On April 15th 2024, Marco Fiorini (IRCAM, REACH) is holding a workshop on Music Improvisation and Composition with Co-Creative AI Agents at Tokyo Geidai University of the Arts (Japan). This workshop will present Somax2, and it will focus on its concepts, UI, control, learning, architectural aspects and musical scenarios. Concrete musical examples with Somax2 will […]
Article by Marco Fiorini (IRCAM, REACH) and Lorenzo Colombo (DKDM, the Royal Danish Academy of Music) has been accepted for the JIM2024 conference (Journées d’Informatique Musicale, 6-8 May 2024, Marseille, France). Read the full paper Watch the video of the performance RésuméDans cet article, nous documentons une recherche artistique et scientifique dans laquelle nous réimaginons […]
Les MERCREDIS DE STMS du 3 avril 2024 accueillent Sabina COVARRUBIAS, postdoctorante au sein de l’équipe Représentations musicales du laboratoire STMS (Ircam – CNRS – Sorbonne Université – Ministère de la Culture), qui présentera l’objet de ses recherches actuelles : « IMPROVISIO – Pour un outil d’improvisation de musique visuelle destiné aux musiciens dans un contexte […]
Marco Fiorini: Somax2 interactive AI Lorenzo Colombo: percussion Recorded at the Royal Danish Academy of Music on June 6th 2023 at KLANG festival in Copenhagen
Read full publication. Published by Yusong Wu, Ke Chen, Tianyu Zhang, Yuchen Hui, Marianna Nezhurina, Taylor Berg-Kirkpatrick, Shlomo Dubnov. Abstract: Contrastive learning has shown remarkable success in the field of multimodal representation learning. In this paper, we propose a pipeline of contrastive language-audio pretraining to develop an audio representation by combining audio data with natural […]
Article by Pavlos Antoniadis, Department of Music Studies, University of Ioannina. Download article Abstract: The objective of this paper is to reflect on the affordances of sketches as interfaces for human and machine learning, by way of a case-study based on Iannis Xenakis’s Evryali (1973). First, we report on one-to-one mappings between the composer’s original […]
