Will musicians ever be replaced by robots?

A Quora user asks whether artificial intelligence will ever replace human musicians. TL;DR No.

David Cope and Emily

If music composition and improvisation could be expressed as algorithmic rule sets, then human musicians would have reason for concern. Fortunately, music can’t be completely systematized, much as some music theorists would like to believe it can be. Music is not an internally consistent logical system like math or physics. It’s an evolved set of mostly arbitrary patterns of memes. This should be no surprise; music emerges from our consciousness, and our consciousness is an evolved system, not an algorithmic one. We can do algorithmic reasoning if we work really hard at it, but our minds are pretty chaotic and unpredictable, and it isn’t our strong suit. It’s a good thing, too; we may not be so hot at performing algorithms, but we’re good at inventing new possible ones. Computers are great at performing algorithms, but are lousy at inventing new ones. Continue reading

Panel on games in education

I contributed a chapter to a soon-to-be-released book, Learning, Education and Games (Volume One): Curricular and Design Considerations. I wrote about the potential value of video games  in music education. The book will be out in October 2014. Here’s the table of contents.

Learning, Education and Games (Volume One): Curricular and Design Considerations

We’re having a launch party on October 9th at the NYU Game Center, with a panel on games, featuring the contributors to the series. In addition to myself, the panelists will include Elena Bertozzi and Gabriela Richard. The book’s editor, Karen Schrier, will be moderating.

Update: here’s a drawing of Elena, Gabriela, Karen and myself by Jay Boucher.

Games in Education panel by Jay Boucher

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The great music interface metaphor shift

I’m working on a long paper right now with my colleague at Montclair State University, Adam Bell. The premise is this: In the past, metaphors came from hardware, which software emulated. In the future, metaphors will come from software, which hardware will emulate.

The first generation of digital audio workstations have taken their metaphors from multitrack tape, the mixing desk, keyboards, analog synths, printed scores, and so on. Even the purely digital audio waveforms and MIDI clips behave like segments of tape. Sometimes the metaphors are graphically abstracted, as they are in Pro Tools. Sometimes the graphics are more literal, as in Logic. Propellerhead Reason is the most skeuomorphic software of them all. This image from the Propellerhead web site makes the intent of the designers crystal clear; the original analog synths dominate the image.

Reason with its inspiration

In Ableton Live, by contrast, hardware follows software. The metaphor behind Ableton’s Session View is a spreadsheet. Many of the instruments and effects have no hardware predecessor.

Loops in session view

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Reflections on teaching Ableton Live, part two

In my first post in this series, I briefly touched on the problem of option paralysis facing all electronic musicians, especially the ones who are just getting started. In this post, I’ll talk more about pedagogical strategies for keeping beginners from being overwhelmed by the infinite possibilities of sampling and synthesis.

Building a pop song structure

This is part of a larger argument why Ableton Live and software like it really needs a pedagogy specifically devoted to it. The folks at Ableton document their software extremely well, but their materials presume familiarity with their own musical culture. Most people aren’t already experimental techno producers. They need to be taught the musical values, conventions and creative approaches that Ableton Live is designed around. They also need some help in selecting raw musical materials. We music teachers can help, by putting tools like Ableton into musical context, and by curating finitely bounded sets of sounds to work with. Doing so will lower barriers to entry, which means happier users (and better sales for Ableton.) Continue reading

Reflections on teaching Ableton Live: part one

My music-making life has revolved heavily around Ableton Live for the past few years, and now the same thing is happening to my music-teaching life. I’m teaching Live at NYU’s IMPACT program this summer, and am going to find ways to work it into my future classes as well. My larger ambition is to develop an all-around electronic music composition/improvisation/performance curriculum centered around Live.

Ableton in action

While the people at Ableton have done a wonderful job documenting their software, they mostly presume that users know what they want to accomplish, they just don’t know how to get there. But my experience of beginner Ableton users (and newbie producers generally) is that they don’t even know what the possibilities are, what the workflow looks like, or how to get a foothold. My goal is to fill that vacuum, and I’ll be documenting the process extensively here on the blog.

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What is groove?

You hear musicians talk all the time about groove. You might wonder what they mean by that. A lot of musicians couldn’t explain exactly, beyond “the thing that makes music sound good.” The etymology of the term comes from vinyl records. Musicians ride the groove the way a phonograph needle physically rides the groove in the vinyl.

The original groove

But what is groove, exactly? It isn’t just a matter of everyone playing with accurate rhythm. When a classical musician executes a passage flawlessly, you don’t usually talk about their groove. Meanwhile, it’s possible for loosely executed music to have a groove to it. Most of my musician friends talk about groove as a feeling, a vibe, an ineffable emotional quality, and they’re right. But groove is something tangible, too, and even quantifiable.

Using digital audio production software, you can learn to understand the most mystical aspects of music in concrete terms. I’ve written previously about how electronic music quantifies the elusive concept of swing. Music software can similarly help you understand the even more elusive concept of groove. In music software, “groove” means something specific and technical: the degree to which a rhythm deviates from the straight metronomic grid. Continue reading

Remixing Verdi with Ableton Live

Later this week I’m doing a teaching demo for a music technology professor job. The students are classical music types who don’t have a lot of music tech background, and the task is to blow their minds. I’m told that a lot of them are singers working on Verdi’s Requiem. My plan, then, is to walk the class through the process of remixing a section of the Requiem with Ableton Live. This post is basically the script for my lecture.

Verdi remixed

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Composing improvisationally with Ableton Live

I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks.

I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians to get hip to it. Continue reading

The Groove Pizza

Walking to the subway this morning, I had a bright idea for how to make the Drum Loop more kid-friendly by representing the radial grid as a pizza. Here’s a very quick concept sketch:

Groove pizza

To really make this work, I wouldn’t just plop a JPEG of a pizza under the existing UI. I’d want a cartoon pizza rendered in a flat-color style. Instead of colored wedge cells, drum hits would be represented by stylized pepperoni, sausage, anchovies, olives, mushrooms and so on. I’ll throw it on the ever-expanding “future work” pile.

Usually I like to make everything on this blog freely available to whoever wants to use it, but The Groove Pizza is ⓒ Ethan Hein 2013, all rights reserved.