in music information research. Currently, he directs the UPF-BMAT Chair on AI and Music, dedicated to fostering Ethical AI initiatives that can empower the music sector.

This paper explores the innovative application of the Fractional Fourier Transform (FrFT) in sound synthesis, highlighting its potential to redefine time-frequency analysis in audio processing. As an extension of the classical Fourier Transform, the FrFT introduces fractional order parameters, enabling a continuous interpolation between time and frequency domains and unlocking unprecedented flexibility in signal manipulation. Crucially, the FrFT also opens the possibility of directly synthesizing sounds in the α-domain, providing a unique framework for creating timbral and dynamic characteristics unattainable through conventional methods. This work delves into the mathematical principles of the FrFT, its historical evolution, and its capabilities for synthesizing complex audio textures. Through experimental analyses, we showcase novel sound design techniques, such as α-synthesis and α-filtering, which leverage the FrFT’s time-frequency rotation properties to produce innovative sonic results. The findings affirm the FrFT’s value as a transformative tool for composers, sound designers, and researchers seeking to push the boundaries of auditory creativity.

Matt Klassen specialized in number theory and algebraic geometry during his doctoral studies at UofA in Tucson. Since joining DigiPen in 1999, he has focused on mathematics relating to computer graphics and geometric modeling with splines. He developed courses on quaternions for computer graphics, and geometric modeling. In 2011 Klassen designed two new programs at DigiPen, in Music and Sound Design, and CS for Digital Audio. He teaches courses in Math of Music and Digital Signal Processing. In 2018, Klassen offered a course on “Computation and Modeling of Head-Related Transfer Functions,” which explored methods of spatial sound processing with applications for virtual and augmented reality. In August 2018 Klassen chaired the AES conference “Audio for Virtual and Augmented Reality,” hosted by DigiPen. Klassen participates in MCM conferences with papers in 2019 – 2024 on topics such as Transformational Music Theory and Spline Modeling of Audio Signals.

Greg Dixon works as Assistant Professor of Music and Sound Design at DigiPen Institute of Technology in Redmond, WA, where he teaches courses in game audio, audio engineering, sound design, and music composition. Greg holds a Ph.D. in composition with a specialization in computer music from the University of North Texas, where he worked at the Center for Experimental Music and Intermedia (CEMI). His research is primarily focused on interactive audio systems for video games, installations, concerts, and other forms of interactive media. He has helped create hundreds of published recordings spanning many genres as a performer and technician; including extensive work as a recording, mix, and mastering engineer. Greg worked as a sound designer / re-recording mixer for the cinematic cutscenes for Mario Vs. Donkey Kong for the Nintendo Switch and he crafted sound designs and music compositions for the collectible card game, Runestrike, by Making Fun Games. Greg actively works as a computer music technician; programming custom software and performing on laptop computer, modular synthesizer, mixing board, or custom electronics. As a music technician, Greg has performed with orchestras and chamber ensembles including the Seattle Symphony, Seattle Modern Orchestra, and The Sound Ensemble.

In this paper we introduce polyphonic cycles for waveforms which can be used to produce tones with harmonic content. The cycles are first modeled with cubic splines, then mixed at the cycle level. Interpolation between cycles is also used to change timbre from instrument-based timbre to polyphonic content within the duration of one tone. We also introduce glissandos of polyphonic tones which are computed as sequences of cycles of increasing (or decreasing) length. These techniques, as well as melodic contour generation from spline cycles, are used in the accompanying composition “SplineKlang”.

Joséphine Calandra

After obtaining a degree in computer engineering from ENSEIRB-Matmeca, Joséphine Calandra completed a musicology thesis with a computer science co-direction entitled “L’algorithmie Cognitive et ses Applications Musicales” (The Cognitive Algorithm and its Musical Applications). This thesis took place at Sorbonne University, within the Institut de Recherche en Musicologie (IReMus), supervised by Jean-Marc Chouvel, and the Laboratoire Bordelais de Recherche en Informatique (LaBRI), supervised by Myriam Desainte-Catherine. She developed a music analysis software, MORFOS (Multiscale Oracle Representations For Organized Sounds), using the Cognitive Algorithm to obtain multi-scale formal diagrams, a representation of musical material at different temporal scales as a function of time obtained as audio information is acquired.
Once she obtained her PhD, she undertook a post-doctorate as part of the ERC REACH Project (Raising Co-creativity in Cyber-Human Musicianship) within the Musical Representations team at IRCAM. She is now undertaking a second post-doctorate in computer science and musicology at Sorbonne University’s Collegium Musicæ, with the aim of extending the software developed during her thesis to study polyphonic works and orchestration from a perceptive point of view.

Jean-Marc Chouvel is a professor at Sorbonne University, where he heads the Master’s in Analysis and Creation, and a researcher at UMR 8223 (Institut de Recherches Musicologiques IReMus). He has published numerous articles and books on musical analysis, particularly as it relates to the cognitive sciences. He has also worked on the theory of harmony in micro-interval universes. He has written several essays (Esquisse pour une pensée musicale; Analyse musicale, sémiologie et cognition des formes temporelles, published by l’Harmattan; and La crise de la musique contemporaine et l’esthétique fondamentale, published by Delatour France). He has just published Synthèses, composer au vingt-et-unième siècle (Delatour France).

Myriam Desainte-Catherine completed her doctoral thesis in the field of bijective combinatorics, then switched to computer music and sound processing to focus her research on musical creation. Her research has resulted to over a hundred publications, the supervision of around twenty theses, and the creation of the Sound and Music Modeling theme in the image and sound department of LaBRI.

Until 2023, she was director of SCRIME (Studio de Création et de Recherche en Informatique et Musiques Expérimentales, scrime.u-bordeaux.fr), which she founded with Christian Eloy, then professor of electroacoustic music composition at the Bordeaux Conservatory. SCRIME is now a research platform accredited by the University of Bordeaux and run by a Scientific and Artistic Interest Group between the University Bordeaux, Bordeaux INP, the CNRS, the Bordeaux City Council, the DRAC, and the Regional Council. SCRIME has been supported by the DGCA (Directorate General for Artistic Creation of the Ministry of Culture) for over twenty years.

At the national level, she is one of the founding members of AFIM, of which she is co-president (Association Francophone of Computer Music).

MORFOS is a music analysis software that offers a hierarchical representation of the musical form called multiscaled formal diagram. This representation aims at modeling music listening and visualizing an organized segmented music representation.

The notion of hierarchy is fundamental to the definition of structure. Different levels of structure can be defined as, for example, levels containing elements of different temporal scales. For example, a musical work may have a level of structure at the note level, but also a level of structure at the motif or phrase level.

In this article, we present the main algorithm that constitutes MORFOS software: It is a recursive algorithm that allows the construction of the multi-scale formal diagram in real time. We also present the underlying data structures that make memory access and algorithms easier.

Sebastian Murgul received the M.Sc. degree in electrical engineering and information technology from the Karlsruhe Institute of Technology (KIT), Germany, in 2020. During his studies, he founded the start-up company Klangio GmbH, where he currently serves as Chief Executive Officer and leads the research team. Since 2021, he has been pursuing a Ph.D. at the Institute of Industrial Information Technology (IIIT), KIT, in the field of automatic music transcription. His research interests include signal and audio processing, machine learning, and music information retrieval. He is particularly focused on the development of intelligent systems that enable the efficient and accurate transcription of music recordings, aiming to bridge the gap between human musical expression and digital representation.

Anna Hamberger received a M.Sc. in Applied Artificial Intelligence from Rosenheim Technical University of Applied Sciences, Germany. She currently works as a Specialist in Data Engineering and teaches database exercises at Rosenheim Technical University of Applied Sciences. Her interests include complex data infrastructure, applied machine learning, and intelligent systems.

Jochen Schmidt received a Ph.D. in Computer Science from the University of Erlangen-Nuremberg, Germany. After spending more than two years conducting research at the Centre for Artificial Intelligence Research of the Auckland University of Technology in New Zealand, he moved into industry, working in the development of driver assistance systems. Since 2010, he has been a Professor of Computer Science at the Rosenheim Technical University of Applied Sciences, Germany, specializing in Computer Vision and Machine Learning.

Michael Heizmann received the M.Sc. degree in mechanical engineering and the Ph.D. degree in automated visual inspection from the University of Karlsruhe, Germany, in 1998 and 2004, respectively. From 2004 to 2016, he was with the Fraunhofer Institute of Optronics, System Technologies and Image Exploitation (IOSB), Karlsruhe, Germany, in different leading positions. Since 2016, he has been a Full Professor of mechatronic measurement systems and the Director of the Institute of Industrial Information Technology (IIIT), Karlsruhe Institute of Technology (KIT). His research interests include measurement and automation technology, signal processing, machine vision and image processing, as well as image and information fusion. He is particularly interested in transferring the methods and findings into applications, e.g. for industrial quality assurance, autonomous systems or in music.

