Two generations have clashed in trying to decide what the ubiquity of personal computers will bring to music composing. While younger musicians are all inspired by the vast opportunities in music creation, most of elder composers are really concerned about the possible devaluation of the human aspect in music.
When Casio synthesizer appeared on the market in the early 80-ies, no one was too worried – its easily recognizable analogue sound could not equal the powerful human composing. But computer age set in quickly and the choice of music opportunities provided by computer extended abruptly. A professor of the University of California, David Cope managed to surprise, shock and even revolt the public when he presented his Emily Howell to the world. No, she’s not his wife or student. Emily is a computer program able to compose music pieces that are no worse than what contemporary composers produce.
In its first version (EMI) ‘she’ was mostly doing historic reproductions. For example, you put a Beethoven or Mozart inside, Emmi analyzes it and gives out a new piece that sounds as if composer himself wrote it. The new Emily developed her own style on the basis of those reproductions’ database. Now it became interactive: professor could approve or disapprove of her short pieces sharing his music tastes, and Emily took into account such a feedback and worked further. Year 2010 even saw the first CD by Emily – “From Darkness, Light”.
So what’s that makes composers anxious about computer-created music? The main counter-argument is usually the superfluous perfection of the sound. Computer plays an ideal melody with the right rhythms and tempo exempting the ear from work and imagination from functioning. Musician no longer has to reproduce this or that note in mind endowing it with own shape, color, character – all work is done for him.
On the other hand, there is broader public involvement in music. One doesn’t need to have music education and endless hours of theory to compose a short original piece without much effort. All there should be is an electronic device, proper software and itch. Sampler, sequencer, synthesizer are all on board. Brooklyn rock back Parts & Labor even released an album that was wholly composed of samples submitted by fans. Isn’t it amazing to be part of your favorite band’s album in such a way?
It’s a big virtue to be able to find balance in our attitude to things. Maybe, after all, it doesn’t make a stupendous difference how music was created if the result is worth giving a listen.
So would you accept Mr. Computer to musician’s community?