- new deadline for paper submission 16th March 2007
Workshop on Music and Artificial Life part of
10 September 2007, Belem
Cultural Centre, Lisbon, Portugal
Interdisciplinary Centre for Computer Music Research (ICCMR), Plymouth,
The Artificial Life approach to music is an exciting new development for
composers and researchers. For composers, it provides an innovative and
natural means for generating musical ideas from a specifiable set of primitive
components and processes, reflecting the compositional process of generating
a variety of ideas by brainstorming followed by selecting the most promising
ones for further iterated refinement. For researchers, such techniques
are used to model the cultural transmission and change of a population's
body of musical ideas over time. For example, the development and maintenance
of musical styles within particular cultural contexts and their reorganization
and adaptation in response to cultural exchange.
In both cases, the musical evolution can be influenced by a variety of
constraints and tendencies built into the system, such as realistic psychological
factors that influence the way that music is experienced, learned, stored,
modified, and passed on between individuals. Realistic Artificial Life
models of music require sophisticated techniques for the implementation
of such constraints and tendencies, which involves an interdisciplinary
understanding of music from different points of view, ranging from neuroscience
and psychology, to computing and musicology.
This workshop will focus on the applications of Artificial Life to music
and the tools needed to create and study such systems. These tools are
mostly drawn from research into the origins and evolution of biological
organisms, ecologies, and cultural systems on the one hand, and in part
from A-life computer modelling methodologies on the other.
The goal of this workshop is to bring together a multidisciplinary core
of musicians and scientists who are working at the crossroads of A-life
and music, to provide a common ground for dialog and interaction, to highlight
the latest advances, and to discuss the main directions for the future.
Topics of the workshop include (but not limited to):
• Composition and Performance
• Computational Biomusicology
• Computational Neuromusicology
• Emergent Musical Behaviour
• Modelling Techniques (Genetic Algorithms, Cellular Automata, Neural
Nets, Swarms, etc.)
• Musical Creativity
• Origins and Evolution of Music
• Unconventional Computing for Music (Analog Computation, Bio-computing,
Chemical Computing, etc.)
• Signal Processing (Audio and Music)
• Sound-based Communication Systems in Animals and Animats
• Sound Synthesis
• Sensors and Actuators (for A-life music models)
In addition to scientific and technical standard research papers, composers
and practitioners are encouraged to submit papers reporting practical
applications of Alife to music; e.g., discussing a musical composition
Given the wide range of topics, authors should make sure their papers
are contextualized in the field of A-life and music so as indicate how
the proposed A-life approach to the problem in question is contributing
to music or how the music approach is contributing to A-life.
All workshop papers will be reviewed by a minimum of two
members of the scientific programme committee.
Submissions (preferably in PDF format) should be sent
by email to:
with a Cc: to
NOTE: All submissions will be acknowledged. If you do
not receive an acknowledgement within 48 hours, please contact us to double
check whether your submission reached us safely.
The submissions should be full papers (not abstracts), following the
Springer LNCS format, with a maximum page
length of 12 pages. LaTeX and Word templates can be found here.
Authors should remain anonymous, as the review process will be double-blind
review. An attempt should be made to conceal any self-referencing
that would identify the authorship.
All selected papers will be published in the proceedings of ECAL 07 workshops,
as a CD-ROM, which will be distributed to all delegates of the conference
on arrival. In addition to the CD-ROM proceedings:
a) Up to 2 papers will be recommended by the programme committee for
publication in Leonardo
Music Journal, Vol. 18, on the theme "Why Live? Performance
in the Age of Digital Reproduction". This issue of LMJ is due for
publication in December 2008. Therefore, authors will have the chance
to produce an updated version of the recommended papers.
b) Authors of all selected papers will be invited to publish a book-chapter version of the paper in a book (provisionally entitled Sounds of Artificial
Life: Breeding Music with Digital Biology) to be published after the workshop. More details on this publication opportunity will be provided with the notification of the results of the reviewing process.
Format of the workshop:
Each speaker would be given 30 minutes to present his/her
work including 5 minutes for discussion. The last hour of the workshop
will be assigned for a concluding discussion on the future of the field.
This will be an interactive session for open group discussion.
* Submission deadline:
09 March 2007 16 March
* Notification date:
23 April 2007 30 April 2007
* Final date for camera-ready copies to organizers: 18 May 2007
Please note that our deadlines are earlier than the main
Eduardo R Miranda (Chair, University of Plymouth, UK)
Joao Martins (University of Plymouth, UK)
Qijun Zhang (University of Plymouth, UK)
Scientific and Programme Committee:
Amilcar Cardoso (University of Coimbra, Portugal)
Andrew Brown (Queensland University of Technology, Australia)
Andrew Horner (The Hong Kong University of Science & Technology, China)
Christopher Ariza (Towson University, USA)
John Al Biles (Rochester Institute of Technology, USA)
John Matthias (University of Plymouth, UK)
Jon McCormack (Monash University, Australia)
Geraint Wiggins (Goldsmiths College University of London, UK)
Larry Bull (University of the West of England, UK)
Marc Leman (Ghent University, Belgium)
Mitchell Whitelaw (University of Canberra, Australia)
Palle Dahlstedt (Univesity of Göteborg, Sweden)
Peter Bentley (University College London, UK)
Tim Blackwell (Goldsmiths College University of London, UK)