Gérard Assayag
Publications
Publications
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Interactive Music Co-Creation with an Instrumental Technique-Aware System: A Case Study with Flute and Somax2International Computer Music Conference (ICMC 2025), Jun 2025, Boston (MA), United States |
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Multi-Track MusicLDM: Towards Versatile Music Generation with Latent Diffusion Model ⋆EAI ArtsIT 2024, Nov 2024, Abu DHABI, United Arab Emirates |
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Creative Improvised Interaction with Generative Musical Systems2022 IEEE 5th International Conference on Multimedia Information Processing and Retrieval (MIPR), IEEE, Aug 2022, CA (virtual), United States. pp.121-126, ⟨10.1109/MIPR54900.2022.00028⟩ |
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A posthumous improvisation by Toots ThielemansToots Thielemans (1922-2016). A Century of Music across Europe and America, May 2022, Bruxelles, Belgium |
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L'informatique musicale : informatique et musique en interdisciplinaritéJournées d'Informatique Musicale (JIM 2019), May 2019, Bayonne, France |
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Indisciplines symboliquesJIM 2019 Journées d'Informatique Musicale, LaBRI, May 2019, Bayonne, France |
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Generating Equivalent Chord Progressions to Enrich Guided Improvisation : Application to Rhythm ChangesSMC 2017 - 14th Sound and Music Computing Conference, Jul 2017, Espoo, Finland. pp.8 |
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DYCI2 agents: merging the "free", "reactive", and "scenario-based" music generation paradigmsInternational Computer Music Conference, Oct 2017, Shangai, China |
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Guider l'improvisation musicale homme-machine : une synthèse sur le système ImproteKJournées d'Informatiques Musicales (JIM) 2016, GMEA - Labri, Mar 2016, Albi, France |
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Modèles Probabilistes pour l'Interaction entre agentsWorkshop Affect • Compagnon Artificiel • Interaction (WACAI 2016), Jun 2016, Brest, France |
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Using Multidimensional Sequences For Improvisation In The OMax Paradigm13th Sound and Music Computing Conference, Aug 2016, Hamburg, Germany |
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GUIDER L'IMPROVISATION MUSICALE HOMME-MACHINE : UNE SYNTHÈSE SUR LE SYSTÈME IMPROTEKJournées d'Informatique Musicale, Mar 2016, Albi, France |
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Emergence of synchrony in an Adaptive Interaction ModelIntelligent Virtual Agents 2015 Doctoral Consortium, Aug 2015, Delft, Netherlands |
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Guided improvisation as dynamic calls to an offline modelSound and Music Computing (SMC), Jul 2015, Maynooth, Ireland |
Model of Adaptation in Human-Machine Interaction for Embodied Conversational Agents and Musical Improvisation, Doctoral Consortium, Intelligent Virtual Agents, IVA'15, Aug 2015, Delft, Netherlands |
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Creative Symbolic Interaction40th Intl. Comp. Mus. Conf. and 11th Sound and Music Comp. Conf. (ICMC / SMC joint conf.), Sep 2014, Athenes, Greece. pp 1-6 |
Adaptation in an Interactive Model designed for Human Conversation and Music Improvisation: a preparatory outlineWACAI 2014, 2014, NA, France |
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OMaxist DialecticsNew Interfaces for Musical Expression, May 2012, Ann Arbor, United States. pp.137-140 |
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Music Design with Audio Oracle using Information RateFIRST INTERNATIONAL WORKSHOP ON MUSICAL METACREATION (MUME 2012), Oct 2012, Palo Alto, United States. pp.1-1 |
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OpenMusic – Visual Programming Environment for Music Composition, Analysis and ResearchACM MultiMedia (MM'11), 2011, Scottsdale, United States. ⟨10.1145/2072298.2072434⟩ |
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Audio Oracle Analysis of Musical Information RateProceedings of IEEE Semantic Computing Conference (ICSC2011), 2011, Unknown, United States. pp.567--571 |
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On architecture and formalisms for computer assisted improvisationSound and Music Computing conference, Jul 2010, Barcelona, Espagne. pp.1-1 |
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An Overview of FORCES: An INRIA Project on Declarative Formalisms for Emergent SystemsICLP 2009 - 25th International Conference on Logic Programming, Jul 2009, Pasadena, United States. pp.509-513, ⟨10.1007/978-3-642-02846-5⟩ |
