Papers by Solomiya Moroz
Zenodo (CERN European Organization for Nuclear Research), Aug 29, 2023
In this paper, we present a framework for understanding human-AI musicking. This framework prompt... more In this paper, we present a framework for understanding human-AI musicking. This framework prompts a series of questions for reflecting on various aspects of the creative interrelationships between musicians and AI and thus can be used as a tool for designing creative AI systems for music. AI is increasingly being utilised in sonic arts and music performance, as well as digital musical instrument design. Existing works generally focus on the theoretical and technical considerations needed to design such systems. Our framework adds to this corpus by employing a bottom-up approach, as such it is built using an embodied and phenomenological perspective. With our framework, we put forward a tool that can be used to design, develop, and deploy creative AI in ways that are meaningful to musicians, from the perspective of musicking (doing music). Following a detailed introduction to the framework, we then introduce the four case studies that were used to refine and validate it, namely, a breathing guitar, a biosensing director AI, a folk-melody generator, and a realtime co-creative robotic score. Each of these is at different stages of development, ranging from ideation, through prototyping, into refinement, and finally, evaluation. Additionally, each design case also presents a distinct mode of interaction based on a continuum of human-AI interaction, which ranges from creation tool to co-creative agent. We then present reflection points based on our evaluation of using, challenging, and testing the framework with active projects. Our findings warrant future widespread application of this framework in the wild.
Artefacts of Presence
Author(s): Moroz, Solomiya | Abstract: This music score was submitted for the Kaleidoscope 2020 C... more Author(s): Moroz, Solomiya | Abstract: This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.
Arrows That Remain
This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collabor... more This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library
Through engagement with embodied research, I challenge the use of notation as part of the 'pa... more Through engagement with embodied research, I challenge the use of notation as part of the 'paradigm of reproduction' [1] in which notation plays a central role in the musical work concept. In my work, I propose new collaborative methods which place an accent on performers' response and embodied memory, thus I anchor the idea of a work with collaborators of my projects in addition to any other methods of mediation such as a notated score. In this paper, I would like to discuss two of my latest works, On Fragments and Motion Studies, which rely on performers' embodied memory in order to execute the works.
Author(s): Moroz, Solomiya | Abstract: This music score was submitted for the Kaleidoscope 2020 C... more Author(s): Moroz, Solomiya | Abstract: This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.
Once I Forgot What Distance Sounds Like
This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collabor... more This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library
Composing Embodied Presence in a Chamber Music Context
This thesis comprises a body of works, and a written commentary, which can be anchored within an ... more This thesis comprises a body of works, and a written commentary, which can be anchored within an expanded field of chamber music. This field embraces not only notated music but also electronics, and has a strong focus on physical gesture. The extra-musical aspect of composition with physical gestures in my works pushes my compositional concerns towards interdisciplinarity, thus challenging the ontological boundaries of the musical work. In the commentary, I examine how a process of signification with extra musical elements like physical gestures as explicit material for composition could take place in chamber music. My work necessitates collaboration in order to arrive at an embodied knowledge of technique and practice where I treat physical gestures and performers’ bodies as material for composition. Through extensive collaboration I also dislocate the implicit hierarchies within the ontology of the musical work, thus motioning towards a new ontology where performers have autonomy ...
In this paper I discuss my process in composition with physical gesture while demonstrating examp... more In this paper I discuss my process in composition with physical gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, the pianist-performer is present on stage with touch sensors and accelerometers attached to his hands without a visible piano in front of him. In this piece, I explore the drama of a missing piano interface while embodying physically the act of playing. There is a video component to the piece which initially establishes real- time correlation with the performer, only to become amplified, disjointed and broken into other narratives as the piece progresses. Throughout the piece, the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.
Sixth International Conference on Technologies for Music Notation and Representation Online Edition , 2020
Through engagement with embodied research, I challenge
the use of notation as part of the ‘paradi... more Through engagement with embodied research, I challenge
the use of notation as part of the ‘paradigm of reproduction’
in which notation plays a central role in the musical
work concept. In my work, I propose new collaborative
methods which place an accent on performers’ response
and embodied memory, thus I anchor the idea of a work
with collaborators of my projects in addition to any other
methods of mediation such as a notated score. In this paper,
I would like to discuss two of my latest works, On
Fragments and Motion Studies, which rely on performers’
embodied memory in order to execute the works.
