When Robots Write Songs: Computers That Compose

The Atlantic
When Robots Write Songs
Bach, Coltrane, McCartney: New algorithms can produce original compositions in the style of the greats. But are those works actually art?

William Hochberg Aug 7 2014, 8:01 AM ET

When Pharrell Williams accepted five Grammy Awards this year on behalf of the French group Daft Punk, the duo were dressed as robots. This may have foreshadowed a coming invasion by real music robots from France.

Computer scientists in Paris and the U.S. are working on algorithms enabling computers to make up original fugues in the style of Bach, improvise jazz solos a la John Coltrane, or mash up the two into a hybrid never heard before.

“We are quite close now to [programming computers to] generate nice melodies in the style of pop composers such as Legrand or McCartney,” says Francois Pachet, who heads Sony’s Computer Science Lab in Paris.

The commercial applications of such efforts may include endless streams of original music in shopping malls that can respond to crying babies with soothing harmonies, as well as time-saving tools for busy composers. But the questions raised by computerized composition are more abstract—touching on the nature of music, art, emotion, and, well, humanity.

The music-bots analyze works by flesh-and-blood composers and then synthesize original output with many of the same distinguishing characteristics. “Every work of music contains a set of instructions for creating different but highly related replications of itself,” says David Cope, a computer scientist, composer, and author who began his “Experiments in Musical Intelligence” in 1981 as the result of a composer's block.

“It’s truly impressive,” says jazz guitarist Pat Metheny, commenting on a track by a jazz-bot programmed by Pachet’s team to sound like sax legend Charlie “Bird” Parker blended with French composer Pierre Boulez. “I sent it to Chris Potter, the saxophone player in the band I am touring with right now, and asked him who the player was. He immediately started guessing people.”

The French robot that mashes up Parker and Boulez is a lot more advanced than most efforts at computer-penned music. For instance, another jazz-bot emulates Bill Evans with mixed results. Known for his heavenly flights of pianistic virtuosity, often while doped up on heroin, the classically trained Evans defined Cool Jazz on Miles Davis’s “Kind of Blue” outing, the most popular jazz album ever. Sony’s Evans-bot sounds more like it’s doped up on a cocktail of Thorazine and Windows 8. The lush chordings and rush of arpeggios are trademark Evans, but the ham-fisted dynamics and pointless melodies reveal no one human is home.

In 1950, World War II code-breaker and forefather of artificial intelligence Alan Turing introduced a blindfold test to see whether computers could fool humans into believing they were communicating with other humans (“humans” who were actually computers). The test would determine, essentially, whether computers can “think.”

But can they swing? “I would submit that you can certainly make a computer swing,” says Brooklyn-based musician and technologist Eric Singer. “You can kind of jitter that swing a bit to make it sound more human. “

Singer helped devise a computerized band called the “Orchestrion” that Metheny recorded and toured with in lieu of live musicians in 2010. The Orchestrion (also called a Panharmonica) was reportedly invented in 1805 by musician (and, some said, swindler) Johann Nepomuk Maelzel. Beethoven, a fan of early music tech, featured Maelzel’s musical automatons—powered by a bellows—in between symphonies at concerts in 1813.

David Cope has designed EMMY, an emulator named for the acronym of Cope’s “Experiments in Musical Intelligence” project at UC Santa Cruz and elsewhere. EMMY spools out miles of convincing music: from Bach chorale to Mozart sonata to Chopin mazurka, Joplin Rag, and even a work in the style of her creator, Cope.

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Read the full article with multimedia examples HERE in the Atlantic.

LCD Soundsystem's James Murphy Wants NYC's Subway System to Make Music

BROOKLYN, N.Y.—Musician James Murphy thinks New York's "underground music" scene leaves a lot to be desired. He wants to change the underlying sound: the cacophony produced by the subway turnstiles.

"They make this unpleasant beep and are all slightly out of tune from one another," said Mr. Murphy, 44 years old, over breakfast recently in the trendy Williamsburg neighborhood here.

For the past 15 years, Mr. Murphy has been crafting what he says is a low-cost musical solution: He has worked out a unique set of notes for every station, one of which would sound each time a passenger swipes his or her MetroCard to catch a train. The busier a station becomes, the richer the harmonies would be. The same notes would also play in a set sequence when the subway arrives at that stop. Each of the city's 468 subway stations would have note sets in different keys.

