This paper presents the first step in a research project situated within the field of musical agents. The objective is to achieve, through training, the tuning of the desired musical relationship between a live musical input and a real-time generated musical output, through the curation of a database of separated tracks. We propose an architecture integrating a symbolic decision module capable of learning and exploiting musical relationships from such musical corpus. We detail an offline implementation of this architecture employing Transformers as the decision module, associated with a perception module based on Wav2Vec 2.0, and concatenative synthesis as audio renderer. We present a quantitative evaluation of the decision module's ability to reproduce learned relationships extracted during training. We demonstrate that our decision module can predict a coherent track B when conditioned by its corresponding ''guide'' track A, based on a corpus of paired tracks (A, B).

Revival is an innovative live audiovisual performance and music improvisation by our artist collective K-Phi-A, blending human and AI musicianship to create electronic music with audio-reactive visuals. The performance features real-time co-creative improvisation between a percussionist, an electronic music artist, and AI musical agents. Trained in works by deceased composers and the collective's compositions, these agents dynamically respond to human input and emulate complex musical styles. An AI-driven visual synthesizer, guided by a human VJ, produces visuals that evolve with the musical landscape. Revival showcases the potential of AI and human collaboration in improvisational artistic creation.

My main research motivation is to develop complete autonomous agents that interact with people socially. For an agent to be social with respect to humans, it needs to be able to parse and process the multitude of aspects that comprise the human cultural experience. That in itself gives rise to many fascinating learning problems. I am interested in tackling these fundamental problems from an empirical as well as a theoretical perspective. Music, as a general target domain, serves as an excellent testbed for these research ideas. Musical skills---playing music (alone or in a group), analyzing music or composing it---all involve extremely advanced knowledge representation and problem solving tools. Creating "musical agents"---agents that can interact richly with people in the music domain---is a challenge that holds the potential of advancing social agents research, and contributing important and broadly applicable AI knowledge. This belief is fueled not just by my background in computer science and artificial intelligence, but also by my deep passion for music as well as my extensive musical training. One key aspect of musical intelligence which hasn’t been sufficiently studied is that of sequential decision-making. My thesis strives to answer the following question: How can a sequential decision making perspective guide us in the creation of better music agents, and social agents in general? More specifically, this thesis focuses on two aspects of musical intelligence: music recommendation and multiagent interaction in the context of music.

The word autonomy is often used in the discussion of software-based music-generating systems. Whilst the term conveys a very clear concept — the sense of self-determination of a system — attempts to formalise autonomy are at an early stage, and the term is subject to a range of interpretations when practically applied. We consider how the evaluation of music-generating systems will be enhanced by a clearer understanding of autonomy and its application to music. We discuss existing definitions and approaches to quantifying autonomy and consider, through a series of examples, the information that is required in order to make precise formal judgements about autonomy, and the identification of relevant levels at which the principle of autonomy applies in music. We conclude that automated measures can supplement human evaluation of autonomy, but that (a) automated measures must be supported by sound reasoning about the features and timescales used in the measurement, and (b) they are improved by a having knowledge of the internal working of the system, rather than taking a black box approach. We consider multi-dimensional representations of system behaviour that may capture a richer sense of the notion of autonomy. Finally, we propose an approach to automatically probing music systems as a means of determining an autonomy `portrait'.