For several years now, experiments have been carried out using artificial intelligence in the music field. This means that programs, applications and machines are being developed that are precisely defined as intelligent, able to play and compose music autonomously.
We are talking about computers capable of decomposing music into mathematical data and, following various comparative and stylistic logics, quickly learn to compose new music, in some cases even interacting with human performers.
Initially, AI research was focused on products needed to improve human life, such as improving the safety of men driving cars, etc. Today, we have gone further and try to apply these innovative technologies also in the artistic and cultural fields, and among them it was impossible not to notice the application in the musical field.
The purpose of these technologies is to replace the skills and activities that used to come and could only be done after many years of study and study, and therefore we would like to make life more practical and everything should seem simpler and more intuitive.
Google has launched a musical “softwriter” called “Doodle” from its pages. They are able to harmonize a melody composed on the staff by any JSBach baroque user. The system is based on the study and analysis of the melodies expressed in 306 Bach chorales: artificial intelligence takes and remembers the examples used in the melodies written by the illustrious Author in order to create similar ones and fix “patterns” based on the model for the proposed new creations.
For example, Huawei was able to complete Schubert’s Eighth Symphony with the help of AI, and this version, then transposed and adapted for orchestra, was performed live at Cadogan Hall in London. It is clear that we could never know if Schubert would have completed his symphony with the same notes reworked with these computational calculations, but the experiment is certainly very curious.
By now, the challenge between artificial intelligence and creative humanity is open.
Perhaps those artificial intelligences, which will undoubtedly be more and more capable of interpreting various musical styles, breaking them down into computational objects, will soon undermine our creative human intelligence? It may be that everything that is offered to us artificially through schemes and spectators can replace all our tactile relationships, direct contact, for example, between a composer and an instrument.
The dispute between the person and the program on the musical field is just beginning. So far, it is very difficult for mankind to imagine that such an exceptionally creative individual process as writing music will be entirely the responsibility of artificial intelligence.
So far, composers have nothing to worry about. Artificial intelligence is used only for experiments, but the problem is that these experiments have become too much. For example, full-fledged virtual bands perform in China and Korea, which, by the way, are very popular among young music lovers from these countries.