Now, he believes his plan finally has a chance, as the state's Metropolitan Transportation Authority embarks on a $900,000-a-year project to improve passenger flow at some stations by repositioning turnstiles, furniture and emergency exits.

Read it all and watch video of Murphy HERE in the snarky WSJ.

Classic Anthropology Cartoon

Fav Halloween Costume of 2013: Edgar Allen Ho

2013 Steely Dan Interviews

Steely Dan on Making New Music: 'We've Been Talking'
Band kick off 53-date Mood Swings tour this weekend


By Andy Greene
July 18, 2013 11:40 AM ET

Interviewing Steely Dan is no easy task. Walter Becker and Donald Fagen turned messing with journalists into an art form back in the Seventies. Rolling Stone checked in with Becker and Fagen during the final days of rehearsal for their upcoming 53-date Mood Swings American tour. It kicks off on July 19th in Atlantic City and runs through October 8th in New York. Select shows will include complete performances of Aja, Gaucho and The Royal Scam.

We spoke with Fagen first, and he lulled us into a false sense of security by casually answering our questions in a relatively straightforward manner. A couple of hours later, Becker called. He was a little less cooperative, though equally sardonic. The pair talked about choosing songs for this tour, the possibility of a new Steely Dan record, their aging fan base, what songs they're sick of playing and many other topics.
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Read the full interview HERE in Rolling Stone.

And here's one from Scene HERE.

Awesome Donald Fagen Interview from 2006 about His Bard Days

Back to Annadale
The origins of Steely Dan -- Donald Fagen returns to campus and revisits the origin of his old grudge
By Rob Brunner on Mar 17, 2006

On Halloween 1967, a party is raging inside Ward Manor, an Elizabethan-style mansion-turned-dorm at Bard College, in Annandale-on-Hudson, N.Y. On a small stage set up in the corner of the common room, a band called the Leather Canary tears through the Rolling Stones' ''Dandelion,'' Moby Grape's ''Hey Grandma,'' and Willie Dixon's ''Spoonful,'' along with a few recently penned originals. It's a typical late-'60s student shindig — most of the audience is tripping on acid — but it's hardly an ordinary band. Behind the drums is Chevy Chase, familiar around campus as a gifted musician and good-natured goofball who's been known to drop his pants after losing late-night games of ''dare'' poker. Just in front of him is a long-haired muso named Walter Becker, one of the school's most accomplished guitarists. And the shy singer behind the electric piano? That's Don Fagen, decked out in a leather jacket with feathers attached to it (hence the band's name). Just a few years later, Chase will find fame as one of the greatest comedians of his generation. Fagen and Becker, meanwhile, will evolve into Steely Dan, score huge hits with songs like ''Rikki Don't Lose That Number'' and ''Reelin' in the Years,'' and create several of the most beloved and enduring albums of the 1970s. And in 1973, on their second LP, they will record ''My Old School,'' an angry kiss-off that, for reasons that have never been entirely clear, takes a very public swipe at Bard. ''California tumbles into the sea/That'll be the day I go back to Annandale,'' Fagen famously sings. ''I'm never going back to my old school.'' You can practically hear him sneer.

Almost four decades after that Halloween gig, Donald Fagen is back at Ward Manor, gazing around the very same common room. In many ways, this quiet lounge — its ornate wood-paneled walls and elaborately plastered ceiling unchanged after all these years — is where Steely Dan sputtered to life. Fagen and Becker both lived here, and they wrote their first, now-forgotten songs together on an old piano that disappeared from the corner years ago.
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Read the whole interview in Entertainment Weekly HERE.

Star Wars/Thomas Kinkade

A delicious gallery from Deviant Art. A sample:

Zen Pencils Illustrates Cartoonist Bill Watterson's Advice

Illustration by Zen Pencils, words by cartoonist Bill Watterson (Calvin and Hobbes) given at a commencement address. Apparently part of the illustration is autobiographical for Zen Pencils. You can check out Zen Pencils HERE and a fullsize version of this comic HERE.

Awkward Jesus Paintings from American Jesus

Ah, "Business Jesus" is just one of the awkwardly bad Jesus paintings posted at American Jesus. Check out the rest THERE.

Recording Diana Ross' "Love Hangover"

A great story from producer Hal Davis that mostly comes from the biography Diana. Best part:

"No one really liked disco here at Motown," producer Hal Davis said in J. Randy Taraborrelli's biography, Diana. "The company wasn't heavily into it, so I figured I'd take advantage of that. When I did the track for 'Love Hangover,' I knew it was a hot track. But when I played it for Diana, well, she wasn't too sure about it. She was used to singing more lush songs by producers like Michael Masser and the public sort of identified her with arrangements like "Touch Me In The Morning." She liked the lyric to 'Love Hangover,' but people thought I was a little off for even suggesting that Diana do this song."