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Iscore : A system for writing interaction3rd International Conference on Digital Interactive Media in Entertainment and Arts, Sep 2008, Athènes, Greece. pp.360-367 |
OpenMusic: Design and Implementation Aspects of a Visual Programming LanguageEuropean Lisp Symposium - ELS'08, 2008, Bordeaux, France |
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INTRODUCING VIDEO FEATURES AND SPECTRAL DESCRIPTORS IN THE OMAX IMPROVISATION SYSTEMICMC, Aug 2008, Belfast, Ireland. pp.1-1 |
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A system of Interactive Scores based on qualitative and quantitative temporal constraints4th International Conference on Digital Arts, Nov 2008, Porto, Portugal. pp.1-8 |
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De Boxes à Iscore : vers une écriture de l'interactionJournées d'Informatique Musicale, Mar 2008, Albi, France. pp.79-83 |
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An Evolutionary Approach to Computer-Aided Orchestration5e workshop on Evolutionary Computation, Machine Learning and Data Mining, Apr 2007, Valencia, Spain. pp.488-497, ⟨10.1007/978-3-540-71805-5_54⟩ |
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NAVIGATING THE ORACLE: A HEURISTIC APPROACHInternational Computer Music Conference '07, Aug 2007, Copenhagen, Denmark. pp.405-412 |
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An Evolutionary Approach to Computer-Aided OrchestrationEvoMUSART, Apr 2007, Valence, Spain. pp.488-497 |
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GUIDAGE: A Fast Audio Query Guided AssemblageProceedings of International Computer Music Conference (ICMC), 2007, Copenhagen, Denmark |
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A System of Interactive Scores based on Petri Nets4th Sound and Music Computing Conference (SMC07), Jul 2007, Lefkada, Greece. pp.158-165 |
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Musique Lab 2 - Un environnement d'aide à la pédagogie musicaleJournées d'Informatique Musicale - JIM'07, 2007, Lyon, France |
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Audio Oracle: A New Algorithm for Fast Learning of Audio StructuresProceedings of International Computer Music Conference (ICMC), 2007, Copenhagen, Denmark |
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OMAX Brothers: A Dynamic Topology of Agents for Improvisation LearningACM Multimedia Workshop on Audio and Music Computing for Multimedia, 2006, Santa Barbara, United States |
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IMITATIVE AND GENERATIVE ORCHESTRATIONS USING PRE-ANALYSED SOUNDS DATABASESSMC'06, May 2006, Marseille, France. pp.115-122 |
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Concurrent Constraints Models for Interactive Scores3rd Sound and Music Computing Conference (SMC06), GMEM, May 2006, Marseille, France |
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OMax-OfonSound and Music Computing (SMC) 2006, May 2006, Marseille, France. pp.1-1 |
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A Concurrent Constraints Factor Oracle Model for Music ImprovisationXXXII Conferencia Latinoamericana de Informática CLEI 2006, Aug 2006, Santiago, Chile. pp.1-1 |
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CONCURRENT CONSTRAINTS MODELS FOR SPECIFYING INTERACTIVE SCORESSound and Music Computing, 2006, Marseille, France |
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A framework for Anticipatory Machine Improvisation and Style ImitationAnticipatory Behavior in Adaptive Learning Systems (ABiALS), 2006, Rome, Italy |
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Improvisation et réinjection stylistiquesLe feed-back dans la création musicale contemporaine - Rencontres musicales pluri-disciplinaires, Mar 2006, Lyon, France. pp.1-1 |
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Omax Brothers : a Dynamic Topology of Agents for Improvization LearningWorkshop on Audio and Music Computing for Multimedia, ACM Multimedia 2006, Oct 2006, Santa Barbara, United States. pp.1-1 |
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OpenMusic 5: A Cross-Platform Release of the Computer-Assisted Composition EnvironmentBrazilian Symposium on Computer Music (SBCM'05), 2005, Belo Horizonte, Brazil |
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Improvisation Planning and Jam Session Design using concepts of Sequence Variation and Flow ExperienceSound and Music Computing 2005, Nov 2005, Salerno, Italy. pp.1-1 |
