As intelligence technology advances, the boundaries between humans and machines blur, prompting questions regarding human identity and agency. While opera has traditionally explored such existential tensions, contemporary productions often emphasise technological narratives, potentially overshadowing human-centred perspectives. This article investigates music’s expressive potential to bridge these divergent viewpoints, positing it as a distinct form of ‘listening’ to and ‘knowing’ the world. Through a case study of Hao Weiya’s chamber opera AI Variation (2021), it probes how a musical approach communicates intricate ethical and existential questions posed by advancing AI technologies. The findings reveal that music’s non-linguistic nature creates an experiential space to explore, feel and contemplate human experiences. Orchestral voices craft sonic landscapes that invite contemplation on being and perception in an AI-driven world, and music conveys complexities beyond what words alone can express. The article illuminates how music contributes to a humanist response to technological advances, enriching cultural and philosophical discourse.

Composer-Performer Collaboration (CPC) has become a distinct research field in the last twenty years. This article explores a long letter written by Justin Connolly to Neil Heyde in place of final workshops for Collana, for solo cello. The letter sheds forensic light on Connolly’s musical vision and approach to collaboration, revealing a distinctive combination of pedantic concern for details (with concomitant precision of notation) and great flexibility. Connolly encourages the performer as an active participant, with responsibility for a ‘parallel universe of discourse’. Heyde responds directly to extracts from the letter and outlines the shared working context. Connolly’s letter confirms the significance of the dimensions of notation, gesture and instrumental choreography that have emerged in the CPC literature but affords a perspective not shaped by academic demand characteristics. It presents an especially sophisticated approach to what recent writing has called empathetic embodiment.

This article presents an overview of findings from an ERC-funded DigiScore project that investigates how digital technologies are reshaping music creation, performance and accessibility. Digital scores, defined as interactive interfaces for musical ideas, enable innovative compositional approaches, immersive performance experiences and inclusive practices. Drawing on nearly 50 case studies across five continents, the research highlights four key impacts: (1) enhanced interactivity and multimedia integration; (2) non-linear and real-time compositional methods; (3) novel performance opportunities in physical and virtual spaces; (4) broader accessibility for diverse musicians and audiences. An overview of case studies by the project’s partners and principal investigator illustrates how digital scores impact the creative practices of composers and performers, while also influencing audience engagement and fostering collaboration and participation. Despite challenges in balancing technological complexity with usability, the findings demonstrate how digital scores democratise music-making, offering new creative possibilities and redefining contemporary musical practices.