Music transcription plays a pivotal role in Music Information Retrieval (MIR), particularly for stringed instruments like the guitar, where symbolic music notations such as MIDI lack crucial playability information. This contribution introduces the Fretting-Transformer, an encoder-decoder model that utilizes a T5 transformer architecture to automate the transcription of MIDI sequences into guitar tablature. By framing the task as a symbolic translation problem, the model addresses key challenges, including string-fret ambiguity and physical playability. The proposed system leverages diverse datasets, including DadaGP, GuitarToday, and Leduc, with novel data pre-processing and tokenization strategies. We have developed metrics for tablature accuracy and playability to quantitatively evaluate the performance. The experimental results demonstrate that the Fretting-Transformer surpasses baseline methods like A* and commercial applications like Guitar Pro. The integration of context-sensitive processing and tuning/capo conditioning further enhances the model’s performance, laying a robust foundation for future developments in automated guitar transcription.

Julie Zhu is a composer, artist, and carillonist. Technology—from artificial intelligence to live sound processing, sensors, and virtual reality—often support her work, which seeks to reveal and amplify underlying mathematical structures and gentle noises through innovative intermedia instrumentation and diverse chamber experiences.

Her music has been featured on Radio France’s Création Mondiale and at various institutions such as GMEM Festival Propagations Marseille, IRCAM Paris, ICST Zürich, Sansusī Latvia, Tetramatyka Lviv, Carnegie Hall, among others.

Zhu’s research on music and AI focuses on the project Deep Drawing, which tests the machine’s capabilities for bringing the intricate noises of drawing and writing to visual life. Other long term projects include Talking Pupils, a VR Opera centered on the experience of the visually impaired, and the Bell Resonator, a device to sustain the sound of a bell.

Zhu teaches intermedia composition as an Assistant Professor of Performing Arts Technology at the University of Michigan, and holds degrees in music composition (DMA, Stanford), combined media (MFA, Hunter College), carillon performance (Licentiate, Royal Carillon School ‘Jef Denyn’) and mathematics (Yale, BA).

Zhiyu (Alex) Zhang works at the intersection of music experience design, AI in education, and human-computer interaction. He aims to create personalized and accessible learning experiences that foster musical expression and emotional growth through playful collaboration with AI. He is also an ethnomusicologist, producer, composer, and translator.

After graduating from the University of Michigan with a dual degree in Computer Science and Music, Alex will head to the Pacific Northwest to pursue a PhD in Information Science at the University of Washington.

Erfun Ackley is a master’s graduate in AI and music technology from the University of Michigan, currently pursuing a Ph.D. in Media Arts and Technology at University of California, Santa Barbara. His research explores hybrid AI systems for creative applications, combining symbolic and neural approaches in music generation, human-AI interaction, and computational creativity. He is particularly interested in investigating the epistemology of creativity and modeling the dialectical dynamics between convergent and divergent processes in creative tasks.

John Granzow explores digital fabrication and physical computing for musical instrument and interface design. He investigates and teaches the science and art of sound through the fabrication of sonic toys, novel musical instruments, and sound based installations. His work arises through playful prototyping and material exploration and often lies at the intersection of science and art.

After completing a master’s of science in psychoacoustics, he completed his PhD in computer-based music theory and acoustics at Stanford University. Granzow initiated and instructed the 3D Printing for Acoustics workshop at the Centre for Computer Research in Music and Acoustics. He attended residencies at the Banff Centre and the Cité Internationale des Arts in Paris. He has presented in France, China, Taiwan, Germany, Mexico, Canada and across the United States.

Granzow’s new musical instruments include a long-wire installation for Pauline Oliveros, sonified easels for a sound installation at La Condition des Soies in Lyon, France, and a hybrid gramophone commissioned by the San Francisco Contemporary Music Players. He is a member of the Acoustics Society of America where he frequently presents his findings.

This paper introduces Deep Drawing, an intermedia AI co-performer that creates a real-time artistic dialogue with human artists on a shared web-based canvas. Our system employs four contact microphones attached to a drawing surface to capture the subtle sounds of pen strokes. Upon predicting the path of the pen through custom machine learning surface sound source localization, the system overlays its predictions onto a live video feed of the human drawing. We contribute our findings on audio data pre-processing techniques, such as normalization and high-cut. We also discuss the potential differences between spectra and spectrograms for computational efficiency and prediction accuracy on this novel dataset for surface sound source localization and new interface for human-computer artistic interaction.

Pedro González is a Spanish violinist, composer, and researcher specialized in intermedia art projects. His compositions have been performed at festivals such as the Internationales Musikfest Hamburg, SMC Conference, Centre National de Création Musicale, Resis Festival, Musica Festival, Manifeste, and Klangwerkstatt, among others. In March 2021, Pedro was appointed Professor for Contemporary Music and Multimedia at Escola Superior de Música de Catalunya (ESMuC) in Barcelona. In 2023, he was the recipient of a Fulbright visiting scholar grant at CCRMA, Stanford University. He also has given seminars on multimedia at HfMT Hamburg and MHL Lübeck, and works as a freelance composer and violinist in Spain and Northern Germany.

Fèlix Pastor is a composer born in Madrid, 1974. Music has allowed him to approach, in his composition and performance, many of his interests like architecture, installation art, film, improvisation, interactivity and programming. He is co-founder of Sheepdog. Recently he has been involved in projects that have taken him from AI to quantum and live electronic performance (#no_input).
He has composed and performed in a variety of settings ranging from film scoring to experimental music where he has had the opportunity to collaborate with artists and collectives both in the US and Europe.
Fèlix Pastor lives in Barcelona where he composes, researches and teaches in the department of Music Theory, Composition and Conducting at the Escola Superior de Música de Catalunya (ESMuC).

Eduard Resina holds a Doctor of Musical Arts (DMA) from Washington University (1994), a Master of Music (MM) from UC Berkeley (1989), and a Higher Degree in Guitar from the Liceu Conservatory (1986). He studied with John Rahn, Richard Karpen, Andrew Imbrie, and Joan Albert Amargós, among others.
He is a founding member of the Escola Superior de Música de Catalunya (ESMUC), where he currently serves as Head of the Department of Musical Creation and Theory. He has also been an adjunct professor in the Department of Journalism and Audiovisual Communication at Pompeu Fabra University (UPF), and has taught Composition Techniques with Computer Media at the UPF Audiovisual Institute. He has participated in numerous seminars, symposia, and conferences, and has published several papers and articles on aesthetics, education, and contemporary music.

Thomas Noll works in the field of mathematical music theory, where he published over 50 articles.
Together with David Clampitt he received the 2013 SMT outstanding publication award for the MTO article “Modes, the Height-Width Duality, and Handchin’s Tone Character.”
From 1998 – 2003 he was the leader of an interdisciplinary research group on mathematical and computational music theory.
Since 2005 he teaches music theory at the Esmuc in Barcelona.
He was co-editor of the “Journal of Mathematics and Music“ and serves presently as the vice-president of the Society of Mathematics and Computation in Music.

Peter beim Graben is a researcher specialized in Computational Cognitive Neuroscience, with a particular focus on Neurophysics, Computational Neurolinguistics, and Quantum Cognition, especially as applied in Mathematical Musicology. He currently serves as Associated Principal Investigator at the Bernstein Center for Computational Neuroscience Berlin. With over 145 publications, his work spans a broad range of interdisciplinary fields.

In this project, we aim to explore how quantum wave functions and their time development can serve as creative raw material for musical composition. We present the mathematical models underlying our approach, describe the implementation of a suite of tools for quantum computation, mapping, transformation, and sequencing, and discuss initial explorations and future directions.

Alexandria Smith

Praised by The New York Times for her “appealingly melancholic sound” and “entertaining array of distortion effects,” Alexandria Smith is a multimedia artist, audio engineer, trumpeter, and scholar who enjoys working at the intersection of all these disciplines. Her creative practice and research interests focus on building, designing, theorizing, and performing with interactive systems and researching underrepresented historical figures in music technology. Her research has been presented at AES, ICMC, AMS, SEAMUS, the Guelph Jazz Colloquium, MoxSonic, and more.

Alexandria Smith is an active performer/com in New York City, New Orleans, and Atlanta. Smith has had a residency at the Stone NYC and feature recitals on the Future of New Trumpet (FONT) Festival West, and the VI Semana Internacional de Improvisación in Ensenada, Baja California. Alexandria is currently an Assistant Professor of Music at the Georgia Institute of Technology and principal investigator of the IMPACT lab

In this paper, I discuss the modes of listening that inform my creative process of building, designing, and performing with wearable electronics and software systems that listen to and sonify biological data. The Modes of Listening: Situated Listening, Embracing Irregularity, and Listening Beyond the Ear provide a framework for engaging and performing with biological signals in a way that privileges listening over control. They were developed through questions and issues that came up in my performance practice of performing with live, sonified, biological data, and through studying the discourse of biofeedback music and synthesizing it through the science and technology studies (STS) discourse.

This paper is divided into three sections: biofeedback, modes of listening, and bioListener. The biofeedback section outlines the synergy that catalyzed biofeedback research in the 1970s and the canonical figures of biofeedback music. The modes of listening section provides a detailed account of each mode of listening and pieces that have formed from experimenting with them. Finally, the bioListener section outlines a work in progress, bioListener, and a brief reflection on the development of my bioInstrument, including considerations for mapping, and design.

