The gap between science and music?

It occurred to me that there may be a gap between scientists and musicians. On one hand there are scientists studying music with A-Life systems and sonification. In these pursuits the focus is on engineering, tools, and technology. Researchers flirt with music, and music is central to their pursuits, but they do not engage their projects with purely musical intentions.

On the other hand you have composers and musicians who approach their art in a "generative," random, or algorithmic fashion: Brian Eno, Markus Popp/Oval, Roland Kayn, and various others known as "minimalists." With this group the approach is entirely grounded in music and the exploration of sound. We could also perhaps include soundscape composers in this side of the discussion.

I'm particularly interested in where these two intersect, but after some reflection I'm inclined to believe that such an area may not exist. The scientists of whose work I am aware do not seem interested in a musical investigation or exploration of sound. Conversely, I'm not aware of musicians who look to couple their art with data-driven systems in ways that reveal the dynamics or properties of the system. Those whose work approach this idea seem to treat the data solely as a means to an end.

I have yet to see or hear a project that meaningfully binds data analysis and interpretation with a musical exploration of sound.