Aleksandra Teng Ma

Ling Qi, Aleksandra Teng Ma, Alexandria Smith

The I-Ching is one of the most influential texts in Chinese intellectual history, integrating divination, cosmology, and ethical reflection. While Western experimental music, most notably John Cage, has drawn on the I-Ching as a source of chance operation, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work, Music of Changing Lines, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users perform Wen Wang Fa coin casting, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model, Gemini, in relation to the user's inquiry. This textual interpretation is then translated into a prompt for a generative music model, Lyria, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority, the system foregrounds the I-Ching's ritual, interpretation, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory, meaning-driven musical processes without prescribing musical structure or replacing human agency.

Yusong Wu, Stephen Brade, Aleksandra Teng Ma et al.

Most applications of generative AI involve a sequential interaction in which a person inputs a prompt and waits for a response, and where reaction time and adaptivity are not important factors. In contrast, live jamming is a collaborative interaction that requires real-time coordination and adaptation without access to the other player's future moves, while preserving diversity to sustain a creative flow. Reinforcement learning post-training enables effective adaptation through on-policy interaction, yet it often reduces output diversity by exploiting coherence-based rewards. This collapse, known as ``reward hacking'', affects many RL post-training pipelines, but is especially harmful in live jamming, where musical creativity relies on dynamic variation and mutual responsiveness. In this paper, we propose a novel adversarial training method on policy-generated trajectories to mitigate reward hacking in RL post-training for melody-to-chord accompaniment. A co-evolving discriminator separates policy trajectories from the data distribution, while the policy maximizes the discriminator output in addition to coherence rewards to prevent collapse to trivial outputs. We evaluate accompaniment quality and output diversity in simulation with both fixed test melodies and learned melody agents, and we conduct a user study with the model deployed in a real-time interactive system with expert musicians. Quantitative evaluation and user feedback demonstrate improved output diversity, harmonic coherence, adaptation speed and user agency. Our results demonstrate a simple yet effective method to mitigate reward hacking in RL post-training of generative sequence models.