Introduction

Overview

This reflection is divided into three parts: the ‘Prelims,’ the ‘Artistic Result,’ and the ‘Afterwords.’ After this introduction and overview, the ‘Prelims’ section concludes with a lengthy chapter titled ‘Multidisciplinary Insights,’ which mainly provides theoretical concepts related to the project. This chapter can be seen as a kind of theoretical framework for the rest of the work, although I prefer not to label it as such, as that would place this reflection within the structure of a traditional doctoral dissertation, which, I believe, it is not.* The Ph.D. in Artistic Research regulations at the University of Bergen do not prescribe a specific format or style for the “material documenting artistic reflection” required as part of the submission for assessment. See https://lovdata.no/dokument/SFE/forskrift/2022-11-24-2595/KAPITTEL_4#KAPITTEL_4.

In this section, I first discuss insights from cognitive sciences, basic concepts related to artificial intelligence, and the commonalities and differences between the two. I then situate my artistic practice within the context of Western art contemporary music, particularly intersecting with computer-assisted composition, in alignment with certain practices and outcomes expected in these fields. After exploring personal considerations on aspects of compositional practice, such as musical material, structure, musical representation, and musical space, I conclude with a reflection on music composition as an artistic research practice. A more detailed discussion of the field of practice for this project is reserved for the ‘Field of Practice’ subsection within the ‘Reflections’ chapter.

As previously mentioned, the primary outcome of the project is artistic work. This consists of four distinct compositions: Versificator – Render 3 for vocal quintet, Elevator Pitch for violoncello and electronics, the cycle of three pieces Oscillations for voices, ensemble, electronics and visuals, and I am a Strange Loop for saxophone quartet, reeds duo and electronics. Each of these works is examined in detail across four chapters in the ‘Artistic Result’ section.

I propose a three-fold perspective for exploring these works. First, to investigate the genesis of each in the light of a paradigm for human cognition. The aim will be to establish connections between theories that explain the thought process that potentially prevails for each piece and its constructive aspects. Secondly, from an analytical perspective, focusing on the compositional methods, and musical-technical aspects. This approach builds on the previous one by drawing analogies between certain thought processes, creative methodologies and computational implementations. Finally, from a contextual perspective, linking each piece’s source of inspiration with its conceptual and experiential aspects, with a particular focus on the communicative and expressive intentions behind each work. Additionally, alongside a technical description of specific creative methodologies, I include examples of relevant musical works, primarily by contemporary composers who have previously developed some of these methods.

Each composition is mainly explored through one of these three models of cognition: the cognitivist paradigm, the connectionist approach, and the embodied perspective. Additionally, the concept of abstraction is introduced as a synthesizing framework that unifies these approaches. The cognitivist paradigm is paralleled with symbolic AI and methods like constraint satisfaction programming (CSP), while the connectionist paradigm aligns with sub-symbolic systems and methods such as artificial neural networks (ANN).* This taxonomy of AI methods for music composition has been proposed by Jose David Fernández and Francisco Vico, "AI Methods in Algorithmic Composition: A Comprehensive Survey," Journal of Artificial Intelligence Research 48 (2013), https://doi.org/10.1613/jair.3908. Within the ‘Artistic Result,’ these distinct computational approaches are used as creative tools in a computer-assisted composition workflow, but they also extend to other artistic forms, like algorithmic poetry.* Algorithmic poetry is a form of literature where poems are generated according to a set of pre-determined rules or processes, often with the use of a computer program. In 2020, I took the course “Algorithmic Poetry” taught by the Mexican artist Mario Guzman, which was greatly influential for the development of the whole project, in connection to the creation of algorithmic text experiments that inspired some of the works that I created during this research time. More on Mario in https://www.mario-guzman.com/.

An important part of the research consists of examining compositional formalizations at both computational and non-computational levels, something that I discuss as composing “inside the system” and “outside the system,” respectively. Composing inside the system focuses on using computational methods to generate and develop musical material and explore forms of musical organization. In contrast, composing outside the system essentially investigates subjective creative responses to these methods: something that cannot be computationally operationalized and emerges as a force that interplays with these formalizations. The investigation of these two approaches results in reflections on how they take form, how they coexist within my creative process, whether these find some meeting points or common ground, and, when possible, how the navigation through an intermediate territory unfolds. Addressing these issues is an important part of the process, and some answers to these questions can be found in each of the ‘Final Reflection’ subsections for each of the pieces.

