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Comments
The idea of algorithms that generate “music” gives me an oppressive feeling. Why would I want music to come from a machine? What’s the point, and why do we need it?
On the positive side, a little bit of generative tools can make a useful color or be interesting to play with, and may spark ideas for further development as an expressive form of art by a human being. But as far as sitting back and letting an app make some kind of random to organized noise, it can get tedious and/or unrewarding real fast.
In a sense..most music these days comes from a machine regardless of which apps or software / hardware one uses..
Musician is how I define myself. Therefore, generative apps can only go so far before the music is more "oh, there's another Figure loop" instead of "there's another tune by Thomas." So to me, it comes back to taste & maturity. My first iOS album is Figure & Beatmaker2. I do believe my character as an artist came thru despite being mostly "generative-driven." Most recently, I'm starting with one of Luiz Martinez's apps and my bass guitar. I'm employing the generative aspect of Brazilian Drum Machine(for example), but developing something more completely organic and Thomas.
Not from me or anyone I listen to, unless by “comes from” you mean the software or hardware is an instrument through which an artist expresses him/herself. A piano or violin is a machine, but music played on a musical instrument has always been created by ideas organized by a human being to mean something greater than the sum of its parts. That’s what makes it compelling, no?
I'll tell you what spurked this thread originally.
It was looking the lists of at all the audulus projects that emulate eurorack sequencers. and all the complex batshit bonkers sequencing machines that people have built with audulus because it lets you. I'm not unconvinced that the existence of most of those and yes, in the physical hardware realm too, is more to do with masturbation than music.
And I started to question those complex machines.
I mean, look at this - the Intellijel Metropolis. It looks a wonderful machine, a joy to use.
But… it's a wanking machine.
Wanking machine? Well where would one put their...uh, nevermind.
My problem with these things is that they so easily spark ideas that very quickly I go "oh ok, I want it to go to this note/rhythm at the end of the phrase" but then you can hardly figure out how to do something deliberately, then I just get pissed off and go looking for something where you hit record and play.
If I get something that's almost there from a generator, and It's not changeable, I'll record it, then see if I can't get what I want by chopping it up, rearranging it, transposing a section, etc.
Parallels can be drawn from the use of generative elements for music composition to Marcel Duchamp's use of readymades, transformed into objet d'art. 1914 is about the time this notion took root.
I agree, but is it satisfying in the end? Duchamp probably looked at his artwork and thought to himself 'this is just taking the piss'.
I think drawing parallels between Marcel Duchamp use of readymades and Bowie's lyric from Fame: "Fame, what you need you have to borrow" wouldn't be reduced to just taking a piss.
I can not speak to the how satisfied the aggregator/curator of these assembled found elements is, but I am likely to feel satisfied as to this approach, visually described here as with the use of generative elements in music creation.
I like those @Kandavu. Do you have a link to the source?
http://kengarex.com/this-artists-creates-masterpieces-from-stones-he-finds-on-the-beach-12-images/11/
There you go lukesleepwalker.
This was what the Motown reference was about:
Kraftwerk Autobahn Sheffield City Hall 15th June 2017
My journey into generative music began with Koan Pro (got great results because there was so much control over what was generated and how, etc) then ended with the same company under a different name, Intermorphics, when they introduced a ridiculous subscription model.
Also mainly use Intermorphic - they did back off on the subscription only model (thankfully)! I still do a lot with Noatikl and Wotja. If you really want to go "out there" though, take a look at Google's Magenta project (https://magenta.tensorflow.org/welcome-to-magenta). Beyond algorithmic music and into machine learning and generation. So first, we're applying rules to make music (Intermorphic model) and soon we're just asking machines to give us Bach. Far more controversial than just "generative tools" I'd wager.
As an artist, I can be satisfied w/ adding an occasional random / generative element. As a listener, only the final product matters to me. I don't care how the creator arrived there.
Wouldn't Duchamp be more like "sampling", and Pollock be more akin to "generative"?
I read your original post and I agree that the missing element in generative music is the human interaction. However, I fail to see what the intellijel device has to do with that. First time I see this but just looking at it tells me it's just a regular sequencer. Not really a generative music device.
Something generative for me would be along the lines of intermorphic apps or the brian eno apps. Apps that just play by themselves.(of course there's some kind of minimal human interaction).
I got interested in that myself using pure data cuz I like to listening to ambient music when I work but so far a lot of the stuff I heard doesn't move me. It doesn't go anywhere and feels random.
Maybe some generative music apps that takes data from car traffic (or whatever) and uses that as the basis to modify the established ruleset could be interesting. Anything based on human behavior.
Until I can feel an emotional response from that type of music, I'm still skeptical.
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Too late. I won't be coming back. I'd rather help support great developers who do respect their customers.
,Google's Magenta project (https://magenta.tensorflow.org/welcome-to-magenta).
Google is not our friend.
https://youtu.be/RZkdkobK99A