A Quora user asks whether artificial intelligence will ever replace human musicians.
This month I’ve been teaching music production and composition as part of NYU’s IMPACT program. A participant named Michelle asked me to critique some of her original compositions. I immediately said yes, and then immediately wondered how I was actually going to do it. I always want to evaluate music on its own terms, and to do that, I need to know what the terms are. I barely know Michelle. I’ve heard her play a little classical piano and know that she’s quite good, but beyond that, I don’t know her musical culture or intentions or style. Furthermore, she’s from China, and her English is limited.
I asked Michelle to email me audio files, and also MIDI files if she had them. Then I had an epiphany: I could just remix her MIDIs, and give my critique totally non-verbally.
I participate in Marc Weidenbaum’s Disquiet Junto whenever I have the time and the brain space. Once a week, he sends out an assignment, and you have a few days to produce a new piece of music to fit. Marc asks that you discuss your process in the track descriptions on SoundCloud, and I’m always happy to oblige. But my descriptions are usually terse. This week I thought I’d dive deep and document the whole process from soup to nuts, with screencaps and everything.
Here’s this week’s assignment, which is simpler than usual:
Please answer the following question by making an original recording: “What is the room tone of the Internet?” The length of your recording should be two minutes.
My new studio band has an album nearing completion. It’s called Music Information Retrieval, because our studio time was sponsored by NYU’s Music and Audio Research Lab — we contributed to a database of multitracks that will be used for music informatics research.
For me I have to wait for the right inspiration given to me very irregularly. But it seems others can compose with chords deliberately. How do you compose, and do you feel proud of it all the times (i.e. know you couldn’t have done better)?
I have two methods of composition: improvisation and collage. I use the computer for both. At the moment, my software of choice is Ableton Live. Before that I mostly used Pro Tools and Reason. It’s been a long time since I “composed” something on a piece of paper (except for music school assignments.)
Computers have revolutionized the composition, production and recording of music. However, they have not yet revolutionized music education. While a great deal of educational software exists, it mostly follows traditional teaching paradigms, offering ear training, flash cards and the like. Meanwhile, nearly all popular music is produced in part or in whole with software, yet electronic music producers typically have little to no formal training with their tools. Somewhere between the ad-hoc learning methods of pop and dance producers and traditional music pedagogy lies a rich untapped vein of potential.
This paper will explore the problem of how software can best be designed to help novice musicians access their own musical imagination with a minimum of frustration. I will examine a variety of design paradigms and case studies. I will hope to discover software interface designs that present music in a visually intuitive way, that are discoverable, and that promote flow.
Susan McClary “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture.” in Audio Culture, Daniel Warner, ed, Continuum International Publishing Group, 2004, pp 289 – 298.
This essay is the best piece of music writing I’ve read in quite a while. McClary articulates my personal ideology of music perfectly. Also, she quotes Prince!
Here are some long excerpts.
Matthew D. Thibeault. Wisdom for Music Education From the Recording Studio. General Music Today, 20 October 2011.
Stuart Wise, Janinka Greenwood and Niki Davis. Teachers’ Use of Digital Technology in Secondary Music Education: Illustrations of Changing Classrooms. British Journal of Music Education, Volume 28, Issue 2, July 2011, pp 117 - 134.
Digital recording studios in schools are becoming more common as the price of the required hardware and software falls. Matthew Thibeault urges music teachers to think of the studio not just as a collection of gear that can be used to document the “real” performance, but as a musical instrument in its own right, carrying with it an entire philosophy of music-making. Digital studio techniques have collapsed composition, recording and editing into a single act. Since most of the music we encounter in the world is recorded, and most of that digitally, any music program needs to include the recording, sequencing and editing process as part of the core curriculum.
A while ago I wrote a post explaining how jazz works. In response, someone asked me to name my favorite hundred jazz tracks. So here’s my list. It’s totally subjective and necessarily incomplete, but I can guarantee that any of these tunes will make your life better. Hear them on Spotify.
Discussing “Silver Apples Of The Moon” puts me in a quandary. I like Morton Subotnick personally, and very much enjoyed studying with him. I appreciate his desire to liberate the world from the shackles of keyboard-centric thinking. There’s no question that his music is personal, original and forward-thinking. But I find myself unable to emotionally connect.
Allmusic’s artist profiles include user-submitted “moods.” The Allmusic artist moods for Subotnick are: Cerebral, Clinical, Detached, Reserved, and Hypnotic. I couldn’t have described “Silver Apples” any better. Subotnick certainly isn’t reserved in person; his willingness to sing and dance spontaneously in class is his most charming quality. But like most of his high modernist cohort, Subotnick’s music is austere.