Matthew Goodheart is a composer, improviser, and sound installation artist who has developed a wide body of work that explores the relationships between sound and sound production, materiality, and listener. His diverse creations range from immersive sound installations to large-scale microtonal and spatial compositions to open improvisations, which have been featured throughout the US, Canada, Europe, and Turkey in such diverse festivals and venues as Mise-En Festival, Estate Fiorentine, Harvestworks, Neue Musik Köln, MaerzMusik, New York Electroacoustic Music Festival, Performing Media Festival, The International Spectral Music Festival, Infrequent Seams Streamfest, June in Buffalo, Klappsthulfest, Jazz Ao Centro, NIME, and many others. His numerous awards and honors including the Berlin Prize in Music Composition, a Civitella Ranieri Fellowship, and a Fulbright Grant to the Czech Republic where he worked with the historic quartertone pianos designed by Alois Hába. His work is featured in Craig Vear’s recent book The Digital Score. A lifelong teacher, he is Assistant Professor of Music Composition in the Department of Arts at Rensselaer Polytechnic Institute and is the founder and organizer of the Reembodied Sound Symposium and Festival.

Instrument-adaptable composition is a methodology used for musical compositions realized through the actuation of the unique acoustic responses of a specific instrument or set of instruments. By utilizing compositional processes that draw on sets of instrument-specific data, the instrument and its associated data can be changed in a given realization, allowing novel realizations of the work while continuing to utilize unique acoustic responses and maintaining a central compositional identity. This paper traces the history of instrument-adaptable composition from its roots in material-based compositions of the mid- and late-twentieth century to its formation amidst contemporary material-based practices based on the use of audio transducers. The evolution of a set of interrelated techniques designed for instrument adaptability is examined through a series of compositions by the author.

Jonathan Impett is Director of Research at The Orpheus Institute, Ghent, where he leads the research group “Music, Thought and Technology”. A composer, trumpet player and writer, his work is concerned with the discourses and practices of contemporary musical creativity, particularly the nature of the technologically-situated musical artefact. His early (1992) development of the ‘metatrumpet’ constituted one of the first projects to explore instrument, performer, interaction technologies and composer as a single creative space, necessitating new conceptual models. As a performer he is active as an improviser, as a soloist and in historical performance. His recent monograph on the music of Luigi Nono is the first comprehensive study of the composer’s work. Jonathan is currently working on a project considering the nature of the contemporary musical object, ‘the work without content’. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems, interfaces and modes of collaborative performance. Recent works combine installation, live electronics and computational models with notated and improvised performance.

This paper describes the design, composition and im-plementation process of a hybrid installation work – Apollo e Marsia. The work combines symbolic composi-tion (in OpenMusic), sound processing (Max), AI, video and physical instruments. We highlight aspects of repre-sentation, translation, memory and presence that are common to contemporary creativity in computer music but here come together into particular focus. In particu-lar, we examine the movement and interaction between such different modes of operation in the creative process.

Nicola Casetta is a computer musician, live electronics performer, and scholar.
His work explores sound as a network of relationships—a complex, interconnected phenomenon that unfolds in an immersive and inclusive way. Through live electronics, he creates music that captures the essence of the here and now, embracing spontaneity and the vitality of the moment. He uses sound as a medium to investigate new ways of interacting with both the environment and society, creating spaces for reflection and transformation.
His music has been perfomed at To listen To in Tourin (IT), SAG in Leicester (UK), CNMAT (Berkeley), Angelica Festival Bologna, Festiva di Nuova Consonanza Roma (IT), Borealis in Bergen (NO), Festival DME in Lisbon (PT), Festival Zeit fur Neue Musik in Rockhenhausen (DE), Manifeste Ircam in Paris, Ma/In in Matera (IT), 8th FKL Symposium(IT) , NYCEMF, ICMC in Athens (GR), XX CIM in Rome (IT), SoundKitchen (UK), Sweet Thunder Festival of Electro-Acoustic Music in San Francisco (US), UCSD Music – CPMC Theathre in San Diego (US) and Premio Phonologia in Milan among others.

Carmine-Emanuele Cella is an internationally acclaimed composer with advanced studies in mathematics. For many years he has worked on the poetical relationships between the structured world of mathematics and the chaotic world of artistic expression, using music as a medium. His music is not based on melodies, chords or rhythms but is more about writing the sound itself. Each note and each musical figure are the components of a global sonic image, unified and physical, that reveals the tragic story of sounds.
He studied piano, computer music, composition, mathematics and philosophy, getting a PhD in composition at the Accademia S. Cecilia in Rome and a PhD in applied mathematics at Università di Bologna. From 2007, Carmine-Emanuele Cella started a collaboration with Ircam in Paris, where he has been both researcher and composer for many years. In 2008 he won the prestigious Petrassi prize for composition, from the President of the Italian Republic Giorgio Napolitano and, in 2013-2014, he has been member of Academie de France à Madrid (Casa de Velazquez). In 2015-2016 he has been a researcher in in applied mathematics at École Normale Supérieure de Paris, where he worked on machine creativity.

This article presents Waking Cloud, a system for human-machine interaction in improvised electronic music performance. Built on digital feedback networks, the system operates as a dynamic, self-organizing environment where the performer and machine engage in a non-hierarchical dialogue. By exploring recursive and nonlinear processes, Waking Cloud generates emergent sonic structures that evolve through real-time adjustments. The article examines the conceptual foundations of feedback-based systems, their role in improvisation, and the technical design of Waking Cloud, demonstrating how feedback shapes both the generative and performative aspects of experimental music.

Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST) and is the Department Head for Digital + Media. His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques.
Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2024 Utrecht, 2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2024, 2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others. Greenlee holds a Ph.D. in Computer Music and New Media from Brown University.

Alex Chechile is a sound and electronic artist whose work develops in parallel with research in psychoacoustics and neuroscience. With a particular interest in the relationship between sound and the body, his immersive compositions, installations, and performances aim to bring transparency to otherwise invisible processes in biological and technological systems. Questions that arise in his artistic work lead to formalized studies, and the results cyclically inform his sonic practice.
As a performer, Chechile was a founding member of Pauline Oliveros’ band Tintinnabulate, collaborated with Mercury Rev, and performed a solo opening act for Primus. His projects have been supported by the Mellon Foundation, the New York State Council on the Arts (NYSCA), Harvestworks, Issue Project Room, the Deep Listening Institute, and the American Embassy, among others. His work has been presented worldwide at institutions and festivals including IRCAM, MoMA, ICMC, Electronic Music Midwest, EMPAC, the New York Electronic Arts Festival, and Cité Internationale des Arts.
Chechile holds a PhD from Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), an MFA in Electronic Art from Rensselaer Polytechnic Institute, and a BA in Music from Tufts University.

The Studio for Research in Sound and Technology (SRST) at the Rhode Island School of Design provides an environment for inquiry, practice, and technological innovation in the sonic arts and sound design. It serves as a hub for experimentation in design with and of sound, facilitating research in sonic interaction, experience, composition, and performance. SRST hosts a selection of courses where sound or music technology factors as a central medium or subject of study and produces events that facilitate exchange among practitioners and the public. SRST activities have resulted in the formation of a new BFA program in Sound starting in Fall 2025 housed within RISD’s Department of Computation, Technology, and Culture (CTC).

Juan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague (NL), where he obtained his Master’s degree with a focus on composition and performance of electronic music. In 2014, Juan obtained his PhD degree from Leiden University with his thesis “Multiple Paths: Towards a Performance Practice in Computer Music”. As a guitarist, Parra has participated in several courses of Guitar Craft, a school founded by Robert Fripp, becoming part of various related guitar ensembles such as the Berlin Guitar Ensemble, the Buenos Aires Guitar Ensemble, and until 2003, The League of Crafty Guitarists. His work in the field of live electronic music has made him the recipient of numerous grants such as NFPK, Prins Bernhard Cultuurfonds, and the International Music Council. Founder of The Electronic Hammer, a Computer and Percussion trio, and Wiregriot (voice & electronics), he collaborates regularly with Ensemble KLANG (NL) and Hermes (BE), among many others. Since 2009 Parra has been a fellow researcher at the Orpheus Institute (Ghent, BE), focused on performance practice in Computer Music. Juan has been appointed as Regional Director for Europe of the International Computer Music Association for the period 2022-2026.

Jonathan Impett is Director of Research at The Orpheus Institute, Ghent, where he leads the research group “Music, Thought and Technology”. A composer, trumpet player and writer, his work is concerned with the discourses and practices of contemporary musical creativity, particularly the nature of the technologically-situated musical artefact. His early (1992) development of the ‘metatrumpet’ constituted one of the first projects to explore instrument, performer, interaction technologies and composer as a single creative space, necessitating new conceptual models. As a performer he is active as an improviser, as a soloist and in historical performance. His recent monograph on the music of Luigi Nono is the first comprehensive study of the composer’s work. Jonathan is currently working on a project considering the nature of the contemporary musical object, ‘the work without content’. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems, interfaces and modes of collaborative performance. Recent works combine installation, live electronics and computational models with notated and improvised performance.

Music, Thought, and Technology (MTT) is a research group at the Orpheus Institute, Ghent (BE), an institute dedicated to artistic research in music. This report describes the origins, constitution, and ethos of the group. It outlines some current and recent projects, collaborations, and community and outreach initiatives.

Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) is still a multi-disciplinary facility where composers and researchers work together using computer-based technology as both artistic medium and research tool. We cover CCRMA’s people, facilities, and activities (research, musical, and educational), during the 16 years since our previous Studio Report.