Davis went on to describe the evening that Diana recorded the Pam Sawyer-Marilyn McLeod song. "It was a late session; we started at about nine o'clock at night. I had it all planned out because I know how Diana is about atmosphere in the studio.

So I told them to have some hot red lights put around and also a strobe light. Diana came in, took her shoes off, and got into it sort of slow. The song had two tempos, starting off kind of sultry, which was easy for her. But when we got to the disco part, I remember her laughing and saying, 'I can not do that!'

"So at that point, I had them turn the lights on and we had the place jumpin' like a disco. That's all she needed; she just took off after that. It turned out to be a lot of fun for her and she even improvised a little Billie Holiday in there that I didn't expect. There's even a part in there where she's laughing on the track. I didn't edit it because I wanted to keep that sense of spontaneity."

Diana is quoted by Taraborrelli on the session: "It was a spontaneous thing that we captured on record and if I had to go back in and do it again, I couldn't have. The music was me and I was the music. Things came out of my mouth that I didn't even expect."

From superseventies.

Steam Trek

Classical Sculptures Dressed As Hipsters

More of them HERE.

Great Interview with Bass Guitar Master Anthony Jackson

Conducted by drummer Cliff Almond that he posted in 2007.

Studio Bass Legend Carol Kaye Multi-Part Video Interview 2013

A great series of interviews with Carol Kaye produced by Snapshots Music:

Calvin Grown Up

by Craig Mahoney.

Tin Man Yoga

Mongolian Metal Band Ego Fall: Metal + Overtone Singing!

Astronaut Chris Hadfield Sings Space Oddity in Space

Harry Connick Jr. Schools American Idol Contestants on the Great American Songbook

Why Harry Connick Jr. Couldn't Sit Idle During 'Idol'
The star couldn't stand hearing young singers mangle the Great American Songbook

posted by John Stark, May 4, 2013

From the Daily Roadmap

Those of us who grew up in the 1950s and '60s got to constantly hear — on radio, TV and vinyl — the Great American Songbook sung by the likes of Bobby Darin, Tony Bennett, Frank Sinatra, Mel Tormé, Rosemary Clooney, Ella Fitzgerald, Doris Day, Sarah Vaughan. ... The list goes on. These were singers who belonged to our parents more than to us. Still, they set a high bar for crooners, even if we didn’t fully appreciate it when we were kids. Besides having intonation, perfect pitch and beautiful voices, these artists respected a song, its melody and lyrics.

They made singing sound easy, which it isn’t.

My favorite singer as of this week is Harry Connick Jr., but not for his vocal talent. As a guest mentor on Wednesday's American Idol, he did something I’d never seen done on that show — and it was long overdue. He made it clear why, despite the impressive vocal abilities of the four finalists — Candice Glover, Angie Miller, Amber Holcomb and Kree Harrison — they probably will never be truly great singers in the mode of those who came before, like Dinah Washington, Peggy Lee, Vic Damone and Billy Eckstine. Again, the list goes on.

Idol's theme on Wednesday was “Then and Now.” Each contestant was asked in the first hour of the show to perform a current hit song. They chose newly released tunes by Pink, Bruno Mars, Rihanna and Carrie Underwood, who won American Idol in 2005. In the second half, they were asked to sing a classic from the Great American Songbook.

During the mentoring sessions, Connick would listen to the singers perform the songs they had chosen and advise them how to do it better. He was a kindly coach throughout the "Now" portion of the show, teasing, praising and hugging the contestants. But when it came to the “Then” segment, the joking stopped. His demeanor changed.

Songs of the past are an essential part of Connick's repertoire. He loves, respects and understands their exquisite craftsmanship. He knows how to make them sound “now” without losing what they were "then."

As Amber started to sing Rodgers & Hart’s “My Funny Valentine,” Connick stopped her. He asked her what the song is about. "What does it mean, 'Your looks are laughable?'" he asked her, or "'Is your figure less than Greek?'" Amber looked blank — she had no idea. She struggled for words. He told her to go do some research on the lyricist, Lorenz Hart, a physically diminutive, closeted homosexual who died of alcoholism at age 48. Before singing the song, