Research Catalogue

This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.

A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.

This research was conducted with a diverse group of dancers, varying in age, background, and dance experience, and was guided through somatic embodiment and artistic articulation. Through a somatic approach, the body was explored as both an archive of lived experience and an oracle for emergent knowledge, offering a strong gateway into authentic dance material. The creative process unfolded through four phases: somatic exploration and improvisation, composition, structuring, and refinement. Throughout, leadership shifted fluidly between an open, facilitative mode, amplifying the dancers’ voices, and a more directive mode, articulating the artistic vision. The methodology highlights how initial somatic explorations were gradually shaped into choreographic form, maintaining a dialogue between internal embodiment and external composition throughout the process. Key insights include that this process proved particularly effective within a diverse group context, demonstrating that, regardless of formal dance training, each individual, when guided somatically, can access embodied memory and, through compositional shaping, transform authentic movement into coherent choreographic structure. Both the research and the resulting performance, Equilibrium, do not seek to offer resolution, but rather to evoke recognition and the possibility of coexisting with tension.

Blog presenting news and updates from the project 'Craftmanship', by Kjell Tore Innervik and Håkon Høgemo

Table of contents JSS issues

In the early years of the Soviet era, the music of two Russian faith traditions was forced into the shadows. Siberian shamans preserved chants and folk knowledge despite intense persecution, and Russian Orthodox monks preserved early forms of plainchant in remote monasteries away from the watchful eye of the government. Sofia Gubaidulina (b. 1931), herself a member of the richly-historied and often-marginalized Tatar people, became a practicing Russian Orthodox Christian in the 1960s. During the 1970s, she began performing improvisations with her ensemble Astraea, familiarizing herself with many instruments used by Siberian shamans. Her references to shamanism continued to increase among her concert-hall compositions over the following decades. As a new generation began to embrace the freedom to part from state-sponsored atheism during the 1990s and 2000s, shamanic chanting and Russian Orthodox Znamenny chant experienced a renaissance of practice and scholarly interest. Gubaidulina responded with her music: in her 2005 flute concerto …The Deceitful Face of Hope and of Despair, Gubaidulina’s flute soloist takes on the role of chanter. Drawing on Tia DeNora’s research in the sociology of concerto forms, Kofi Agawu’s framework of musical “topics,” and the composer’s own reflections on the concerto metaphor, this article analyzes how Gubaidulina frames the solo flutist as Siberian shaman and Russian Orthodox cantor within subsequent episodes of this concerto. In this way, the soloist “speaks” through the music of these faith traditions that remained underground for much of Gubaidulina’s adult life. …The Deceitful Face of Hope and of Despair is a flute concerto deserving of its title, demonstrating the dynamic potential of works by post-Soviet composers to contend with the sociological tensions that affect any individual whose cultural, ethnic, or spiritual identity has been the target of discriminatory policies.