The ‘Afterwords’ part of this text comprises two chapters: ‘Reflections’ and ‘Conclusions?’. In the first chapter, I delve into personal reflections on broad ethical perspectives that I believe might be relevant for other composers to consider. Within the sections ‘The Question of Contemporary Music’ and ‘Ethics of a Compositional Practice,’ I offer my view on topics such as the political implications of music composition, the role of the composer in society, and the function of this type of music within societal frameworks. These reflections form a key part of the project’s outcomes, influencing not only the creative process but also the purpose and societal impact of the resulting artwork.

I believe it is important to address the current context of my practice in light of recent technological developments in the field of artificial intelligence, particularly generative AI (gen-AI).* gen-AI is a very hot and trendy topic nowadays. See for example the “words of the year 2023” by some of the most important dictionaries involve terms related to AI and gen-AI. See for example https://www.jagranjosh.com/general-knowledge/word-of-the-year-2023-different-dictionaries-1703663520-1. Alongside reflections on general ethical considerations in the practice of composing, it is essential to examine specific ethical issues related to the use of gen-AI, a technology that plays a significant role in this project. In the chapter ‘Composition and gen-AI,’ I discuss ethical considerations surrounding authorship, ownership, and copyright from a historical perspective, as well as relatively new issues posed by the use of this technology in music, and in arts in general. Additionally, I speculate about the evolving role of artists within these new generative paradigms as well as providing visions about the future of artistic practice, that I view as key to understanding the new creative territories this technology opens for exploration.

Later, I will discuss the field of practice of my work in relation to its historical development: a current phase in the development of Western art contemporary music has long moved beyond the frameworks of modernity and postmodernity. This period, sometimes referred to by theorists as Late –or Second– Modernity, remains relevant, as many of its key practitioners are still active and have ongoing careers in the mainstream scene in Western countries. I include examples of some practitioners and works from which I have drawn inspiration. However, I speculate that this period is nearing its end and transitioning into something else, which some authors define as Post-contemporary.

At the intersection of this field, I place the field of computer-assisted composition, which has a rich history of research dating back at least to the late 1950s, when these methods first emerged. There is not only a significant history of technical and artistic developments that form the backdrop of this project but also a dynamic and continually evolving field. In this section, I offer a succinct overview of the ideas and works of historical practitioners who have had a profound influence on my compositional thinking.

The closing chapter, ‘Conclusions?’, presents final reflections on key issues addressed in this project, along with a discussion of its potential contributions. Regarding the latter, the development of my musical works throughout this project prompted me to implement, refine, and further develop several computational methodologies as compositional tools, primarily through computer-assisted composition functions and libraries. I believe an important contribution of this project lies in these developments, which are discussed in the section ‘Contributions.’

Finally, I offer some closing remarks, which focus on how the project could bridge gaps between neurocognitive and practice-based approaches, the tensions between creativity and institutionalized practices, and the role of formalizations as well as the aspects that lie beyond them. I also outline potential research threads for further exploration in the near future.

Research Inquiries

As the development of this project’s artistic outcomes has progressed, numerous artistic inquiries have arisen. Many of these have been explored in profundity, and the process has been described –more or less– in detail. Other inquiries remain more as open questions that don’t necessarily find an answer in the form of a musical work or written reflections; rather, they act more as catalysts for more specific or goal-oriented creative explorations. While it is impossible to encompass every question that has occupied my thoughts since I began with this project, below, I have attempted to generalize and summarize some overarching research threads and inquiries that have emerged throughout the process. Additionally, many more specific creative questions and technical investigations are posed within the discussion of each individual composition.

Other inquiries, particularly those related to ethical aspects of a compositional practice and the social, cultural, and historical implications of using artificial intelligence as a method for artistic creation, are broad and profound, largely exceeding the scope of this text. Therefore, these topics are approached more as a practice of reflection, for which I have offered a personal perspective, striving to keep it as updated and informed as possible, especially regarding the latter questions.

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