There are at least two major areas of music composition which the algorythmic attempts fall vastly short of humans.
One is that real music composition is never done where the timbres are separated from the composition. Classically notated music looks kind of like this, but it's really just a shorthand. A composer knows intimately the sounds she is working with.
For pop music, the timbre itself is a mode of creative expression. Innovation in musical timbres and sounds is an expected part of pop music. (I'm using "pop" in the most general sense, covering a large amount of contemporary genres). The meaning of the music is not captured by simplistic reference to musical notation concepts.
The other major limitation of generated music, to my ears, is that of overall compositional structure. The units of composition usually are short, and only locally referenced. So the compositions lack interesting shape over the course of time.
If you think of a composition as a story, it's as if a bunch of plausible paragraph that are coherent within them selves are strung together with only loose reference to each other. So a longer "plot" doesn't emerge.
> One is that real music composition is never done where the timbres are separated from the composition.
It's true that composers almost always have a sound in mind when they write the notes, but it's very common to perform compositions using entirely different instrumentation to that originally envisaged.
Great. The composer doesn't need to have gone through emotional breakdown, drugs, or whatever, to create beautiful music. He just needs talant. And I think talant may be at some point expressed in zeroes and ones.
The best one I've ever heard was AlgoMusic[0] on the Amiga by Thomas Schürger. I used to spend hours listening to it. And it was a pleasant surprise while searching for it now, to find out that the author has a brand new project called SoundHelix[1] that has all the awesomeness of AlgoMusic, and sounds even more incredible. You should listen to the examples[2].
I've been wondering how long it would be until web sites like this started showing up, where you can listen to automatically generated music on demand.
Hopefully they keep improving until they make the best human composers look mediocre, despite being millions of times faster. Unbounded amounts of new high quality low cost music? Yes please.
Even better, this could be a very good way to permanently kill RIAA -- and because tech like this can't really be made illegal and requires no special permission, ingrediences or tools, there is nothing at all they can do about it.
We still haven't really solved the problem of getting a digital piano to sound anything like a Steinway Concert Grand. Even if we could replace artistic expression with algorithm in this instance, the instrument sound itself has miles to go as well, and may well never be replicated with the precision that a true piano has.
My point is similar, but not exactly the same. The best human composers will still be the best. However, the other 90% may be replaced by computers. Or, computers may generate some "skeletons", which real composers can use and enrich.
I have generated quite a bit of music using evolutionary algorithms. My research is mostly about figuring out representations that are not at too low a level (eg 1 "gene" per note). I like representations that in some way represent the patterns, oscillations, and processes that seem to drive music forward over time.
Garageband! It's a pretty crappy sequencer, but the synth sounds are fine. I imported the midi tracks saved by the algorithm and then mostly just chose from the preset synth sounds.
One problem I noticed sometimes was a limit to Garageband's polyphony in the pianos. I think it only allows 8 or 10 notes at a time in some cases (not sure exactly how it works) and my software has a habit of playing a lot more than that.
The music at any given point sounds great, like classic video game bgm, but theres one thing that irks me. I don't feel a clear start and end to the music, it just seems abrupt both ways.
Nice work. Is anybody aware of automatic music performing software? I think that this is similar to automatic generation of music but more structured and therefore easier to implement. I remember reading some studies about software performing classical compositions, but never found working prototype to play with.
I've read some papers about software used to help live performers, some sort of co-performer, or accompanying robot. But I can't find the paper right now..
I have indeed looked at some genetic algorithms and a lot of papers on the topic (in fact, my former university has a course about that, so I read the coursebook). Most of what I have read is either included, attempted, or in TODO. And obviously, I need to read some more.
That interactive thing looks useful. It might be possible to build a music composer (website) using collective intelligence, i.e., producing music by taking people's response into consideration?
The idea of "liking" and "disliking" is to:
1. Get a collection of 'best' tracks that sort-of advertises the successful parts of the algorithm
2. To let me analyze which intermediate decisions in the generation process are good and which not, so that I can make the good ones happen more often.
I took part in a "create a game in a day" event recently. Some of the compositions sounded like they would have been perfect for the game, which leads to the strange question: what is the copyright on music composed by the algorithm?
Man, that is some pretty crappy music. Good effort though. Algorithm needs more theory. Good music isn't that random. You are missing phrasing, repetition, rhythm.
I'm not missing it - all three things are encoded there. They might not be that "visible", which is a point of improvement, but the theory is there. As I wrote in the blog "random" generates noise. That's why composition rules are needed.
bad, or artificial? If "artificial" - that's the performance side, and it depends on the soundbank. If a real performer plays the same score, it would sound better. The point is to have nice compositions first :)
One is that real music composition is never done where the timbres are separated from the composition. Classically notated music looks kind of like this, but it's really just a shorthand. A composer knows intimately the sounds she is working with.
For pop music, the timbre itself is a mode of creative expression. Innovation in musical timbres and sounds is an expected part of pop music. (I'm using "pop" in the most general sense, covering a large amount of contemporary genres). The meaning of the music is not captured by simplistic reference to musical notation concepts.
The other major limitation of generated music, to my ears, is that of overall compositional structure. The units of composition usually are short, and only locally referenced. So the compositions lack interesting shape over the course of time.
If you think of a composition as a story, it's as if a bunch of plausible paragraph that are coherent within them selves are strung together with only loose reference to each other. So a longer "plot" doesn't emerge.