David Cope is a musicology professor at the University of California in Santa Cruz. He is also one of the more controversial figures in the world of classical music. Cope has written programs that compose concertos, chorales, symphonies and operas. His first creation was named EMI (Experiments in Musical Intelligence), which specialised in imitating the style of Johann Sebastian Bach. It took seven years to create the program, but once the work was done, EMI composed 5,000 chorales à la Bach in a single day. Cope arranged a performance of a few select chorales in a music festival at Santa Cruz. Enthusiastic members of the audience praised the wonderful performance, and explained excitedly how the music touched their innermost being. They didn’t know it was composed by EMI rather than Bach, and when the truth was revealed, some reacted with glum silence, while others shouted in anger.
EMI continued to improve, and learned to imitate Beethoven, Chopin, Rachmaninov and Stravinsky. Cope got EMI a contract, and its first album – Classical Music Composed by Computer – sold surprisingly well. Publicity brought increasing hostility from classical-music buffs. Professor Steve Larson from the University of Oregon sent Cope a challenge for a musical showdown. Larson suggested that professional pianists play three pieces one after the other: one by Bach, one by EMI, and one by Larson himself. The audience would then be asked to vote who composed which piece. Larson was convinced people would easily tell the difference between soulful human compositions, and the lifeless artefact of a machine. Cope accepted the challenge. On the appointed date, hundreds of lecturers, students and music fans assembled in the University of Oregon’s concert hall. At the end of the performance, a vote was taken. The result? The audience thought that EMI’s piece was genuine Bach, that Bach’s piece was composed by Larson, and that Larson’s piece was produced by a computer.
Critics continued to argue that EMI’s music is technically excellent, but that it lacks something. It is too accurate. It has no depth. It has no soul. Yet when people heard EMI’s compositions without being informed of their provenance, they frequently praised them precisely for their soulfulness and emotional resonance.
Following EMI’s successes, Cope created newer and even more sophisticated programs. His crowning achievement was Annie. Whereas EMI composed music according to predetermined rules, Annie is based on machine learning. Its musical style constantly changes and develops in reaction to new inputs from the outside world. Cope has no idea what Annie is going to compose next. Indeed, Annie does not restrict itself to music composition but also explores other art forms such as haiku poetry. In 2011 Cope published Comes the Fiery Night: 2,000 Haiku by Man and Machine. Of the 2,000 haikus in the book, some are written by Annie, and the rest by organic poets. The book does not disclose which are which. If you think you can tell the difference between human creativity and machine output, you are welcome to test your claim.18David Cope is a musicology professor at the University of California in Santa Cruz. He is also one of the more controversial figures in the world of classical music. Cope has written programs that compose concertos, chorales, symphonies and operas. His first creation was named EMI (Experiments in Musical Intelligence), which specialised in imitating the style of Johann Sebastian Bach. It took seven years to create the program, but once the work was done, EMI composed 5,000 chorales à la Bach in a single day. Cope arranged a performance of a few select chorales in a music festival at Santa Cruz. Enthusiastic members of the audience praised the wonderful performance, and explained excitedly how the music touched their innermost being. They didn’t know it was composed by EMI rather than Bach, and when the truth was revealed, some reacted with glum silence, while others shouted in anger.
EMI continued to improve, and learned to imitate Beethoven, Chopin, Rachmaninov and Stravinsky. Cope got EMI a contract, and its first album – Classical Music Composed by Computer – sold surprisingly well. Publicity brought increasing hostility from classical-music buffs. Professor Steve Larson from the University of Oregon sent Cope a challenge for a musical showdown. Larson suggested that professional pianists play three pieces one after the other: one by Bach, one by EMI, and one by Larson himself. The audience would then be asked to vote who composed which piece. Larson was convinced people would easily tell the difference between soulful human compositions, and the lifeless artefact of a machine. Cope accepted the challenge. On the appointed date, hundreds of lecturers, students and music fans assembled in the University of Oregon’s concert hall. At the end of the performance, a vote was taken. The result? The audience thought that EMI’s piece was genuine Bach, that Bach’s piece was composed by Larson, and that Larson’s piece was produced by a computer.
Critics continued to argue that EMI’s music is technically excellent, but that it lacks something. It is too accurate. It has no depth. It has no soul. Yet when people heard EMI’s compositions without being informed of their provenance, they frequently praised them precisely for their soulfulness and emotional resonance.
Following EMI’s successes, Cope created newer and even more sophisticated programs. His crowning achievement was Annie. Whereas EMI composed music according to predetermined rules, Annie is based on machine learning. Its musical style constantly changes and develops in reaction to new inputs from the outside world. Cope has no idea what Annie is going to compose next. Indeed, Annie does not restrict itself to music composition but also explores other art forms such as haiku poetry. In 2011 Cope published Comes the Fiery Night: 2,000 Haiku by Man and Machine. Of the 2,000 haikus in the book, some are written by Annie, and the rest by organic poets. The book does not disclose which are which. If you think you can tell the difference between human creativity and machine output, you are welcome to test your claim.18
Brak komentarzy:
Prześlij komentarz