Organizations: The Australian National University, Canberra, ACT, Australia
Abstract
This performance presents a duet between two intelligent musical instruments, Sù (to trace back; to go upstream) and Agentier (playing on agentic clavier), and their human performers, connected through feedback loops. Rather than treating AI as a tool that responds predictably to input, both systems operate recursively, where past actions continuously influence future behaviour. The Sù operates in the audio space through latent representation. Its performer uses Make Noise 0-series synthesisers and MIDI controllers to work with a neural feedback synthesis system based on a RAVE model, with a latent feedback loop embedded within the model's internal structure. This allows the instrument to remember and reuse its own internal states, influencing ongoing sound generation through its recent sonic history. The Agentier functions in the control space. Its performer interacts with the system using a Roland S-1 synthesiser and Keith McMillen QuNeo touchpad, where control gestures are routed into a recurrent neural network that feeds back into the synthesis process. Through this feedback loop, the system actively shapes the evolution of control signals over time. Contrasting feedback in the audio and control domains, the performance explores shared agency, resistance, and negotiation between humans and intelligent musical systems. Musical phenomena are co-produced through the entangled states of interaction, rather than through pre-existing system configuration or fixed mappings.
Melodic material in Hindustani music is presented in relation to a tonic, usually sustained by the tanpura, a four-stringed drone instrument. Rooted in Hindustani music, 'The Moving Drone' sets the traditionally static drone into motion that, throughout the performance, gains increasing agency transitioning from reactive to more proactive roles. The work employs four independent loopers in Max/MSP to function as 'virtual' drones. They are populated cyclically in real-time as the vocalist improvises, creating an organic and evolving feedback loop between the voice and the virtual drone. This relationship further evolves melodically by pitch shifting the loops, which introduces a dimension of sudden, explicit movement. Then it changes timbrally, via the integration of GaMaDHaNi, a singer conditioned pitch-to-voice generative AI model to resynthesize looped audio. While current music AI approaches prioritize high-fidelity and realism of generated content which has sparked anxiety over job replacement for the music community, this work intentionally utilizes low-fidelity generative outputs, further necessitating human interpretation and situational context in order to be complete. 'The Moving Drone' positions technology and generative AI within established socio-cultural musical practices, proposing a virtual drone as an active, responsive, and co-creative musical agent.
Musical interaction with AI is often organised as a response loop: a human performs, the system interprets that action, and the system answers, accompanies, or schedules a musical event. Unconducted vocal ensembles pose a different problem. Singers act simultaneously and continuously affect one another; neither timing nor pitch is fixed by a conductor, metronome, accompaniment, score, or tuning source. Collective organisation emerges from many-to-many reciprocal adjustment. This paper frames such ensembles as coupled dynamic systems and proposes a research architecture for vocal agents that enter, rather than merely track, their collective states. Some target repertoires are metrical, while others exhibit non-isochronous temporal contours that cannot be reduced to a beat grid; we treat the latter as a hard case for a general framework. The architecture connects multichannel capture in the field to dialect- and singing-aware representation, collective-state inference, vocal generation, and in-situ evaluation. The resulting agenda asks not only whether an artificial singer can synchronise, but how its presence reorganises human coordination, leadership, style, and musical transmission.
Recent advances in AI music generation have enabled users to create complete musical pieces from natural-language prompts. However, most existing systems follow a prompt-and-regenerate paradigm, making iterative refinement difficult because users must repeatedly recreate compositions instead of directly evolving existing musical ideas. We present MusiChat, a conversational vibe composing system that enables collaborative human-AI music creation through natural-language interaction and iterative refinement. At the core of MusiChat is a hierarchical controllable music generation framework that separates lyric-aligned musical structure generation from expressive surface realization, allowing flexible stylistic transformations and structure-preserving edits. The system integrates a large language model with a hybrid symbolic music engine through a memory-augmented architecture that maintains the active composition state and user history across interactions. A hybrid intent-routing mechanism further enables efficient interpretation of both precise musical edits and open-ended creative requests. Rather than regenerating compositions from scratch, MusiChat incrementally transforms an evolving musical artifact while preserving relevant musical structure and user intent. We evaluate MusiChat through objective analysis and human studies, achieving 95.31% and 100% accuracy for single- and multi-turn interactions, respectively, and obtaining like-to-dislike ratios of 2:1 for melody naturalness and 3:1 for musical quality. Our results demonstrate that MusiChat supports coherent multi-turn music authoring and interactive human-AI co-creation through a conversational interface.