Triumph of the Cyborg Composer - Säveltäjä Emily Howell on tietokoneohjelma. Kun koneet tekevät musiikin, ihmiset voivat keskittyä oleelliseen eli näyttämään hyvältä lavalla.
At one Santa Cruz concert, the program notes neglected to mention that Emily Howell wasn’t a human being, and a chemistry professor and music aficionado in the audience described the performance of a Howell composition as one of the most moving experiences of his musical life. Six months later, when the same professor attended a lecture of Cope’s on Emily Howell and heard the same concert played from a recording, Cope remembers him saying, “You know, that’s pretty music, but I could tell absolutely, immediately that it was computer-composed. There’s no heart or soul or depth to the piece.”
That sentiment — present in many recent articles, blog posts and comments about Emily Howell — frustrates Cope. “Most of what I’ve heard [and read] is the same old crap,” he complains. “It’s all about machines versus humans, and ‘aren’t you taking away the last little thing we have left that we can call unique to human beings — creativity?’ I just find this so laborious and uncreative.”
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Already, at least one prominent pop group — he’s signed a confidentiality agreement, so he can’t say which one — asked him to use software to help them write new songs. He also points to services like Pandora, which uses algorithms to suggest new music to listeners.
