The I-Ching is one of the most influential texts in Chinese intellectual history, integrating divination, cosmology, and ethical reflection. While Western experimental music, most notably John Cage, has drawn on the I-Ching as a source of chance operation, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work, Music of Changing Lines, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users perform Wen Wang Fa coin casting, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model, Gemini, in relation to the user's inquiry. This textual interpretation is then translated into a prompt for a generative music model, Lyria, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority, the system foregrounds the I-Ching's ritual, interpretation, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory, meaning-driven musical processes without prescribing musical structure or replacing human agency.
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.
Machine generation of symbolic music and digital audio are hot topics but there have been relatively few digital musical instruments that integrate generative AI. Present musical AI tools are not artist centred and do not support experimentation or integrating into musical instruments or practices. This work introduces an inexpensive generative AI instrument platform based on a single board computer that connects via MIDI to other musical devices. The platform uses artist-collected datasets with models trained on a regular computer. This paper asks what the design space of intelligent musical instruments might look like when accessible and portable AI systems are available for artistic exploration. I contribute five examples of instruments created and tested through a two-year first-person artistic research process. These show that (re)mapping can replace retraining for discovering AI interaction, that fast input interleaving is a new co-creative strategy, that small-data AI models can be a transportable design resource, and that cheap hardware can lower barriers to inclusion. This work could enable artists to explore new interaction and performance schemes with intelligent musical instruments.
Music and dance are social practices of expression and connection, yet most HCI work in human-AI co-creation centers the solo performer. As generative music matures, we ask not only what AI can compose but what social encounters it can organize around sound. We present Encypher, a collaborative generative music system that translates collective movement qualities into text prompts conditioning real-time music generation for dance cyphers. Through five weeks of co-design with local dancers, a user study with unacquainted participants, a public museum event, and a live performance, we found that users developed shared agency, perceiving the music as a response to the room's energy. While newcomers felt uncertain, the system fostered social presence by prompting them to look to each other for cues. By treating sociality as a design concern rather than a downstream effect, we offer a framework and design implications for AI systems for collaborative, embodied expression.