P. Kessling and T. G ̈orne (eds.), KLG 2017 (EPiC Series in Technology, vol. 1), 2019
In this paper I discuss my process in composition with physical gesture while demonstrating examp... more In this paper I discuss my process in composition with physical gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, the pianist-performer is present on stage with touch sensors and accelerometers attached to his hands without a visible piano in front of him. In this piece, I explore the drama of a missing piano interface while embodying physically the act of playing. There is a video component to the piece which initially establishes real- time correlation with the performer, only to become amplified, disjointed and broken into other narratives as the piece progresses. Throughout the piece, the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.
The performances with gestural controllers and sensors today have not come to significantly diver... more The performances with gestural controllers and sensors today have not come to significantly diversify the standard instrumental practice with live electronics. In this paper, I discuss the history and evolution towards gestural performances while looking at the composers of the American avant-garde in the 1950s and 1960s as well as the developments in Amsterdam’s STEIM centre for electro acoustic instrumental research from 1980s to present time. I discuss the technical aspects of sensors and gestural controllers, highlight some artists who are working with similar sensor interfaces as myself, discuss my own practical research while illustrating difficulties and challenges in working with sensors and gestural control-like interfaces involving physicality and embodiment.
Thesis Chapters by Solomiya Moroz
Commentary, 2020
This thesis comprises a body of works, and a written commentary, which can be anchored within an ... more This thesis comprises a body of works, and a written commentary, which can be anchored within an expanded field of chamber music. This field embraces not only notated music but also electronics, and has a strong focus on physical gesture. The extra-musical aspect of composition with physical gestures in my works pushes my compositional concerns towards interdisciplinarity, thus challenging the ontological boundaries of the musical work. In the commentary, I examine how a process of signification with extra-musical elements like physical gestures as explicit material for composition could take place in chamber music. My work necessitates collaboration in order to arrive at an embodied knowledge of technique and practice where I treat physical gestures and performers’ bodies as material for composition. Through extensive collaboration I also dislocate the implicit hierarchies within the ontology of the musical work, thus motioning towards a new ontology where performers have the autonomy to make creative contributions to the work. This new form of ontology already manifests itself in my music, particularly when presented in an electronic music context with gestural controllers, which I address in Chapter 3 using the metaphor of the cyborg. The interdisciplinary aspect of my compositions with physical gesture amplifies the performer’s presence on stage, thus challenging the codes associated with the ritual of Western concert music performance.
Through the portfolio of works, I demonstrate gestural considerations that oscillate between two sensory concerns: the aural and the visual. At the end of my PhD, I embraced processes of listening in order to generate new instances of embodied movement in reaction to sound in an interdisciplinary collaboration with theatre performers. The insight from this project informs my current compositional process in where the emphasis is placed on the perception of sound in a chamber music context. Thus, the ritual of concert performance also undergoes changes in order to satisfy the enquiry for embodiment and movement of sound in space.
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Papers by Solomiya Moroz
the use of notation as part of the ‘paradigm of reproduction’
in which notation plays a central role in the musical
work concept. In my work, I propose new collaborative
methods which place an accent on performers’ response
and embodied memory, thus I anchor the idea of a work
with collaborators of my projects in addition to any other
methods of mediation such as a notated score. In this paper,
I would like to discuss two of my latest works, On
Fragments and Motion Studies, which rely on performers’
embodied memory in order to execute the works.
Thesis Chapters by Solomiya Moroz
Through the portfolio of works, I demonstrate gestural considerations that oscillate between two sensory concerns: the aural and the visual. At the end of my PhD, I embraced processes of listening in order to generate new instances of embodied movement in reaction to sound in an interdisciplinary collaboration with theatre performers. The insight from this project informs my current compositional process in where the emphasis is placed on the perception of sound in a chamber music context. Thus, the ritual of concert performance also undergoes changes in order to satisfy the enquiry for embodiment and movement of sound in space.