{"id":33,"date":"2020-05-29T09:30:50","date_gmt":"2020-05-29T07:30:50","guid":{"rendered":"https:\/\/reach.ircam.fr\/?p=33"},"modified":"2024-03-01T15:04:10","modified_gmt":"2024-03-01T14:04:10","slug":"cyber-human-musical-co-creativity","status":"publish","type":"post","link":"https:\/\/reach.ircam.fr\/index.php\/2020\/05\/29\/cyber-human-musical-co-creativity\/","title":{"rendered":"Cyber-human musical co-creativity: an ERC Advanced Grant for G\u00e9rard Assayag"},"content":{"rendered":"\t\t
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Read original article<\/a><\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The IRCAM research professor G\u00e9rard Assayag has been awarded a 2019 ERC Advanced Grant for the REACH project (Raising co-creativity in cyber-human Musicianship<\/em>) which enables him to continue his work on cyber-human musical co-creation. He founded the\u00a0Musical Representations<\/a>\u00a0team at the\u00a0Science and Technology of Music and Sound Laboratory<\/a>(STMS \u2014 CNRS\/IRCAM\/Culture and Communication Ministry\/Sorbonne University) and models creative musical intelligence. Let’s meet this researcher who talk about his work with passion.<\/strong><\/p>\n

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G\u00e9rard Assayag’s approach is part of a research-creation strategy which is close to the artistic process. In his research work, he makes the two fields of music and science interact and thus helps both fields progress.<\/p>\n

The\u00a0IRCAM<\/a>\u00a0is a place which is unique worldwide as it brings artists and scientists together in a common approach to knowledge and experimentation. This research professor began his career there as a researcher working on a project that would gain international recognition over the years. He and his team designed the computer-assisted composition software,\u00a0OpenMusic<\/a>\u00a0– software featuring a visual programming language which is easily accessible and widely used by musicians and musicologists while also possessing an educational dimension. \u00ab\u00a0It is a creative programme which generates new artistic ideas to test and try them out. As a result of this project, we started to look at direct forms of interaction between computers and musicians<\/em>,\u00a0\u00bb explains the researcher.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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How can musical ideas be developed jointly by a musician and a machine through a sound communication channel? How can a machine interact \u00ab\u00a0creatively\u00a0\u00bb with a musician? These questions raise new research issues involving artificial creativity. This was recently an object of a study inspired by the human creative process which focused on understanding past and present situations and anticipating future situations. Improvisation serves as a borderline case which is complex to model because it brings together the richest and most optimal characteristics of human creativity. In extremely short times (a few tens of milliseconds) improvisation produces highly structured messages in response to an evolving sonic environment and exhibits action strategies on several temporal scales.<\/p>\n

Musical improvisation is thus a key theme for the RepMus team at STMS directed by G\u00e9rard Assayag. This has led to numerous international collaborations with great musicians in the field (like Bernard Lubat, Steve Coleman, Roscoe Mitchell, Mike Garson, George Lewis, Evan Parker, Steve Lehman and many others). G\u00e9rard Assayag’s team have created computer programmes linked to work on ‘Musical Information Dynamics<\/em>‘ (an application of information theory to music). These include\u00a0Omax<\/em><\/a>, which models certain improvisation processes and is capable of dialoguing with a musician on stage, and\u00a0SoMax<\/em><\/a>, which implements a cognitive model of creative and contextually reactive musical memory.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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