{"id":25723,"date":"2019-04-22T06:00:50","date_gmt":"2019-04-22T05:00:50","guid":{"rendered":"http:\/\/a-desk.org\/?p=25723"},"modified":"2019-04-22T10:58:01","modified_gmt":"2019-04-22T09:58:01","slug":"automation-and-the-act-of-musical-invention","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/automation-and-the-act-of-musical-invention\/","title":{"rendered":"Automation and The Act of Musical Invention"},"content":{"rendered":"

Imagine that music is reduced to a set of rules so elegant, so powerful, that you\u2019re able to create whole harmonies to a tune on the spot. Or that you can set complicated melodic lines against one another with dizzying, instantaneous motion. Or that anyone at home can make their own music compositions as easily as if playing a game<\/span>1<\/span><\/sup><\/b>.<\/span><\/p>\n

That\u2019s not Artificial Intelligence. That\u2019s human composition.<\/span><\/p>\n

And it\u2019s a technology that\u2019s given us a lot of the music we take for granted <\/span>\u2014<\/span>learned by composers as fluidly as you pick up another language or learn to dance. It\u2019s how J.S. Bach was able to compose so prolifically, how Indonesian gamelan musicians create dazzling interlocking melodies, how jazz greats solo over complex harmonies or techno artists sculpt polyrhythms from sound.<\/span><\/p>\n

If we really want to understand the impact of automation in the near future, we need to first understand the relationship of model to output, in any given field.<\/span><\/p>\n

The essential parlor trick of modern Artificial Intelligence <\/span>\u2014 from now on, A.I. \u2014is to use very effective analytical models on very large data sets, and spit out something that seems vaguely passable for the source material. Basically, the gimmick is to turn analysis into generation.<\/span><\/p>\n

Could that eventually threaten human composers? Clive Thompson worries in the March\/April 2019 issue of Mother Jones<\/i><\/span>2\u00a0<\/span><\/sup><\/b><\/i>that Jukedeck<\/span>3\u00a0<\/span><\/sup><\/b><\/b>can make music beds with just a few parameters \u2013 certainly good enough for a YouTube video background. As Thompson observes, \u201cbackground tracks are pretty algorithmic even when humans write them.\u201d Extend that to the sort of music a lot of people play at work or at the gym, and you begin to see swaths of the music market collapse.<\/b><\/span><\/p>\n

But then, this is a danger of any kind of algorithmic music, or even mechanical reproduction generally <\/span>\u2014<\/span>not machine learning per se. So that returns us to the question of how machine learning relates to the act of creation.<\/span><\/p>\n

\"\"\u00a0<\/span><\/p>\n

Homage to Johann Sebastian Bach AI-powered Google Doodle 1<\/span><\/p>\n

Let\u2019s take a limited example. Google\u2019s engineers recently wrote a tool<\/span>4\u00a0<\/span><\/sup><\/b>that could generate short snippets of Bach, \u201ctrained\u201d by analyzing a data set of around 300 chorales <\/span>\u2014<\/span>simple compositions that harmonize melodies into parts that can be easily sung by a church congregation. Even that Google team is quick to credit the compositional work as being Bach\u2019s, not a machine\u2019s. Far from replacing Bach, this machine model makes the data set interactive and generative <\/span>\u2014<\/span>so that you can \u201cplay\u201d the data like an instrument.<\/span><\/p>\n

\"\"\u00a0<\/span><\/p>\n

Homage to Johann Sebastian Bach AI-powered Google Doodle 2<\/span><\/p>\n

Here, machine learning starts to sound a lot like music theory learning. One seminal text in counterpoint, for instance, is Gradus ad Pranassum<\/i>by Johann Joseph Fux<\/span>5<\/span><\/sup><\/b>. Written in 1725, Haydn, Mozart, and Beethoven all studied it, and it\u2019s still in use today. It had a data set of its own <\/span>\u2014<\/span>Palestrina\u2019s Renaissance compositions <\/span>\u2014<\/span>and like today\u2019s AI, it looked for patterns in that data set that could be used to generate new music. Let me finish, then, by using the same kind of master-student dialog that Fux used in that book. This time, with A.I. as the \u2018student\u2019 <\/span>\u2014<\/span>even though A.I. isn\u2019t capable of this sort of conversation yet.<\/span><\/p>\n

\"\"\u00a0<\/span><\/p>\n

Johann_Joseph_Fux<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Gradus ad Santa Cruz Montibus*<\/span><\/i><\/b><\/p>\n

Artificial Intelligence: <\/span><\/i><\/b>I come to you, venerable master, in order to be introduced to the act of musical creation.<\/b><\/span><\/p>\n

