Does this exist?
 

A computer program that orchestrates music according to the AI's tastes?

I saw a thing where there was a computer program that you'd hit a button, and it would decide to physically paint something (on this big expensive device) and it would paint trees and people all of its own accord to reflect what it has been taught about the real world by its programmers.

I want to hear music that is as detached from human interaction as possible.

Let me think about it but there is an instrument that is played with the sole movement of the hands but i can't remeber what it's called so i'll have to research that.The more you stretch your hands apart the louder the noise.I've once read an interview with a young Reed and Cale where they talk about making music with electronic doors but i'll have to find that too because it was an interesting read.Something about electro magnetic signals that would produce sound when the doors would open or something like that.

do you mean theremin, porkie?

Teremin...?.. or something like that?

Edit:: sorry, didn´t see the post above

It has something to do with that but people play it from afar in a sort of mime-like way.Do you not have to be closer to the theremin to produce sound?Not sure.

But it is still a human controlling the notes. A human needs to interact to produce the music.

I basically want a robot with a nonhuman personality and thought system to have write sheet music.

That´s the way you play the theremin

Well,using digital signals and the like to do the performing amounts pretty much to not having human interaction at all in the producing of the music and controlling its whereabouts.This has been done for sure.Why do you not reasearch it?Try sound art or powerjokeys sites as they normally have interesting links to keep you entertained.

Yeah but the guy whose photo i've seen playing that thing had nothing visible around him so theremin didn't seem the choice there.

Einsturzende Neubauten use some machines to create their music. These take no human involvement except for turning the switch to on.

Steve Reich's pendulum music has no human involvement once the microphone have been released.

Gyorgy Ligetti's 100 metronomes has no human involvement once the metronomes have been started. Originally this was done in one motion with a machine.

This is a guitar playing machine

http://www.me.gatech.edu/mechatronic...oup3/photo.htm

There was also the La Monte Young installation where he left the sound to generate itself and resonate in the room for days.

sheet music isn't music just represtation of such until it is translated to sound.

Now we are getting somewhere. Now if the person who mades that writes a program say called Beethoven that would itself write music for it in a completely AI driven process (not just a random note/chord/tempo/etc. chooser) that would be interesting.

The only problem would be that a human would have to program the computer's understanding of music. A computer can only be so far detached from humanity.


BTW, it is interesting that in creating a device to play a guitar through midi signals, that in the clips of the Crazy J guitar playing Lola, it still sounds lifeless despite being non synthesized and non sampled.

A computer cannot understand music.

I've often wondered why music exists. Why do we have to express ourselves in mathematically determined yet natural progressions of tone?

I once hated music, but now I can't understand why I ever felt that way.

Music is the human experience put in sound. A computer is only as good as the information entered into it-it doesn't have thoughts, feelings, or experiences, so it can't be inspired to express itself.

Jimmy Page! :)

Squarepusher has a hardware device that ramdomly selects music that has been made by SQ and then makes it's own compositions.
I work with a friend that's a guru in electronics, and he makes sensor based equipment that can be used to make music with body movements. It works up to a distance of max. 50 m and can be connected to guitar pedals and other external devices for sound distortions and effects. He makes costommade hardware for good prices. If your interested, PM me.

That's the one!What is it called?

I'm not sure what it's called pork, but I can ask him. He makes them out of sensors that are normally used for security (burglary) purposes and he then modifies them in such a way that the infra red can be converted into sound, more like noise and static. You can literally scratch vinyl in midair. Awesome stuff. He's making one for me right now, which I am going to use for an interactive installation.

A View From the Bus: When Machines Make Music.
Paul Lansky
from Perspectives of New Music, vol. 28/2, (Summer 1990) When composers remove the locus of their activities from traditional musical arenas, as often happens when they begin to use computers to make music, issues which they never worried about before start to crystallize into cares and concerns. What follows is an attempt to say something about these issues. For want of a better term I'll call these concerns the social context of machine-made music. With all the junk that occupies our workbench when we enter the 'digital domain', neural nets, FIR filters, quantization errors, and so on, why worry about social issues as well? I contend that the history western music is one which is marked by consistent, and largely unsuccessful attempts to build music machines. But now that we have finally succeeded in this the nature of human musical relations is consequently changing--profoundly--and it goes without saying, that music will change profoundly as well. Fundamentally, machines are affecting the substance of music, and, for me, the essence of this development lies not so much in our increasing ability to model and invent, but rather in the ways in which we'll relate to one another in this new domain. When all is said and done, this is the bottom line. It is my feeling that as soon as we allow technology to intervene in the process of music making and communication, particularly computer technology, we radically alter the social and conceptual basis of this intercourse, so much so that we create contradictions and paradoxes if we refuse to recognize these new bases.