Henrik von Coler is a composer/performer of electronic music and researcher. From 2015-2023 he was director of the TU Studio (TU Berlin). He is now an Assistant Professor at Georgia Tech’s School of Music. His research encompasses spatial audio, human-computer – and human-human interaction and live electronics. In his performances and compositions, he combines state of the art digital systems with analog and simple sound generators to create immersive experiences with digital to organic textures and timbres.

Hyunkyung Shin is a composer, bassist, and researcher in music technology, currently pursuing a master’s degree at the Georgia Institute of Technology. Her research focuses on spatial audio, sonic interaction, and multimodal interface design within immersive media, with particular emphasis on human-computer interaction and user experience in AR/VR environments.
As a composer and bassist, she explores embodiment and improvisation through spatialized sound and gestural control. Her performances have been featured at international festivals and conferences including ICMC, NYCEMF, and OHBM.

Orlando Kenny is a second year master’s student in the Music Technology at Georgia Tech. His research interests lie in immersive environments and creating interesting ways for mobile devices to interact with musical applications.

The Lab for Interaction and Immersion at Georgia Tech’s
School of Music explores technologies and artistic concepts for human-machine and human-human interaction in music and sound art. With a focus on spatial audio and immersive experiences, the lab works at the intersection of arts, technology and science. This field is explored through the design of technological systems, which are then applied in creative processes as well as user experience experiments. This studio report gives an introduction to the structure of the lab and its facilities. In addition, it features the research and creative projects and gives an insight into the research goals and avenues of artistic explorations.

Jeremy Wagner is a composer, performer, and sound designer currently living and working in the San Francisco Bay Area. His compositions have been performed across the United States and Europe by some of the world’s most gifted soloists & ensembles including Irvine Arditti, the Arditti Quartet, Duo Gelland, & Noriko Kawai, among many others. His sound design for the films of Hisham Bizri has featured at leading festivals worldwide including the Cannes and Sundance film festivals. Jeremy is recipient of the McKnight Composer Fellowship and is a founding member, with composer James Dillon, of Minnesota’s Contemporary Music Workshop (CMW).

Since moving to Berkeley, CA in 2012, in addition to work in composition, Jeremy has played an active role in the Bay Area contemporary music scene facilitating the production of adventurous new works involving emerging technologies. He has appeared regularly as computer music performer, sound designer and technical director with the San Francisco Contemporary Music Players (SFCMP) under conductor Steven Schick, Eco Ensemble under David Milnes, West Edge Opera under Jon Kennedy and Jonathan Kuhner, as well as numerous events at UC Berkeley and Stanford Universities. This experience has led to major projects with the Spoleto Festival USA, the Fort Worth Symphony Orchestra and Roulette in Brooklyn, NY, among many others. Since 2016 Jeremy has served as Research Composer and Technical Director at UC Berkeley’s Center for New Music & Audio Technologies (CNMAT) where he develops new hardware and software technologies for use in contemporary music. This work was recognized in April 2024 with the Chancellor’s Outstanding Staff Award which is among the highest honors bestowed upon staff at UC Berkeley.

Carmine-Emanuele Cella is an internationally acclaimed composer with advanced studies in mathematics. For many years he has worked on the poetical relationships between the structured world of mathematics and the chaotic world of artistic expression, using music as a medium. His music is not based on melodies, chords or rhythms but is more about writing the sound itself. Each note and each musical figure are the components of a global sonic image, unified and physical, that reveals the tragic story of sounds.

He studied piano, computer music, composition, mathematics and philosophy, getting a PhD in composition at the Accademia S. Cecilia in Rome and a PhD in applied mathematics at Università di Bologna. From 2007, Carmine-Emanuele Cella started a collaboration with Ircam in Paris, where he has been both researcher and composer for many years. In 2008 he won the prestigious Petrassi prize for composition, from the President of the Italian Republic Giorgio Napolitano and, in 2013-2014, he has been member of Academie de France à Madrid (Casa de Velazquez). In 2015-2016 he has been a researcher in in applied mathematics at École Normale Supérieure de Paris, where he worked on machine creativity. In 2016 he won the prize Una Vita Nella Musica Giovani at Teatro La Fenice in Venice and he has been in residency at the American Academy in Rome, where he worked on his first opera premiered in June 2017 at the Kyiv National Opera.

His need for context-based music creation led him to the definition of what he calls musica hic et nunc (music here and now), a new paradigm where each performance becomes a unique epiphany that cannot be reproduced. This paradigm fostered a collaboration with the historic French ensemble Les percussions de Strasbourg, started in 2017 and culminated with the cycle of pieces called Les espaces physiques. In this cycle, the percussion instruments are augmented with innovative technology to create new context-based models of interaction between the instruments, the performers, the composer and the public.

Since January 2019, Carmine is a professor in music and technology at the University of California at Berkeley, where he is also lead researcher at the Center for New Music and Audio Technology (CNMAT). Since 2020, Carmine is also professor of computer music at Conservatorio G. Rossini in Pesaro. In 2022 he has been the recipient of the prestigious Traiettorie music prize for composition, with the following motivation: “for his researches in the field of Artificial Intelligence applied to musical creation, augmented reality, the definition of mathematical models for the representation of sound through deep learning techniques and machine learning methods for computer-assisted orchestration.”

Edmund Campion is Professor of Music Composition and Co-Director at the Center for New Music and Audio Technologies (CNMAT) at the University of California, Berkeley.

As a 2016 Guggenheim Fellow, Mr. Campion recently composed for the Korean Traditional Contemporary Orchestra, an ensemble that features 55 musicians performing on ancient instruments from Korea. The orchestra premiered Audible Numbers at the Pacific Rim Festival and Cal Performances in October and again in Seoul in December 2017. Campion used the occasion to work with Matthew Schumaker and Jean Bresson in creating the TESSELLATE library for Open Music.

Campion is recipient of numerous accolades including: the American Rome Prize, the Lili Boulanger Prize, The Paul Fromm Award at Tanglewood, and the Goddard Lieberson Fellowship given by the American Academy in Rome. Commissions include the 2011 Commande d’etat for Wavelike and Diverse, written for Les Percussion des Strasbourg and released on the ensembles 50th anniversary Universal CD collection; Auditory Fiction (2011), commissioned by Société Générale for Radio France; Small Wonder (The Butterfly Effect) (2012), commissioned by the Serge Koussevitzky Foundation for the San Francisco Contemporary Music Players; Auditory Fiction II (2014), written for the ECO Ensemble for the Venice Music Biennale.

In 2012, while Composer in Residence with the Santa Rosa Symphony, Campion was commissioned for The Last Internal Combustion Engine, written for full orchestra, Kronos Quartet and electronics. The piece was premiered as part of the opening season of the new Green Music Center and featured the use of the CNMAT Spherical Loudspeaker Array. Joshua Kosman of the San Francisco Chronicle called the piece “a vivid and richly imagined concerto.”

In 2015, the famed Ensemble Intercontemporain co-commissioned Campion and audiovisual artist Kurt Hentschläger for the 25-minute, Cluster X. The multi-media work was premiered at the Philharmonie de Paris in October of 2015 and toured the United States. A recent commission from pianist Marilyn Nonken was inspired by Gèrard Grisey’s Vortex Temporum. (http://edmundcampion.com/) (http: //cnmat.berkeley.edu/).

Luke Dzwonczyk is a composer and creative technologist whose work is centered on engaging emerging technologies with music creation and performance. He is currently a Ph.D. student in Music at UC Berkeley, where he works closely with the Center for New Music and Audio Technology (CNMAT). His research focuses on the intersection of computational creativity, generative machine learning, and audio-visual art. His recent publications include work in the Journal of the Audio Engineering Society and the Digital Audio Effects conference.

Jon Kulpa’s works explore how sound mass, particulate sound, and spatiality engage with a listener’s memory and musical form. His work and research jointly comprise his Qu Project. QuBits is an interactive virtual reality sound-space in which a user encounters a collection of virtual characters, each with a type of appearance and sonic identity. A user affects the evolutionof the characters’ sound and image over time. His current work, QuFoam, is music and software exploring a greater range in density, synchronization, timbral expression, and overall combination of sounds. Digital particles make probabilistic selections to generate a collective mass, ranging in density from just a handful to millions of simultaneous sounds. Each particle can select independently or form ever-larger synchronized groups, along many parameters of timing, volume, and frequency. Jon’s electroacoustic works also explore sound mass and spatialization, separating performers and loudspeakers across the performance space.

Jon has taught computer music at UC Berkeley, where he also develops digital tools for the Center for New Music and Audio Technology (CNMAT). He obtained his M.A. and PhD in Composition from UC Berkeley, studying with Edmund Campion and Franck Bedrossian. He studied at the San Francisco Conservatory of Music with David Garner, earning his B.M. in 2010.

The Center for New Music and Audio Technologies (CNMAT) has been at the forefront of research and technological development in computer music, bridging artistic expression and scientific discovery. This paper provides an overview of CNMAT’s current technological innovations, legacy contributions, and future research directions. We discuss CNMAT’s key legacy projects, including Open Sound Control (OSC), the CNMAT Externals and odot for Max, Orchidea—a dynamic computer-assisted orchestration framework—and the emerging field of network bending for audiovisual generation. Pedagogical tools, integral to CNMAT’s teaching mission, are highlighted for their role in creative education. Looking ahead, CNMAT envisions further international collaborations and the establishment of a global music festival, emphasizing its commitment to supporting artists from concept to performance.