Segmentation et reconnaissance de patterns dans la musiqueActes des journées (SCO/0039) : Action Concertée Incitative (ACI) « Systèmes complexes en Sciences sociales « Centre Universitaire de Vaugirard 1, Université Paris 2., Dec 2004, Paris, France |
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OMClouds, petits nuages de contrainte dans OpenMusicJournées d'Informatique Musicale, Jun 2003, Montbéliard, France |
OM :A Graphical extension of CLOS using the MOPILC, 2003, NA, France |
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Programmation Visuelle et Editeurs Musicaux pour la Composition Assistée par Ordinateur.Interface Homme Machine, Nov 2002, Poitiers, France |
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Représentation et rendu de structures rythmiquesJournées d'Informatique Musicale, May 2002, Marseille, France |
Representation and Rendering of Rhythmic StructuresWedelMusic 2002, 2002, NA, France |
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Recherche adaptative et contraintes musicalesJFPLC, 2001, NA, France |
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The Geometrical Groove : rythmic canons between Theory, Implementations and Musical ExperimentJournées d'Informatique Musicale, Jun 2001, Bourges, France |
Visual and Adaptive Constraint Programming in MusicICMC 01, 2001, NA, France |
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CAO et contraintesJournées d'Informatique Musicale, 2001, NA, France |
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No title8èmes Journées d'Informatique Musicale, Jun 2001, Bourges, France. pp.113-119 |
High Level Musical Control of Sound Synthesis in OpenMusicICMC: International Computer Music Conference, Aug 2000, Berlin, Allemagne |
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Guessing the Composer's MindICMC: International Computer Music Conference, Oct 1999, Beijing, China. pp.1-1 |
Objects, Time and Constraints in OpenMusicICMC: International Computer Music Conference, Oct 1998, Ann Arbor Michigan, États-Unis |
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Integrating Constraint Programming in Visual Musical Composition LanguagesE.C.A.I. 98, Aug 1998, Brighton, Royaume-Uni |
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Universal Classification Applied to Musical SequencesICMC: International Computer Music Conference, Oct 1998, Ann Arbor Michigan, United States. pp.1-1 |
Problèmes de notation dans la composition assistée par ordinateur,Rencontres Musicales Pluridisciplinaires. Musique et Notation GRAME, Jun 1997, Lyon, France |
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An Object Oriented Visual Environment for Musical CompositionICMC: International Computer Music Conference, Sep 1997, Thessaloniki Hellas, Greece. pp.364-367 |
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A framework to integrate environments for computer aided composition and sound synthesisJIM: Journées d'informatique musicale, Jun 1997, Lyon, France. pp.114-121 |
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Visual Programming in MusicICMC: International Computer Music Conference, Sep 1995, Banff, Canada. pp.73-76 |
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The Music Representation Project at IRCAMICMC: International Computer Music Conference, 1993, Tokyo, Japan. pp.1-1 |
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Machine-man Co-improvisation: Incursion of Djazz in FlamencoSOMOS, The Second Symposium of the ICTM Study Group on Sound, Movement, and the Sciences, Oct 2022, Barcelone, France. 2022 |
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Somax 2 a Reactive Multi-Agent Environment for Co-ImprovisationSMC 2022 - Sound Music & Computing, Jun 2022, Saint-Étienne, France. Proceedings of the 19th Sound and Music Computing Conference, 2022 |
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Improvisation musicale multidimensionnelle dans le paradigme OMaxJournées Jeunes Chercheurs en Acoustique, Audition et Signal, Nov 2016, Paris, France. 2016 |
Artisticiel / Cyber-ImprovisationsAssociation Improvisation Musicale et Technologie. Phonofaune, 2021, Dialogiques d'Uzeste, Bernard Lubat |
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The OM Composer's Book 3Editions Delatour France / IRCAM-Centre Pompidou, 2016 |
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Constraint Programming in MusicISTE-Wiley, pp.256, 2011 |
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Mathematics and Computation in MusicSpringer. 6726, 2011, Lecture Notes in Artificial Intelligence |
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The OM Composer's Book 2Editions Delatour France / Ircam-Centre Pompidou, 2008 |
