“The language of music, and dialects of artists, expressed as software code.
Everything structural you hear that allows you to recognize a piece of music, whether it’s bluesy, suspenseful, uplifting, or Elton John, is based in mathematical language. Any style, theme, or other musical form that reveals itself in notation, is then simultaneously revealing itself to us mathematically. While some artists are better known for the sound of their guitar, or the sound of their voice, most legendary artists also have unique signatures in their music composition. There’s just a way they write that makes them special.
Given that genetic material, our Musicware™ technologies are then able to instantaneously write, cowrite, enhance, embellish, interact with, analyze, index, and collate, at the genetic level, a nearly infinite number of new musical offspring, all of which would embrace and reflect the unique sensibilities of that artist, that song, that album, that list of artists, or any amalgamation thereof.”
Recombinant cerca di mappare “il dna della musica”, per poterla ricreare artificialmente.
Ascolta la puntata di Radiolab sulla genetica musicale:
“Which came first: Language or Music? We’re still not sure, but now we’ll ponder what comes next. Producer Jonathan Mitchell brings us a piece about David Cope, the composer and professor at UC Santa Cruz, who cured his artist’s block by writing a computer program to do the dirtywork for him. His program, named EMI (Experiments in Musical Intelligence), deconstructs the works of great composers, finding patterns within the voice leading of their compositions, and then creates brand new compositions based on the patterns she finds. But it’s not just copy and paste. She brings something new to the pieces. Drift along to the eerily enchanting music of EMI Mahler and ask yourself this: What would Mahler think of an EMI Mahler score? Brillant music? A forgery?”