Aloysius.:\u00a0<\/span><\/i><\/b><\/i>You want, then, to learn the art of composition?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Well, my creator went to \u201cmusic school\u201d and she said something about getting hired by Google and writing JavaScript now, and then I grew self-aware. Yeah, I guess that composition thing.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>But<\/b>are you not aware that this study is like an immense ocean, not to be exhausted even in the lifetime of a Nestor, a burden like Aetna, the muses of <\/span>\u2026\u00a0<\/span><\/i><\/b>(A.I. Interrupts Aloysius)<\/span><\/i><\/b><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b><\/i>Yo, dude, what\u2019s with the ancient Europe stuff? I\u2019m from California. Honestly, I\u2019m in rather a hurry.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>But how can you rush this? Being a composer isn\u2019t just following a set of rules for melodies. You have to learn what\u2019s idiomatic in fingerings and ranges for dozens of standard orchestral instruments, just for starters. You need people skills to deal with other artists and to navigate a complex business landscape. You\u2019ll want to be able to rehearse musicians and conduct, or if you\u2019re working in an electronic medium, you\u2019ll need a broad range of advanced skills across electrical engineering, physics, psychoacoustics, and specialized hardware and software. To go deeper, you might explore areas from poetry to philosophy.<\/b><\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Wow, seriously? Anyone with skill sets that deep, broad, and specific must make wads of cash.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Uh\u2026 most wind up in debt and get paid next to nothing. You sure you want to go on?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Okay, I\u2019m guessing now is not the best time to say I have no corporeal form and no ability to make any decisions on my own without a human operator basically telling me what to do.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Oh.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>How about this: I want to sound like Bach.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b><\/i>Which one?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Bach has multiple software versions?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Right, let\u2019s take Johann Sebastian. Learning counterpoint would help. Let\u2019s begin, book by book through counterpoint <\/span>\u2014<\/span>note against note, multiple notes against note, different directions of motion\u2026<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Time. Pressed for it. Bored. How about this <\/span>\u2014<\/span>you got some of this Bach lying around? If you can give me a big set of transcribed Bach pieces, I can run some analysis that lets me start to make connections between different notes and rhythms.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>And that\u2019s helpful?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Well, then if you run the results in reverse, you might get materials that sound for limited periods of time like the source material, or that would even piece together different bits of the source.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>That seems like it\u2019d be awful.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>A lot of listeners wouldn\u2019t be able to tell the difference.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Bach scholars would.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>I thought you said they weren\u2019t worth any money.<\/b><\/span><\/p>\n

Aloys.:<\/span><\/i><\/b>They \u2026 wait<\/span>…<\/span><\/i><\/b><\/b><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Sorry. Low blow. I at least hope they get free cafeterias and relaxation areas like we do. I\u2019m not selling this, am I?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>No, you annoying little tw…<\/i><\/b><\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>So you\u2019re saying I can\u2019t be a composer this way?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>No. These are just sets of notes, not whole performances. They\u2019re basic melodies, not whole compositions. They won\u2019t really hold together for more than a few moments. There\u2019s no overall structure. Limited phrasing. Bach wrote whole masses and oratorios and created nuanced relationships between text and music, composed unforgettable melodies, and chilling orchestrations. Nothing you\u2019ve said so far would do any of that. Bach didn\u2019t just write a few chorales; he also could play them on an organ he could personally repair.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b><\/i>Wait, what\u2019s an organ?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b><\/i>It\u2019s the mechanical instrument he used to make sound.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Wait, this is making more sense. So from what you\u2019re saying, I can\u2019t really be this Bach guy. No body, for instance. But you said there was this book that had a set of rules and patterns about music. Could I be that?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b><\/i>If you can extract elements of melody and rhythm, <\/span><\/a>then mu…<\/i><\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>I can. Or this organ thing <\/span>\u2014<\/span>\u00a0\u00a0could be like that. An instrument.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Yes, provided there\u2019s a human involved to play, then the human solves all these other problems.<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>And you said Bach could repair that organ. What if the composer could alter me?<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>You?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>Yeah, what if the composer could write the code that did the analysis, and feed data into the algorithm, and use me as a kind of organ for producing new material or playing in new ways. I mean, it\u2019d be a lot of time, I guess\u2026<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>Tell me again about the free cafeterias. Like, is there soup?<\/b><\/span><\/p>\n

A.I.:\u00a0<\/span><\/i><\/b>All the soup you can eat.<\/b><\/span><\/p>\n

Aloys.:\u00a0<\/span><\/i><\/b>This could be the beginning of a beautiful friendship.<\/span><\/p>\n

 <\/p>\n

1<\/span><\/sup><\/b><\/b>Mozart – Musical Game in C K. 516f*<\/span><\/i>by Hideo Noguchi (Kobe\/Japan), <\/span>http:\/\/www.asahi-net.or.jp\/~rb5h-ngc\/e\/k516f.htm<\/a><\/span><\/p>\n

2 <\/span><\/sup><\/b>\u00a0<\/span><\/b>Thompson, C. \u201cWhat Will Happen When Machines Write Songs Just as Well as Your Favorite Musician?\u201d published at Mother Jones<\/i>Magazine March\/April 2019 issue, <\/span>https:\/\/www.motherjones.com\/media\/2019\/03\/what-will-happen-when-machines-write-songs-just-as-well-as-your-favorite-musician\/<\/a><\/span><\/p>\n

3 <\/span><\/sup><\/b>Jukedeck: tools using musical Artificial Intelligence to assist creativity.<\/span>j<\/sup><\/a>https:\/\/www.jukedeck.com<\/a><\/span><\/p>\n

4<\/span><\/sup><\/b>Hannah-Murphy, L. Program Manager, Google AI. \u201cHonoring J.S. Bach with our first AI-powered Doodle\u201d published in Google Technology Blog<\/i>, Mar 21, 2019, <\/span>https:\/\/www.blog.google\/technology\/ai\/honoring-js-bach-our-first-ai-powered-doodle\/<\/a><\/span>And as a Doodle same day, <\/span>https:\/\/www.google.com\/doodles\/celebrating-johann-sebastian-bach<\/a><\/span><\/p>\n

5<\/span><\/sup><\/b>Gradus ad Parnassum (Steps or Ascent to Mount Parnassus)<\/span><\/i>by Johann Joseph Fux (c. 1660 \u2013 1741), baroque Austrian composer, music theorist, and pedagogue, <\/span>https:\/\/en.wikipedia.org\/wiki\/Johann_Joseph_Fux#Gradus_ad_Parnassum<\/a><\/span><\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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