Georg Hajdu (b. 1960) is a German composer and professor renowned for his interdisciplinary work at the intersection of music, technology, and science. Born in Göttingen to Hungarian émigré parents, he pursued studies in molecular biology and musical composition in Cologne before earning his Ph.D. in composition from the University of California, Berkeley, where he collaborated closely with the Center for New Music and Audio Technologies (CNMAT) .​
In 2002, Hajdu was appointed professor of multimedia composition at the Hamburg University of Music and Drama (HfMT), where he founded Germany’s first master’s program in multimedia composition in 2004 and the Center for Microtonal Music and Multimedia (ZM4) in 2012 . He is also the founding director of the LIGETI Center at HfMT.​
Hajdu’s creative output includes the opera Der Sprung – Beschreibung einer Oper and the networked performance environment Quintet.net, which was notably used in the 2002 Munich Biennale opera Orpheus Kristall . His compositions often explore microtonality, algorithmic processes, and real-time interaction. Beyond composing, he has contributed to software development with tools like MaxScore and DJster, and has published extensively on topics bridging music, technology, and science.

Christine Preuschl holds a master’s degree in Applied Cultural Studies. In 2011, she was managing director and dean’s office staff member in the Faculty of Cultural Studies at Leuphana University Lüneburg. In 2012, she was a research assistant in the Master’s program “Cultural Studies – Culture, Arts and Media” before working at Leuphana from 2012 to 2017 as a member of the joint project “Netzwerk Quality Audit” in the Quality Development and Accreditation Unit and as Quality Management Officer in the Faculty of Cultural Studies for the project “Leuphana…. auf dem Weg! Since 2018, she has been head of the Transfer Office at the HfMT Hamburg and coordinator of the projects “Stage_2.0” and “ligeti zentrum” in the “Innovative University” funding line. In addition, she has been curator of the off-space gallery Raum linksrechts since 2012.

Dr. Konstantina Orlandatou is a composer, musicologist, and immersive media researcher specializing in the intersection of sound, visual art, and virtual reality. She serves as the Head of the XR Lab at the Ligeti Center of the Hochschule für Musik und Theater Hamburg (HfMT), where she leads interdisciplinary projects that explore innovative forms of art mediation through extended reality technologies.​ Her academic journey includes diplomas in Accordion (1999), Music Theory and Composition (2005), and a Master’s in Multimedia Composition (2009), culminating in a Ph.D. in Systematic Musicology in 2014. Her doctoral research focused on synaesthetic and intermodal audio-visual perception, laying the foundation for her later work in immersive environments.​ Dr. Orlandatou is the creator of Moving Sound Pictures, a VR project that transforms iconic artworks by artists such as Kandinsky, Mondrian, and Picasso into interactive, sound-generating environments. Her installation Hommage reimagines paintings by Salvador Dalí, Henri Matisse, and Pablo Picasso as immersive musical spaces, allowing users to engage with art through movement and sound.​
Her research and creative work have been featured at international conferences and institutions, including IRCAM and the International Conference on Music Perception and Cognition. Through her practice, she continues to bridge the gap between technology, music, and visual art, offering new ways to experience and understand artistic expression.​

The ligeti center is a German-based research and translation center in the Harburg district of Hamburg, south of the Elbe River. Founded in 2023, the center is a collaborative initiative that unites four Hamburg universities across the arts, science, technology, and health disciplines. Named in honor of composer György Ligeti, the center also adopts his name as an acronym: Laboratories for Innovation and General-audience Edification through the Translation of Ideas. This double meaning reflects the center’s mission to foster both academic innovation and public engagement. The ligeti center hosts a diverse range of interdisciplinary projects, many of which focus on music technology. However, its scope extends to musicology, music theory, and theater studies, with particular emphasis on mediation, participation, and the co-creation of transformative processes. A defining characteristic of the center is its commitment to interdisciplinary collaboration, which enables the emergence of innovative research and artistic practices. Beyond its academic pursuits, the center places
strong emphasis on societal participation and knowledge translation, positioning itself as a model for integrative research with public impact.

Eran Egozy, Professor of the Practice of Music Technology at MIT, is an entrepreneur, musician, and technologist. He was the co-founder and chief technical officer of Harmonix Music Systems, the music-based video game company that created the revolutionary titles Guitar Hero, Rock Band, and Dance Central with sales in excess of one billion dollars. Eran and his business partner Alex Rigopulos were named in Time Magazine’s Time 100 and Fortune Magazine’s Top 40 Under 40.

Eran is also an accomplished clarinetist, performing regularly with Radius Ensemble, Emmanuel Music, and freelancing in the Boston area. Prior to starting Harmonix, Eran earned degrees in Electrical Engineering and Music from MIT, where he conducted research on combining music and technology at the MIT Media Lab. Now back at MIT, he is the founding director of the Music Technology and Computation Graduate Program.

His research and teaching interests include interactive music systems, music information retrieval, and multimodal musical expression and engagement. His current research project, ConcertCue, is a program-note streaming app for live classical music concerts that has been featured with the Boston Symphony Orchestra, Boston Baroque, and the New World Symphony.

Evan Ziporyn is the Kenan Sahin Distinguished Professor of Music at MIT and Faculty Director of the Center for Art, Science & Technology (CAST). A composer, clarinetist, and conductor, he has collaborated with artists such as Yo-Yo Ma, Maya Beiser, Wu Man, Terry Riley, and Bang on a Can. His arrangements were featured in Ken Burns and Lynn Novick’s The Vietnam War and on Silkroad’s Grammy-winning album Sing Me Home.

Ziporyn’s recent works include Impulse Control (drum set concerto), Air=Water (for gamelan and strings), Poppy 88 (a 64-location telematic performance), and Arachnodrone, an immersive installation premiered at Paris’ Palais de Tokyo. His orchestral reimagining of David Bowie’s Blackstar, featuring Maya Beiser, has been performed globally.

A pioneer in cross-cultural music, he founded Gamelan Galak Tika in 1993 and composed groundbreaking works blending gamelan with Western instruments. His evening-length pieces include ShadowBang, Oedipus Rex, and A House in Bali, which premiered at BAM Next Wave. He studied at Eastman, Yale, and UC Berkeley, and has released orchestral albums with the Boston Modern Orchestra Project featuring tabla master Sandeep Das.

We introduce Tutti, a web application framework that lets a large heterogeneous audience participate in an orchestra-like musical performance by using mobile phones as musical instruments. Unlike previous systems, Tutti achieves precise rhythmic alignment amongst all devices via a custom clock synchronization protocol and a distributed multitrack playback system. Audience members are assigned instrumental roles and activate precomposed musical phrases by following a visual notation system and playing on a simple one-button interface. The framework supports various musical interplay schemas, such as call-and-response and round robin, simulating the collaborative dynamics of
ensemble performance, but without requiring musical expertise. Tutti has been successfully deployed in multiple venues, including large-scale events with hundreds of participants. Future developments aim to expand interactivity
and improve access

Tatsunori Hirai is an Associate Professor at the Faculty of Global Media Studies, Komazawa University. He received his Ph.D. in Engineering from Waseda University. Dr. Hirai specializes in music information processing and multimedia information processing, with a particular focus on AI-assisted music composition and content creation support. His research explores the integration of artificial intelligence into music production, aiming to enhance, rather than replace, human creativity. His recent research interests focus on expanding musical expression through the introduction of microtones. He conducts studies on supporting music production and performance using microtones. In 2023, he created and released Microtonal Music Dataset v1.

The quality of music generated by deep generative models has been improving year by year, and there is a wide range of automatically generated content on the web that is comparable to music produced manually. However, existing models are based on 12 equal temperament music, and are incapable of handling microtones, which are sounds outside of 12 equal temperament. Since humans can manually create 12 equal temperament music, it is believed that the true value of generative AI in creative assistance is demonstrated particularly in dealing with challenging subjects such as microtonal music. Our goal is to realize a music generation model to assist humans in creating microtonal music. As a first step, we explore how to adapt the conventional deep music generative model to microtones and implement a VAE model using a BiLSTM that is compatible with microtonal input/output. Our findings indicate that the conventional symbolic generation model, despite being expanded to process microtone data, cannot generate microtones when trained solely on 12-tone equal temperament data. Additionally, this study demonstrates the potential for controlling the inclusion rate of microtones in the generated results, as well as fine-tuning models trained on 12 equal temperament data for microtones.

Hayeon Bang is a researcher and a composer based in South Korea, working on her Ph.D. at KAIST’s Music and Audio Computing Lab. With a background in composition from Yonsei University and a master’s from KAIST under Prof. Juhan Nam, her research focuses on Music Information Retrieval (MIR), particularly multimodal music representation learning, AI-assisted music education, and LLMs for music applications. She integrates AI techniques with musical structures to explore music representation, retrieval, and generation.

As a composer, she explores human-computer co-creation, using AI in music performance and real-time interaction. Her works include Dialogue in Resonance, an interactive piece using real-time music transcription, and arrangements for the Four Seasons 2050 – Daejeon project. She has also contributed to AI-human collaborative performances at the Daejeon Arts Center’s X-Space.

