The History Of... for soprano and piano Performed by Nicole Ross and Gabrielle Gagnon-Picard at the Winter 2023 McGill Association of Student Composers Concert in Tanna Schulich Hall Composed by Lily Koslow Commissioned by soprano Emily Hamilton

Proliférations de Claude Vivier Trio Incidence : Aurore Dallamaggiore, onde Martenot Gabrielle Gagnon-Picard, piano Alexandre Nantel, percussion Concert enregistré en avril 2021 à la Chapelle Historique du Bon Pasteur, Montréal

The affinity of Deleuzian thought for “aberrant” thoughts (according to David Lapoujade's expression), madness, irrationality, schizophrenia, is in agreement with its definition of philosophical thought as a “machine” for producing concepts . From there, we can see the generative creative approach by combinatorial sketching of deconstructivist architect Thom Mayne as heir to this approach by production of concepts. Applied to music, we obtain a form of extreme experimentation where tools of generative and algorithmic music, concepts from computer science, following the experiments of composers such as Iannis Xenakis, are used in an omnipresent and ubiquitous way and replace the language of traditional music sometimes even in the very writing of the music as in the case of graphic scores (e.g. John Cage, Sylvano Bussotti, Brian Ferneyhough, etc.). We seek to overcome the automatisms and aprioritisms of anthropocentric and historical-cultural creation by replacing them with or combining them with the aesthetics of machines: probabilities, random walks, broken rotations, interpolations and predictions, neural networks and latent spaces , differences and repetitions, transcriptions, assemblies, deconstruction/reconstruction, synthesis, algorithmics, emergence… We seek to create “aberrant” music. Music as a language describing a process (interpretation, performance, decoding) where the semantic aspect (meaning of speech) has been erased, even when it serves as mimesis (e.g. Reverend Simeon Pease Cheney’s or Olivier Messiaen’s birdsongs, the noise of Italian futurism, the sound of machines with Georges Antheil, the orchestral transcriptions of software from the Orch* family developed at IRCAM such as Speakings by Jonathan Harvey or Jactations by Georges Aperghis, etc.) . Does the meaning of music follow a reverse processing: language would produce signification from meaning to perception, music from perception to meaning. The piece dialogues with the Deleuzian concepts of difference/repetition. This work makes heavy use of new algorithmic music technique such as neural networks and machine learning (GANs, VAEs, RNNs, CNNs, etc.). This research creation work on Deconstructivism and AI Resonances was financed by a grant from the Gina Cody School of Engineering and Computer Science (Concordia University) and the Milieux Institute. The Gina Cody School is training the next generation of engineers and computer scientists advancing integrated technologies in a socially responsible manner. The Milieux Institute is an interdisciplinary graduate research institute for new media arts, digital culture and information technology at Concordia University in downtown Montreal. The principal researchers of this work are Dr. Eldad Tsabary, Dr. Sabine Bergler and Dr. Yong Zeng. The main research assistant of the project is Dr. Philon Nguyen, who is also the composer of the pieces played during the public recording concert. Morteza Zangeneh Soroush, currently completing his PhD at the CISSE, also served as a research assistant in early discussions in the project. The concert was made possible with the participation of conductor Charles-Éric Fontaine and musicians: Marie-Claire Vaillancourt (violin), Jeanne Côté (violin), Vincent Delorme (viola), Émilie Girard-Charest (cello), Gabrielle Gagnon-Picard (piano), Nadia Sparrow (flute), Rébecca Gagnon (bass clarinet), Simon Jolicoeur-Côté (trombone). The sound engineer during the concert was Maximus Delmar and the video engineer was Malte Leander. The concert took place on November 23 2023 at the Black Box (Concodia University).