Re: there is something different

there is something different (Score: 3, Insightful)

by rocks@pipedot.org on 2014-03-20 22:42 (#QJ)

about live performances and recorded performances even by the same musicians. While I think it is really cool that we can automate music making, I still believe for now that there will always be something vital and imperfect about natural and live music-making.

Part of it is that while there is a standard vocabulary for associating particular musical patterns with emotions, we are also always playing with these patterns to shift our associations. So I'm wondering if the algorithmic approach will be able to have this kind of exploration and growth element added and, if so, how?

Re: there is something different (Score: 3, Interesting)

by danieldvorkin@pipedot.org on 2014-03-21 03:04 (#QN)

I think you're right, but I also think a lot of the people looking for soundtracks won't care. Big Hollywood studios will always be able to pay someone like John Williams to compose the score for feature films, but a TV producer on a tight budget who wants distinctive music for this week's episode might weclome software that would compose music from the script.

Presumably the algorithm can be altered as musical tastes change. It's interesting how a lot of movies and TV shows from, say thirty or more years ago don't look nearly as out-of-date as they sound .

Re: there is something different (Score: 4, Funny)

by zafiro17@pipedot.org on 2014-03-21 09:31 (#QS)

I'm skeptical about algorithms being able to do something as subtly complex as this. As for Hollywood movies, aren't they already being written and acted by computers and robots anyway? (Keanu Reeves, whoever wrote the Diehard series: I'm looking at you). I mean, same crap, over and over and over. I think the entire romantic comedy genre has been coopted by a bit of software only marginally more complex than emacs' psychiatrist.

Re: there is something different (Score: 2, Interesting)

by rocks@pipedot.org on 2014-03-21 12:21 (#QZ)

I was thinking that one of the big challenges for scores accompanying Hollywood movies is getting climaxes in the music to match the cutting/editing of the film sequences and action. I wonder if right now film composers actually use a hybrid system whereby they develop the theme, variations and scores for the music, but they use algorithms to find best fits for the music to the video?

Story

Preview