Bang’s research and creative work inform each other, bridging computational methods and artistic expression. She contributes to the discourse on AI in music through presentations at conferences and performances, demonstrating AI’s role as a creative partner in contemporary classical music. Her works can be found at hayeonbang.github.io

Taegyun Kwon is a Postdoctoral Researcher at the Korea Advanced Institute of Science and Technology (KAIST), South Korea. He specializes in music information retrieval, automatic music transcription, and expressive music performance modeling. His research explores human-computer interaction in musical performance and multimodal performance technologies. Dr. Kwon earned his Ph.D. and M.S. in Culture Technology from KAIST, where he conducted research at the Music and Audio Computing Lab under the supervision of Prof. Juhan Nam. He is also a co-founder of AudAI, a startup focused on AI-driven singing voice generation. In addition to his academic contributions, Dr. Kwon has collaborated on AI-driven music performances, interactive audiovisual systems, and real-time transcription technologies.

Juhan Nam is an Associate Professor at the Korea Advanced Institute of Science and Technology (KAIST), South Korea. He currently leads the Music and Audio Computing Lab at the Graduate School of Culture Technology, focusing on various topics related to music information retrieval and audio applications. Additionally, he serves as the Head of the Sumi Jo Performing Arts Research Center at KAIST. Dr. Nam earned his Ph.D. in Music from Stanford University, where he conducted research at the Center for Computer Research in Music and Acoustics (CCRMA).

This paper presents <Dialogue in Resonance>, an interactive music piece for a human pianist and a computer-controlled piano that integrates real-time automatic music transcription into a score-driven framework. Unlike previous approaches that primarily focus on improvisation-based interactions, our work establishes a balanced framework that combines composed structure with dynamic interaction. Through real-time automatic transcription as its core mechanism, the computer interprets and responds to the human performer’s input in real time, creating a musical dialogue that balances compositional intent with live interaction while incorporating elements of unpredictability. In this paper, we present the development process from composition to premiere performance, including technical implementation, rehearsal process, and performance considerations.

Paul Lascabettes is a postdoctoral researcher at the University of Strasbourg in France. His research focuses on the discovery of musical patterns and the analysis of musical rhythms. He obtained his PhD from IRCAM and Sorbonne University, under the supervision of Isabelle Bloch and Elaine Chew. The thesis is entitled “Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis”.

Corentin Guichaoua was a CNRS post-doctoral researcher under the ERC ADG project COSMOS (2019-2024), within the Music Representation team at STMS, focusing on the computational analysis of performance. He holds a PhD in Computer Science from the University of Rennes 1. He carried out a first postdoc (2017-2019) with Moreno Andreatta within the SMIR Project at the University of Strasbourg, where he researched mathematical structures in music. His main research interests are the modelisation, systematic retrieval and visualisation of various forms of structure in and around music.

Moreno Andreatta is a research director at the CNRS, working on the relations between mathematics and music, in particular on the algebraic, topological and categorical formalisation of musical structures, from a theoretical, computational and epistemological perspective. He is a founding member of the Journal of Mathematics and Music, the official journal of the Society for Mathematics and Computation in Music (SMCM), and co-editor (with Guerino Mazzola) of Springer “Computational Music Science Series”.

We present the Rhythm Circle, an interactive open-source web environment that allows users to generate and manipulate rhythms using the circular representation. In this environment, three rhythms can be looped simultaneously, starting and ending at the same time via three concentric circles, each corresponding to a drum element: a snare drum, a kick drum and a hi-hat. The rotation speed, corresponding to the tempo, is adjustable, and there is an option to export the generated rhythms in midi format. The platform includes preset rhythms, offering binary and ternary patterns that correspond, in this case, to circle subdivisions into 16 and 12 equal parts. One of the advantages of this web environment is the possibility of transforming the different rhythms, not only by activating or deactivating the onsets on the three respective circles, but also by applying musical transformations. The first musical transformation is the change of the subdivision of a circle, for example, from 16 to 17. The second musical transformation is the rotation of a circle, which corresponds to a time shifting of the musical rhythm. A usage counter was implemented, and in just a few months, the platform recorded over 30,000 visits from users worldwide.
The Rhythm Circle is accessible at: https://rhythm-circle.com.

Visda Goudarzi is a computer musician and researcher working at the intersection of sound and human-computer interaction. Her work explores sound and music computing, live coding, data sonification, sound synthesis, and the use of new media in artistic practice. She creates and performs with interactive, participatory sonic interfaces, and her creative output includes live electronic performances, live coding, and data-driven sound works. Visda is an Associate Professor and the Director of the Music Technology Program in the School of Audio and Music at Columbia College Chicago.

Live coding has emerged as an innovative and playful method for teaching audio programming, particularly for students in audio and music technology. By enabling instructors to demonstrate code in real-time, live coding bridges the gap between abstract programming concepts and their tangible impact on sound and music. This approach not only fosters curiosity but also sparks innovation by encouraging students to experiment freely with sound synthesis and explore algorithmic composition in a low pressure, exploratory environment. The inherently interactive and improvisational nature of live coding allows students to directly observe the creative process, inspiring a sense of play as they manipulate code to generate unexpected outcomes. This paper examines the implementation of live coding in an undergraduate audio programming course, highlighting how it facilitates hands on learning, cultivates creativity, and promotes collaborative problem-solving. Through activities designed to encourage experimentation and discovery, students engage deeply with both technical and artistic aspects of programming. The discussion also explores the challenges encountered over multiple semesters, offering insights into how playful engagement, curiosity, and a focus on innovation can transform the learning experience in audio programming education.

Dr. Pierre-Valery Njenji Tchetgen is an Assistant Professor at Northeastern University’s College of Arts, Media & Design, jointly appointed in the Music and Art+Design departments. As Director of the Urban Griots Collaborative, he conducts research at the intersection of music, education and experience design. He focuses on three primary areas related to these disciplines: drummologie and music-based interventions, culturally-relevant pedagogy and cultural computing. Dr. Tchetgen studies how culturally grounded early literacy and STEAM experiences affect children’s learning and development, and how transforming the ecology and pedagogy of early childhood education can improve these experiences, particularly for underserved children. These areas are integrated through applied research by using co-design methods to promote children’s human, cognitive and socio-emotional development.

Dr. Njenji Tchetgen (who also goes by Akwerius) is the Founder and Ambassador of the Music is Healing Collective, where he uses music as a vehicle for social change to break down barriers of bias and motivate youth toward social justice in order to improve the livability and vibrancy of communities worldwide, and bring people from diverse paths together to promote Unity through Music.

This paper explores the integration of drum language principles into Digital Musical Instrument (DMI) design to enhance early literacy and STEM education for children. Traditional classroom technologies often rely on standard keyboard-display interfaces, limiting opportunities for embodied, multimodal learning involving voice and rhythm. To address this, this research investigates tangible, non-screen-based technologies inspired by African talking drums. These digital orality systems leverage rhythmic call-and-response interactions to gamify literacy and math learning, fostering engagement and skill development. The project employs a participatory design approach to identify key affordances of drum languages, creating innovative prototypes that combine physical sensors and touchscreen interfaces. Using the Urban Griots Playground (UGP) Music-Based Intervention (MBI) as a case study, mixed-method evaluations assess improvements in multiliteracy skills and social-emotional learning (SEL) within community and home settings. A cultural-historical activity theory (CHAT) framework guides the analysis, refining the ecological design of the intervention. Findings demonstrate that culturally grounded DMIs address ecological and pedagogical challenges in early childhood education (ECE). By revitalizing the heritage of African talking drums, this approach not only supports emergent literacy and STEM skills but also enriches educational practices through innovative, embodied learning technologies that engage children holistically, while leveraging parents’ tacit funds of knowledge.

Omar Shabbar is a musician, researcher, sound artist, and audiophile based out of Toronto. Currently working towards a PhD in Digital Media at York University, Shabbar’s work explores expressive applications for new sound technologies through the creation of new instruments and sonic environments. As an active touring musician with two decades of gigging experience, Shabbar’s lifelong obsession with the guitar and live performance informs much of this creative process. His most recent work aims to look outwards, beyond conventional instruments, and focus on the role of the performance space as a co-creator. Moving past traditional performance spaces like churches or performance halls, this recent work focuses on community spaces, specifically outdoor performance spaces in Latin America. Shabbar’s work demonstrates how the sounds of these often overlooked spaces influence musicians and contribute to the overall performance.

Room resonance is often seen as an extension of our musical instruments. As musicians, artists and acoustic researchers, built environments such as churches, cathedrals, and large performance halls have functioned as sites for research and digital modeling. However, these spaces can be noninclusive and gated as they are often tied to specific theologies, wealth, and social status. In an effort to broaden this field of study, this paper examines the possibility of inclusive community performance spaces beyond built structures through a case study of the open-air stages in the cloud forest of Costa Rica. In addition, to promote access this project explores options for recreating those spaces virtually. Conventional modeling techniques involving impulse responses and convolution
reverb software prove ineffective for outdoor spaces, and instead, the resonance of these spaces is inferred through auditory responses of surrounding birdsong using Somax2 generative AI musical agents. As a means of further exploring this resonance, a composition/instrument entitled Cloud Conversations was created by combining a guitar composition and Somax2 agents, providing a virtual overlap of spaces and resonances. This novel approach to modeling the sonic resonances of outdoor performance spaces expands the field of study to support future community-oriented practices that can be shared both in the field and online.

