A concert of human and artificial music
Call for Works
Exploring Human-AI Collaboration in Music Creation
We invite composers, sound artists, and musicians to participate in an open call for short compositions (30 seconds to 2 minute) accompanied by text-based prompts that explore the evolving relationship between human creativity and AI-generated music. This initiative seeks to understand how AI generative tools can enhance, challenge, or reshape musical creation, promoting a space for experimentation and dialogue. Selected submissions will be used along with their prompts to generate new AI-based compositions that serve as companions, continuations, or counterpoints to the original works. The submissions will be used to create a major collaborative work – a dialogue between human and AI interpretations of similar ideas. This collaborative work will be used as a basis for research on human and artificial creativity.
Categories of Participation
Participants are encouraged to submit works in one of the following categories:
- Human-Composed (Non-AI): Created entirely by human composers without the assistance of AI. Any genre or musical style is welcome.
- AI-Human Hybrid: A collaborative process where AI-generated material is modified, arranged, or expanded by human composers.
Submission Guidelines
- Duration: 30 seconds to 2 minutes
- Format: WAV or MP3 (high quality)
- Description: For each submission, please provide a detailed text prompt describing your piece (1000 characters max). You might include elements such as structure, techniques, emotions, genres, narrative and instrumentation.
How to Participate
- Create your piece within one of the two categories. You can submit as many pieces as you like.
- Describe your creative process by submitting a prompt that reflects your artistic intent.
- Upload your work via the submission form: https://forms.gle/X3QbknAduACMfzw37
- Agree to participation terms, which include potential research use and inclusion in a concert, installation, and/or online repository.
What Happens Next?
- Selected pieces will be used along with their prompts to generate new AI-based pieces that serve as companions, continuations, or counterpoints to the original works. One of the goals would be to create a major collaborative musical work.
- Selected pieces will be presented in a concert, installation and digital showcase.
- Listeners and participants will engage in interactive listening experiments to reflect on the role of AI in music.
- Research on creative prompts and the influence of generative models in musical composition will emerge from the collected works. A sonic analysis will explore the characteristics of the submitted and generated pieces.
This project is an opportunity to reimagine the possibilities of music-making in an era of AI. Rather than replacing human creativity, how can AI become a partner in composition? Join us in this exploration!
Deadline: April 30 2025
Extended Deadline: May 18 2025
Submit your work here: https://forms.gle/oxCSB8zC3y3gCsQu9
Questions? Contact us at cromcn1@lsu.edu
Submissions
AI-Human Hybrid Works
Roberto Mochetti — Recursive Misinterpretation I – movement 3a
Year: 2025
Affiliation: Independent / N/A
Category: AI-Human Hybrid
Description:
Ethereal synth sound with a faint filtered white note. Only the pitch C is present for about 10 seconds, and then a pitch Eb is added. After about 50 seconds, a diminished chord resolves into a brief fifth interval, using the pitches F and C.
Original submission:
AI-generated response:
Jose Miguel Luna — Liturgia antigua a través de la garganta Teyuna
Year: 2025
Affiliation: Independent
Category: AI-Human Hybrid
Description:
This work uses as its foundation a soundscape recording from the Sierra Nevada de Santa Marta, Colombia, featuring vocalizations of Serranobatrachus megalops frogs. The AI was tasked with identifying frequencies and a linear formal structure to replicate. It selected four supplementary layers beyond the soundscape layer: granular synthesis, transformation of audio data into MIDI events through a custom Python script, resonators based on frequency analysis, and transient-triggered audio slices from the original soundscape. The human composer made decisions regarding structure, synthesis parameters, timbre, duration, layer emergence, and spatial design.
Original submission:
AI-generated response:
Human-Composed Works
Esteban Alfaro — EROS
Year: 2025
Affiliation: Hallp,A
Category: Human-Composed / Non-AI
Description:
This work explores sonic psychedelia through electronic textures created with FM and wavetable synthesis in Ableton Live. The piece uses real-time MIDI control, tactile surfaces, metallic frequencies, harmonic instability, hypnotic pads, granular processing, saturation, filters, spectral reverbs, and syncopated delays. The result blends digital precision with hardware warmth and emphasizes organic movement within generative structures.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Bruno Gazoni — Arps Into Arps
Year: 2025
Affiliation: Independent / N/A
Category: Human-Composed / Non-AI
Description:
A 120 bpm work built around a constant minor arpeggio with a dissonance between the lowest and highest note. The piece moves through a sequence of instrumental fade-ins and fade-outs involving piano, organ, tenor saxophone, and celesta, accompanied by sparse rumbling bass drum and crescendo cymbal rolls. The piece ends as if all instruments gradually evaporate.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Bruno Gazoni — Bass Drum Anxiety
Year: 2025
Affiliation: Independent / N/A
Category: Human-Composed / Non-AI
Description:
A short work in which bursts of wind and rain activate a bass drum as if it were having an anxiety attack. The drum then performs breathing exercises to calm itself down, becoming more comfortable as the rain continues.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Bruno Gazoni — kalimba lament
Year: 2025
Affiliation: Independent / N/A
Category: Human-Composed / Non-AI
Description:
A very short lament for kalimba in ad libitum tempo. The work uses soft-to-moderate dynamics, allowing the kalimba to distort slightly on the loudest notes. The sound is imagined as closely microphoned and intimate.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Erin Demastes — PVS Experiment
Year: 2021
Affiliation: LSU
Category: Human-Composed / Non-AI
Description:
This piece uses samples from spam voicemails and electrical current, manipulated with PVS opcodes in Csound. Filters and pitch shifting transform the original samples into evolving sonic material.
Original submission:
AI-generated response:
Erin Demastes — Python Etude
Year: 2021
Affiliation: LSU
Category: Human-Composed / Non-AI
Description:
This composition was created using samples generated from LTSpice schematics in Python. The resulting materials were concatenated to create shifting textures that continually change throughout the piece.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Manuela Cardona — The Shift
Year: 2025
Affiliation: Boston Conservatory at Berklee
Category: Human-Composed / Non-AI
Description:
This piece is built on a looping pedal steel guitar motif, layered in both original and reversed forms. The reversed layer is processed with reverb and a rift effect, while the original uses rhythmic volume modulation and panning. Additional textures include a high-shelved pad and a “lap steel” line shaped by looping volume peaks. The work evokes the transformation of a dark entity that ascends and disintegrates into space, leaving behind a still and weightless peace.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]
Carlos Román — Pool Etude
Year: 2025
Affiliation: LSU
Category: Human-Composed / Non-AI
Description:
This work originates from an ambisonic field recording made with a microphone placed at the center of a pool table, capturing the percussive interactions between billiard balls and cue strikes. The raw recordings were fragmented and rearranged through cutting and pasting, producing a palette of percussive sound objects. The composition explores contrasts in rhythmic density through sections of high and low activity in a wave-like form.
Original submission:
[Audio player]
AI-generated response:
[Audio player, if available]