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Penser la musique avec les mathématiquesCollection Musique / Science, Ircam / Delatour. 2006 |
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The OM Composer's Book 1Editions Delatour France / Ircam-Centre Pompidou, 2006 |
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Journal of New Music Research, Special Issue on Sound and Music Computing,2005 |
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De la théorie musicale à l'art de l'improvisationDELATOUR-France; AYARI Mondher. 2005 |
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De la théorie musicale à l’art de l’improvisationDELATOUR-France; Mondher AYARI. 2005 |
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Agalma-IAJean-Louis Giavitto; Pierre Saint-Germier. L’Art au temps de l’IA. Générer, critiquer, créer, Editions du Centre Pompidou, pp.81-86, 2025, 978-2-38654-016-5 |
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Human-Machine Co-Creativityin Bernard Lubat, Gérard Assayag, Marc Chemillier. Artisticiel / Cyber-Improvisations. Phonofaune, 2021, Dialogiques d'Uzeste. ⟨hal-03542917⟩, 2021 |
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Improvising in Creative Symbolic InteractionJordan B. L. Smith; Elaine Chew; Gérard Assayag. Mathematical Conversations : Mathematics and Computation in Music Performance and Composition, 32, World Scientific; Imperial College Press, pp.61 - 74, 2016, Lecture Notes Series, 978-981-3140-09-7 |
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Interaction with Machine ImprovisationShlomo, Argamon and Shlomo, Dubnov and Kevin, Burns. The Structure of Style: Algorithmic Approaches to Understanding Manner and Meaning, Springer, pp.219-245, 2010, 978-3-642-12337-5. ⟨10.1007/978-3-642-12337-5_10⟩ |
Memex and Composer Duets: computer aided composition using style modeling and mixingCollection Musique Sciences ircam Delatour; Agon C., Assayag, G., Bresson J. Open Music Composers book 2,, 2008 |
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Anticipatory Model of Musical Style Imitation using Collaborative and Competitive Reinforcement LearningButz M.V. and Sigaud O. and Pezzulo G. and Baldassarre G. Anticipatory Behavior in Adaptive Learning Systems, 4520, Springer Verlag, pp.285-306, 2007, Lecture Notes in Computer Science / Artificial Intelligence (LNAI), 978-3-540-74261-6 |
De la calculabilité à l'implémentation musicaleCollection Musique Sciences Ircam / Delatour; Assayag, G., Nicolas, F., Mazzola, g. Penser la musique avec les mathématiques,, 2006 |
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Modélisation et simulation du système complexe de perception de structures musicalesDelatour; Mondher Ayari. De la théorie à l'art de l'improvisation : Analyse de performances et modélisation musicale,, pp.1-1, 2005 |
Présentation de l'ouvrage (avant-propos)DELATOUR-France; AYARI Mondher. De la théorie musicale à l'art de l'improvisation, Analyse des performances et modelisation musicale, 2005 |
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Segmentation et reconnaissance de patterns dans la musiqueCentre Universitaire de Vaugirard 1, Université Paris 2. Actes des journées (SCO/0039) : Action Concertée Incitative (ACI) « Systèmes complexes en Sciences sociales »,, pp.76-83, 2004 |
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Outils informatiques pour la composition musicale assistée par ordinateur : un état de l’art.Euresis Edizioni; Jacopo Baboni Schilingi. Book of articles and essays of PRISMA group,, 2003 |
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Universal Prediction Applied to Stylistic Music GenerationSpringer; Assayag, G., Feichtinger, H.G., Rodrigues, J.F. Mathematics and Music, A Diderot Mathematical Forum, pp.147-158, 2002 |
Object-Oriented Programming in OpenMusicBirkhäuser Verlag Ed. Topos of Music,, 2002 |
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Integrating Constraints and Concurrent Objects in Musical ApplicationsKluwer Academic Publisher, Netherlands. Constraints,, 1999 |
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Du calcul secret au calcul visuelHermès; Sous la direction de François Delalande et Hugues Vinet. Interfaces homme-machine et création musicale,, 1999 |
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CAO : vers la partition potentielleIrcam - Centre Georges Pompidou. Cahiers de l'Ircam n° 3, Recherche musicale : La composition assistée par ordinateur, pp.1-1, 1993 |
Cyber-improvisations et cocréativité, quand le jazz joue avec les machines2023, pp.38-39 |
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Dicy2 for Ableton LiveIrcam. 2022 |
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Dicy2 for MaxIrcam UMR STMS 9912. 2022 |