Alyssa Aska is fascinated with the architecture of music, both spatially and temporally. She composes works which explore extremes in time and space, using rigid proportions to generate forms in acoustic works and exploring the unpredictable duration and lack of control in gamified works. This is closely tied to her compositional style, which is concerned with a delicate balance between elements of functional form and elements of pure aesthetic purpose. As much structure as possible, as many ornaments as necessary (and vice versa). She believes in a careful balance between craft and emotion in her music. Her passions include the study of ancient cultures and Stargate SG-1, both of which have influenced her life path and compositional aesthetic.

Martin Ritter studied composition in Canada and currently lives in Graz, Austria. He writes both electronic as well as instrumental works and is performed across Europe, North America, and Asia. As a composer he is interested in the spaces sounds emerge in/from and the intersection of music, technology, and performance/performance practice. In recent years he has started to explore microtonality as a conceptual space for his work. As a researcher he works with digital tools in order to analyze and understand electronic music. His music and research are featured regularly at conferences and festivals such as Wien Modern, MikroFest Helsinki, ICMC, NIME, EMS, Audio Mostly, eContact!, Impuls, Darmstadt, ComposIt, MusCan, TENOR, Ars Electronica. He has received scholarships like the Joseph-Armand Bombardier Canada Graduate Scholarship, the University of Calgary Technologies International Inc. Fellowship Scholarship, Alberta Innovates – Technologies Futures Scholarship, the Joseph and Melitta KANDLER Scholarship for Advanced Music Study. He founded, co-founded, or is on the board of several arts organizations such as Zeitschleife, Die Andere Saite, OEGZM, Graz Orchestra of Noise and Distortion.
He currently works at the University of music and performing arts Vienna as a senior scientist.

Pablo Mariña is a Mexican composer of acoustic and computer music living and working in Graz, Austria. His focus lies in live electronics, structural approaches, and iterative processes. In his work, the composer has been searching for methods of creating pieces of live electronics that unfold sonic homogeneity between processed and non-processed sound materials. In his latest work, Pablo has also been exploring spatialization configurations and cross-perceptual phenomena.
In addition to concert music, Pablo Mariña is also creating sound installations, collaborates with video artists, and takes part in composers´ collectives GONaD and facere. In conjunction with his creative practice, Pablo Mariña is developing electronic and electroacoustic music performance and composition tools.
Pablo Mariña graduated from Composition and Music Theory studies at the Center for Music Studies and Research (CIEM) in Mexico City and from Computer Music at the Institute of Electronic Music (IEM) in Graz. Currently he is enrolled in a Master´s Degree in Classical Composition studies at the University of Music and Performing Arts Graz.

Klaus Lang lives in Steirisch Lassnitz (Austria). He studied composition and theory of music (with H.M. Preßl, B. Furrer and Y. Pagh-Paan) and organ. Klaus Lang loves tea and dislikes lawnmowers and Richard Wagner. Klaus Lang’s music is not a means to convey extramusical contents, such as emotions, philosophical or religious ideas, political propaganda, advertisement etc… His music is no language used to communicate non-musical content. Music is seen as a free and selfstanding acoustical object. In his work he is not using sound, sound is explored and given the opportunity to unfold its inherent rich beauties. Only when sound is just sound it is perceivable as that what it really is: a temporal phenomenon – audible time. Klaus Lang sees time as the genuine material of a composer and at the same time also the fundamental content of music. In his view musical material is time perceived through sound, the object of music is the experience of time through listening. Music is time made audible.

Electronic keyboard instruments facilitate precise and dynamic tunings. The Frescobaldi^2 is an attachable split-key device that has the ability to supply an E-organ with five additional keys per octave, resulting in a 17-key per octave design inspired by historical spit-key systems. These systems involved “splitting” the chromatic keys into two separate keys that allowed performance of both enharmonic chromatic notes. This device was made possible by interfacing with a Viscount E-organ and adjusting the tuning of the added keys. This historically informed split-key system retains the keyboard instrument performance paradigm. This means that musicians do not need to learn an entirely new instrument, they need only to adapt to an expansion of an existing one. The Frescobaldi^2 also allows performers the ability to access these extra notes without purchasing a specialised separate instrument. This paper describes the development process of the Frescobaldi^2, as well as its application in real-life demonstration and con- cert situations.

Yu-Chia Kuo is a master’s student at the Distributed Digital Music Archives & Libraries Laboratory (DDMAL), Department of Music Research, McGill University. Her research areas include Music Information Retrieval and Music Composition. Simultaneously, she works on electronic music as a composer, exploring new interpretations with multimedia content. Her research focuses on interdisciplinary music research, analysis of multi-track music, and expressive synthesis for string performance.

This paper examines Seascape Serenity, a realtime immersive ambisonic electronic soundscape with generative visualizations that merges underwater field recordings from bioacoustic research with holographic displays. By transforming scientific data into participatory artistic experiences, the project offers a multifaceted exploration of aquatic ecosystems, blending ecological inquiry with creative expression. The installation simulates echolocation mechanisms and marine soundscapes, highlighting the intricate interactions between human activities and oceanic environments.

Michael Gaspari is a media composer, producer, and keyboard/synth player originally from Robbinsville, NJ. Gaspari graduated from the University of Miami Frost School of Music getting his M.M. in Media Scoring and Production Program studying under Carlos Rivera and Camilo Rodriguez. He graduated with a Bachelor in Music for Composition and Music Technology from the Oberlin Conservatory in 2022. He has years of experience with studio management, and teaching/tutoring musical practices like theory, composition, and production all at the college level. At Frost, Gaspari has written music for various films, and took on many production opportunities. Gaspari’s most recent project involves creating a sensory-friendly early music education program and application called Noise and Buttons.

As someone who is autistic, I believe that there is a way to teach/introduce music in a way that is more accessible than what is currently available for early music education programs and solutions. Noise and Buttons is an application that is built for and intended for neurodivergent students (e.g. autistic students, students with ADHD, etc.) to learn and play music using sensory friendly hardware and software interfaces. For this project, I built a generative synthesizer program using Max MSP that has the capability to have four major aspects of the music changed by the user: being tempo, rhythm, timbre, and harmony. Each aspect is labeled with a color and corresponds to a physical hardware button box I built to work with the app (e.g. Red = Tempo, Yellow = Rhythm, Green = Timbre, and Blue = Harmony). During my time as a summer music teacher at the Mercer County Special Services School District, I utilized this app with my students to teach my music classes and conducted research on what worked and what didn’t to create my first working
public web application along with lesson plans designed for accessible early music education.

Takayuki Rai is a composer specializing in interactive computer music. Born in Tokyo in 1954, he studied composition with Yoshiro Irino at Toho College of Music and later computer music with Paul Berg at the Institute of Sonology, University of Utrecht. After working in the Netherlands during the 1980s, he returned to Japan in 1991 to teach at Kunitachi College of Music, contributing to the development of its Sonology Department. In 2006, he moved to the UK and taught at Lancaster University for eight years. He has also held visiting teaching positions at Sakuyo University (Japan) and Sichuan Conservatory of Music (China), and has been teaching at Toho College of Music in Tokyo since 2014.
Since 2000, he has supervised the development of DIPS, a Max-based plugin object-set for real-time image processing in multimedia performance.
Rai’s works have been featured at international festivals including Gaudeamus Music Week, ISCM World Music Days, and ICMC. His accolades include the Irino Prize, First Prize at the Bourges Electroacoustic Music Competition, and the inaugural ICMA Commission Award in 1991. For over two decades, he has served as a permanent jury member of the Irino Prize, an international award recognizing young composers of contemporary music.

Mocopi is an affordable motion capture system developed by Sony Corporation. This study investigates the real-time integration of motion data captured by Mocopi into the Max programming environment. To facilitate this, several custom Max external objects were developed, enabling the creation of an interactive multimedia art environment driven by human motion. The research aims to establish a versatile framework for incorporating motion-based interactions into diverse multimedia art practices.

Iain C. T. Duncan is a musician, programmer, and composer in B.C., Canada. He holds a Master of Music Technology from the University of Victoria, where he is currently an interdisciplinary PhD student in Computer Science and Music, supervised by George Tzanetakis and Andy Schloss. Iain is the author of the open-source Scheme for Max extension to the Max/MSP audio-visual programming platform, which enables users to script, sequence, and live-code Max in s7 Scheme Lisp, and he is the developer of the Csound6~ object for Max, based on Victor Lazzarini’s object for Pure Data. He has been working in the software industry for over 20 years, and is currently a software acquisition and architecture consultant at Ringstone Tech, as well as the founder and developer of the online music education tools platform, seriousmusictraining.com. A gigging jazz saxophonist, Iain plays too many other instruments for fun and produces a weekly jazz night on Salt Spring Island, “Jazz at The Harbour House”. Iain is an unabashed fan of AJH and Intellijel Eurorack modules, which he controls with Scheme from Max for Live, and he makes Scheme-powered electronic music as Tremendous Machine (soundcloud.com/iain-duncan).

George Tzanetakis is a Professor in the Department of Computer Science at the University of Victoria, with cross-listed appointments in Electrical and Computer Engineering and the School of Music. He holds a PhD in Computer Science from Princeton University and completed postdoctoral research at Carnegie Mellon University. His interdisciplinary research spans computer audition, human-computer interaction, music robotics, and computer-assisted music education. In 2012, he received the Craigdarroch Research Award in Artistic Expression from the University of Victoria. He also served as a visiting faculty member at Google Research in 2011. From 2010 to 2020 he was the Canada Research Chair (Tier 2) in the Computer Analysis of Audio. Dr. Tzanetakis has published over 230 papers. He is also an active musician, playing saxophone and piano.

While textual scores are common in Music-N languages, such as Csound and Music V, and in Lisp-based systems such as Nyquist and Common Lisp Music, the Max/MSP platform does not include any built-in facilities for working with linear, metrically-notated text-based scores. S4M-Score is a library for the Scheme for Max extension to Max/MSP, providing facilities for creating and playing textual scores inspired by those in the Music-N, Csound, and Nyquist languages. Score times are specified in either numeric or symbolic beat times relative to a global transport, and can be used to schedule arbitrary function execution in the host Scheme for Max object. As scores are represented by Scheme lists, they may be generated or transformed programmatically, including during playback. Scores are played by a provided score-sequencer object that is designed to support real-time transformations and live coding, and that is driven by Max clocks that synchronize with the main Max transport, thus enabling users to combine and synchronize textual score playback with other Max sequencing, including during dynamic tempo changes.

Erik Stifjell is a composer living in Tromsø. Through his music, Erik is searching for organic forms in music and new ways of integrating speakers and electronic soundscapes. His work list consist of pieces for small and larger ensembles, electro acoustic pieces, music for film, dance and theatre together with a wide range of more experimental pieces.

His music has been played by ensembles all over Europe. The long list of commissions has included pieces for Ola Rokkones(NO), Haugen Productions(NO), Magne Pettersen(NO, filmmaker), Rosa Ensemble(NL) and Arctic Philharmonic(NO). Erik is also a member of the performance group Nordting.
Erik holds the following degrees: Master- and Bachelor of Music(Composition) from Royal Conservatory, The Hague (2008, 2010) and Cand.Mag. (Percussion) from UiT The Arctic University of Norway (2000). In 2021-2025, he is a doctoral research fellow at UiT The Arctic University of Norway.

The FLAPIBox (FLexible instrument Augmentation that is Programmable, Integrated in a Box) is an innovative, flexible, cross-instrumental augmentation device that is adaptable to a wide range of instruments, utilizing di-verse loudspeaker and microphone technologies without necessitating permanent modifications to the instruments themselves. The aim of the development is to design a system to seamlessly integrate electronic sound with acoustic instruments and the first compositions utilizing it has already been written. The FLAPIBox combines concepts form both augmented (hyper-) instruments and self-resonating vibrotactile feedback instruments (SRIs) to enhance musical expression and performance.

This paper reports recent evolution and presents the latest version of the FLAPIBox. After three years of development, several iterations and meticulous bench tests of various components, the latest version appears both stable and well-worked. The paper also discusses the critical considerations that have shaped the physical and technical design of the FLAPIBox and proposes directions for future development.

Felipe Tovar-Henao is a Colombian multimedia artist, developer, and researcher whose work explores computer algorithms as expressive tools for human and post-human creativity, cognition, and pedagogy. His work spans digital instrument design, software development, immersive art installations, generative algorithms, machine learning, music information retrieval, and human-computer interaction. His music is often rooted in transformative experiences with technology, philosophy, and cinema, focusing on perception, memory, and recognition.
He has been featured at international festivals and conferences including TIME:SPANS, ICMC, the Mizzou International Composers Festival, Ravinia Festival, NYCEMF, WOCMAT, CAMPGround, SEAMUS, SICMF, and IRCAM’s ManiFeste Academy. He has received awards such as the SCI/ASCAP Student Commission Award and ASCAP Foundation Morton Gould Young Composer Award.
His music has been performed by ensembles and artists including Alarm Will Sound, the Grossman Ensemble, Quatuor Diotima, Sound Icon, and the Orquesta Sinfónica EAFIT. He has held academic positions at University of Cincinnati, Universidad EAFIT, University of Chicago, and Indiana University, and is currently Assistant Professor of AI and Composition at the University of Florida.

In this article, I introduce bellplay~, an offline algorithmic audio framework and software initially developed for the realization of a 25-minute multimedia work for 8.1-channel audio and 4K video, titled ludus vocalis. bellplay~ played an exclusive role in producing the audio elements of ludus vocalis and in generating control data for automating various visual parameters in TouchDesigner. The paper begins with a brief overview of the context and motivation behind bellplay~, followed by a description of its software architecture, scripting language, and key features. I then discuss its application in ludus vocalis and conclude by reflecting on its potential as a pedagogical tool in a university course on computer-assisted algorithmic composition.

Dr. Matthew Wright is a media systems designer, improvising composer/performer, computer music researcher, father of an energetic 8-year-old, and the Executive Director and acting Technical Director of Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). His computer music career began in 1990 as an undergraduate in a class from David Wessel at UC Berkeley’s Center for New Music and Audio Technologies (CNMAT), where he joined the staff as a researcher from 1993-2008, before and during his CCRMA PhD. He later worked at the University of Victoria and UC Santa Barbara. His research has included real-time mapping of musical gestures to sound synthesis, helping develop and promote the Sound Description Interchange Format (SDIF) and Open Sound Control (OSC) standards, computer modeling of the perception of musical rhythm, and musical creation with technology in a live performance context. As a musician, he plays a variety of Middle Eastern and Afghan plucked lutes, Afro-Brazilian percussion, and computer-based instruments of his own design, in both traditional music contexts and experimental new works.

This paper describes tonal, technical, structural, sound design, and political aspects of my composition “Taqsim / The Humanity of Arabs” (which I will perform at ICMC2025). The piece is both a traditional taqsim (instrumental improvisation) on the oud (Arabic short-necked fretless lute) within the maqam pitch system, and also experimental interactive electronic music utilizing realtime pitch and phrase analysis, “throb” synthesis, live sampling, sound spatialization, and a feedback ensemble network of four quasi-autonomous cybernetic agents.

Alyssa Aska is fascinated with the architecture of music, both spatially and temporally. She composes works which explore extremes in time and space, using rigid proportions to generate forms in acoustic works and exploring the unpredictable duration and lack of control in gamified works. This is closely tied to her compositional style, which is concerned with a delicate balance between elements of functional form and elements of pure aesthetic purpose. As much structure as possible, as many ornaments as necessary (and vice versa). She believes in a careful balance between craft and emotion in her music. Her passions include the study of ancient cultures and Stargate SG-1, both of which have influenced her life path and compositional aesthetic.

Martin Ritter studied composition in Canada and currently lives in Graz, Austria. He writes both electronic as well as instrumental works and is performed across Europe, North America, and Asia. As a composer he is interested in the spaces sounds emerge in/from and the intersection of music, technology, and performance/performance practice. In recent years he has started to explore microtonality as a conceptual space for his work. As a researcher he works with digital tools in order to analyze and understand electronic music. His music and research are featured regularly at conferences and festivals such as Wien Modern, MikroFest Helsinki, ICMC, NIME, EMS, Audio Mostly, eContact!, Impuls, Darmstadt, ComposIt, MusCan, TENOR, Ars Electronica. He has received scholarships like the Joseph-Armand Bombardier Canada Graduate Scholarship, the University of Calgary Technologies International Inc. Fellowship Scholarship, Alberta Innovates – Technologies Futures Scholarship, the Joseph and Melitta KANDLER Scholarship for Advanced Music Study. He founded, co-founded, or is on the board of several arts organizations such as Zeitschleife, Die Andere Saite, OEGZM, Graz Orchestra of Noise and Distortion.
He currently works at the University of music and performing arts Vienna as a senior scientist.

Jeffrey E. Boyd received the Ph.D. degree in computer science from the University of British Columbia, BC, Canada, in 1994.,He is currently an Associate Professor and the Associate Head with the Department of Computer Science, University of Calgary, Calgary, Canada. He was with the Visual Computing Laboratory, University of California, San Diego, USA, and the Department of Computer Science, University of British Columbia, BC, Canada

Motion tracking and movement capture are effective tools for creating new interfaces for musical expression. Tracking systems can encompass everything from computer vision to physical gestural control. The authors have developed a system for tracking the movement of a figure skater in real time using an M5StickC Plus2 laced into a skater’s boot. The authors conducted experiments with this setup by recording skater movement data along with corresponding video. This data was then played back and applied to musical parameters and audio processes to create several works the authors describe as artistic documentation, or documentation modified for aesthetic purposes to become a standalone artistic work. A previously developed tool for tracking speed skaters was enhanced and combined with artistic research into gestural controllers for musical expression. Figure skating is already closely linked with music and with a framework that favours musicality and intimately connects gesture with music. Additionally, many of the movements within figure skating contain variations in direction, speed, and movements on various axes. For this reason, we decided to explore the potential of figure skating as not just a tool of embodying music through movement, but also as using movement as an extension of musical expression. Figure skating offers a compelling and novel way to explore the connection of physical movement with music and sound.