The term Bio-Art has entered common usage to describe the interaction between the arts and the biological sciences. Although Bio-Art implies that Bio-Music would be one of its obvious sub-disciplines, the latter term has been much less frequently used. Nevertheless, there has been no shortage of projects that have brought together music and the biological sciences. Most of these projects have allowed the biological data to dictate to a large extent the sound produced, for instance the translation of genome or protein sequences into musical phrases, and therefore may be regarded as process compositions. Here I describe a Bio-Music process composition that derives its biological input from a visual representation of the expression pattern of the gene fushi tarazu in the Drosophila embryo. An equivalent pattern is constructed from the Scambi portfolio of short electronic music fragments created by Henri Pousseur in the 1950s. This general form of the resulting electronic composition follows that of the fushi tarazu pattern, while satisfying the rules of the Scambi compositional framework devised by Pousseur. The range and flexibility of Scambi make it ideally suited to other Bio-Music projects wherever there is a requirement, or desire, to build larger sonic structures from small units.

This article presents an overview of the first AI-human collaborated album, Hello World, by SKYGGE, which utilizes Sony’s Flow Machines technologies. This case study is situated within an overview of current and emerging uses of AI in popular music production, and connects those uses with myths and fears that have circulated in discourses concerning the use of AI in general, but also in music specifically. By proposing the concept of an audio uncanny valley in relation to AIPM (artificial intelligence popular music), this article offers a lens through which to examine the more novel and unusual melodies and harmonisations made possible through AI music generation, and questions how this content relates to wider speculations about posthumanism, sincerity, and authenticity in both popular music, and more wider assumptions of anthropocentric creativity. In its documentation of the emergence of a new era of popular music, the AI era, this article surveys: (1) the current landscape of artificial intelligence popular music focusing on the use of Markov models for generative purposes; (2) posthumanist creativity and the potential for an audio uncanny valley; and (3) issues of perceived authenticity in the technologically mediated “voice”.

Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal whereas the cross correlation coefficient obtained from the MFDXA technique gives the degree of correlation between two nonlinear time series. The observations give a cue in the direction to the scientific recognition of “Guru-Shisya Parampara” (teacher-student tradition)—a hitherto much-heard philosophical term. Moreover the variation in the complexity patterns among various gharanas will give a hint of the characteristic feature of that particular gharana as well as the effect of globalization in the field of classical music happening through past few decades.

This paper introduces an ecological approach to quantifying diversity in musical compositions. The approach considers notations with distinct pitches and duration as equivalents of species in ecosystems, measures within a composition as equivalents of ecosystems, and the sum of measures (i.e., the entire composition) as a landscape in which ecosystems are embedded. Structural diversity can be calculated at the level of measures (“alpha diversity”) and the entire composition (“gamma diversity”). An additional metric can be derived that quantifies the structural differentiation between measures in a composition (“beta diversity”). We demonstrate the suitability of the approach in music using specifically composed examples and real songs that vary in complexity. We discuss the potential of the approach with selected examples from a potentially ample spectrum of applications within musicology research. The method seems particularly suitability for hypothesis testing to objectively identify many of the intricate phenomena in music. Because the approach extracts information present in the compositions – it lets the songs tell their structure – it can complement more complex modeling approaches used by music scholars. Combined such approaches provide opportunities for interdisciplinary research. They can help to fill knowledge gaps, stimulate further research and increase our understanding of music.

1) Background: Bipolar or manic-depressive disorder is a malign mental disease that frequently faces social stigma. Educational and thinking models are needed to increase people’s awareness and understanding of the disorder. The arts have potential to achieve this goal. 2) Methods: This paper builds on the recent use of heavy metal music as a thinking and education model. It emphasizes the artistic component of heavy metal and its potential to characterize the symptomatology during the episodes of (hypo)mania and depression and the recurrence of these episodes. Heavy metal music has diversified into subgenres that become allegorical to both the symptoms of episodes and the recurrence of bipolar cycles. 3) Results: Examples of songs are given that mirror distinct facets of the disorder. 4) Conclusion: Although the links drawn between art (music) and science (psychiatry) are inherently subjective, such connections might be used to trigger a learning process, facilitate judgment and decision-making, and induce affective reactions and memory formation in the listener. The approach may facilitate collaborative efforts and serve healthcare professionals and educators as a communication tool to aid the public’s comprehension of the disease and an associated social paradox: On one hand, bipolar disorder incurs substantial costs to society. On the other hand, it benefits from the creative artistic and scientific endeavors of bipolar individuals from which cultural and political gains may ensue.