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Musical composition with AI

Session 2. Music composition with AI.

The second event explores on Music Composition with AI and it debates around these questions:  What is musical composition and How is it related to creativity? The complexity of the human creative process and music composition.



Moderator · Ramon López de Mántaras


Participants: 

Marco Schorlemmer, Emilios Cambouropoulos & Danae Stefanou featuring ‘Chameleon’.

Ferran Cruixent & Artur Garcia featuring ‘Human Brother’.

Artemi – Maria Gioti featuring ‘BIAS’.


Debate: 

Debate on the artificial intelligence technologies used in musical composition and their possible co-creative potential.


World music premiere: ‘Lullaby for a string quartet’ by Xenia Konstantinidou, performed by musicians from the Barcelona Symphony Orchestra and the National Orchestra of Catalonia (OBC).


Dr. Marco Schorlemmer is a Tenured Scientist at IIIA-CSIC and head of its Multiagent Systems department. With over two decades of research experience in the area of Knowledge Representation and Ontologies, he has published over a hundred articles in academic journals and proceedings of international conferences and workshops. He is also the co-editor of the books Computational Creativity Research: Towards Creative Machines and Concept Invention: Foundations, Implementation, Social Aspects and Applications. Dr. Schorlemmer has recently coordinated the EU project COINVENT on computational creativity, and he is currently the principal investigator of the Spanish project CORPORIS on computational models of embodied conceptualisation and its application to cognitive musicology.  

Emilios Cambouropoulos is Professor of Musical Informatics at the School of Music Studies, Aristotle University of Thessaloniki. He studied Physics, Music  and Music Technology, and obtained his PhD in 1998 on Artificial Intelligence and Music at the University of Edinburgh. He worked as a research associate at King’s College London (1998-1999) and at the Austrian Research Institute for Artificial Intelligence in Vienna (1999-2001). His research interests focus on cognitive musicology, artificial intelligence and music, computational models of musical structure, expression and creativity. He is director of the Cognitive and Computational Musicology Group at the School of Music Studies and has been principal investigator in a number of research projects (including the EU FP7 project COINVENT: Concept Invention Theory). He is associate/consulting editor for international journals such as Music Perception, Journal of New Music Research, Journal of Interdisciplinary Musicology Studies. He has published numerous scientific papers in international scientific journals, books and conference proceedings.

Danae Stefanou is Associate Professor at the School of Music Studies, Aristotle University of Thessaloniki, where she teaches experimental music, critical studies and contemporary music history, and coordinates the School’s international exchange programs. She is founder and director of the AUTH Experimental and Improvised Music Ensembles, and two study groups on arts-based research (noise:muse) and critical historiography (Critical Music Histories). In her research, she examines experimental & improvised music histories and aesthetics from a variety of ethnographic, archival and analytical perspectives. She has published widely in peer-reviewed journals (JRMA, JIMS, Musicae Scientiae), and edited volumes, including the Cambridge Companion to Film Music (CUP, 2016), Studies in Greek Popular Music (Routledge, 2018) and Perspectives on Greek Musical Modernism (Routledge, forthcoming). As an improvising musician, she performs regularly solo, in ad-hoc collaborations, and as part of the duo ‘acte vide’, with Yannis Kotsonis. She is also founder and co-director of Syros Sound Meetings, an initiative for experimental site-specific sound and intermedia projects in Syros, Greece.

Ferran Cruixent (Barcelona, 1976) Ferran Cruixent is one of the most performed catalan contemporary composers worldwide. His repertoire includes commissioned works for orchestra, chamber, dance and visual arts, and his symphonic works has been internationally performed by over 40 different orchestras (Detroit Symphony Orchestra, Bayerisches Staatsorchester, Deutsche Radio Philharmonie Saarbrücken-Kaiserslautern, Deutsche Staatsphilharmonie Rheinland-Pfalz, MDR-Sinfonieorchester Leipzig, Orquestra OBC, Staatskapelle Weimar, Beijing Symphony Orchestra, Shaanxi Philharmonic Orchestra, Orquesta Filarmónica de Bogotá, etc.) and with conductors such as Leonard Slatkin, Kazushi Ono, Christoph Poppen, Hannu Lintu, Omer Meir Wellber, Karl-Heinz Steffens, Carmen Moral, Antony Hermus, among many others. He studied Piano and Music Theory at the “Conservatori Superior de Música de Barcelona”, completing his studies in 1999. At the same time he also studied violin, acoustics, counterpoint, fugue, and singing. Following these studies, he studied both Contemporary Composition and Composition for film and TV at the “Hochschule für Musik und Theater München” (Germany), finishing with a Master Class Diploma in Contemporary Composition in 2006 with the support of a scholarship from “La Caixa – DAAD”. His symphonic work “Big Data” has been selected 2017 by the prestigious Prince Pierre de Monaco Composition Prize and 2018 by the Young Musicians Favourite Choice 2018.2001 Wins the 1st Prize at the “Reinl Composition Competition” with his trio “Escenes” for flute, violoncello and piano. He’s being invited as composition jury at the 1st international composition competition Voice of China (Beijing, 2013) and composer in residence at the International Chamber Music Festival “Sommersprossen” (2010 and 2013, Rottweil, Germany). His project “Urban Surround” has being selected by the “Joan Miró Foundation” during the season 2008/09. Since 2008 his musical works have been published by Sikorski International Music Publishers, Boosey & Hawkes (Concord, Germany). Ferran studies the intersection between body and technology in the new technological society, looking for a way to incorporate this relationship into the artistic musical universe in different forms.


Artur García-Saez is a physicist and engineer and works at the Barcelona Supercomputing Center. His research centers between quantum algorithms and machine learning. Previously, he has done research on quantum information and condensed matter at the Institute of Photonic Sciences (ICFO), at the University of Barcelona and the Yang Institute of Theoretical Physics. He has also collaborated in different projects investigating the relationship between art and science. He is currently part of the team that is developing the BSC’s first quantum computer.

Artemi-Maria Gioti is a composer and researcher working across the disciplinary boundaries between art, science and technology. Her research interests include computational intelligence, musical robotics, sonification, as well as collaborative and participatory sound art. Her compositions include works for solo instruments, ensemble, live and interactive electronics and have been performed in Greece, Austria, Portugal, Germany, Denmark, The Netherlands and in the USA. She studied Composition at the University of Macedonia (Greece), Electroacoustic Composition at the University of Music and performing Arts of Vienna, and Composition – Computer Music at the Institute for Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts of Graz. She is currently pursuing her doctoral degree at the same university. Since 2018 she is the Principal Investigator of the artistic research project Inter_agency, hosted at the Institute of Electronic Music and Acoustics (IEM) in Graz and exploring the potential of Artificial Intelligence and Machine Learning for electro-instrumental composition. She is a member of the electronic duo intra-sonic (Artemi-Maria Gioti and Visda Goudarzi).