wnyc.org / 93.9fm / am 820

Comments

• [1] David from Rockland County June 19, 2007 - 03:46PM

  Your three-way comparison between the computer-generated orchestra and the real ones was a good idea, but somewhat flawed, given that the two orchestras were world-class ensembles with world-class conductors.

  A better comparison would be between a computer orchestra and one made up of second-tier musicians, the type that the compputer is looking to replace.

  Were you to have had a recording of Beethoven's seventh played by second-toer musicians and compared to the world-class recordings, I'm pretty certain that your critics would have picked it out just as easily as they did the computer-generated one.

  The question would then be how the computer would do head to head with this second group, not the first.

  
  
• [2] Olivia Koppell from Bronx, New York June 19, 2007 - 04:13PM

  I heard the show today about the fauxharmonic. I am a professional musician and music education advocate. The idea that this will win converts to classical music betrays a true lack of understanding. Classical music audiences have dropped off because music (and arts) education were cut from public schools 25 years ago. When children are introduced to music its benefits are manifold. Music produced by machines and pushing buttons is part of the problem. (see NY Times editorial about the Tony Awards). Children and young people today have no idea what goes into the sounds they hear when pushing a button. People don't know anymore what music is made of, and this will only compound the problem. It's like children not knowing that milk comes from cows, or orange juice from oranges that grow on trees. Those sampled sounds come from people with years of training. And you completely leave out the sense of community, accomplishment, self- worth that chilren gain from learning an instrument and performing in orchestras. That's how you build audiences- I know - I have done it. As far as composers go - if you need a machine to show you different sounds of instruments and attacks and bowings, you have no business being a composer! Machines to make demos, or try things out are fine, but replacing live orchestras or chamber groups with a few computers will continue the unfortunate trend of fewer concerts, a more uneducated and uncultured society and an sense of alienation of our children from which we won't easily recover. For proof see the documentary about the Venezuelan Music System and what music really means. Contact me for a screening. A short part by Ed Bradley was featured on 60 Minutes a few years ago, and Alex Ross wrote about it in the April 30,2007 issue of The New Yorker.

  
  
• [3] hrh from tehran-iran June 19, 2007 - 08:29PM

  WHO am I to blow against the MAESTRO?!!! Here is what the MAESTRO once said:

  "The trouble with music appreciation in general is that people are taught to have too much respect for music; they should be taught to love it instead."

  Igor Stravinsky. "Subject: Music", New York Times Magazine, 9/27/64

  This so-called "virtual orchestras"

  software(s) will indeed help young composers &/or musicians to hear what their debut unheard works will sound like & enable them to have a "virtual" meeting to probably close a deal with a major label CEO & starting a career...

  Let's wait for the future & SEE=HEAR!

  Cheers.

  Hamid.

  www.videopix.co.uk

  
  
• [4] Paul Henry Smith from Hamden, CT June 20, 2007 - 10:32AM

  First, thanks for taking the time to discuss my work.

  I'd like to add just a few points:

  1. You're not listening to a computer playing music ... I made that recording, and I am assuredly a human being. The instrument I used was a computer, but the computer is not playing the music.

  However, when you noticed the plodding bass line, you hit on one of the biggest shortcomings this instrument has. The tempo of that performance was not conceived in proportion to the rest of the musical elements. It doesn't change in relation to them. And it shows in the basses in particular because they repeat the same motive again and again.

  Since that recording was made, however, I now use the Wii to bring tempo back under the fluid and seamless control of the performer.

  Wii Conducting Test:

  http://youtube.com/watch?v=2jc7Q2xYDEw

  2. As to the question of "why?" ... Playing music needs no justification, as you know. But if your question is why play THIS music THIS way, well, it's very simple. I'm a musician and that's what I do. I don't have an orchestra to work with, I have a "digital orchestra." It's my choice of artistic medium and that decision also needs no justification.

  For all of human history people have picked up whatever technology is at hand and made music with it. I'm not doing anything new.

  3. The taste-test is a good way to illustrate some of the shortcomings of digital orchestra performance. On Fauxharmonic.com you can hear the full movement along with several other pieces. As a snapshot of where we are now and what's possible now, they are interesting. But, as you noticed, there is a lot more that needs to be improved.

  I look at this situation and see where we could be in five years, while others look at it and see that it falls short. Once the underlying technology is no longer questioned (as we now no longer question hearing music coming from the radio) you will be free to compare the three orchestras on musical terms. That's where I want to move this ... the music is what's important to me.

  There's an interesting discussion of the musical approaches to this very passage here:

  http://www.fauxharmonic.com/2007/04/24/hidden-clarinet/

  I think we can have a richer musical discourse that's healthy for the art of orchestral music, regardless of what instruments the music is played on.

  Well, thanks again for taking time to delve into the issues with an open mind and with careful listening.

  - Paul Henry Smith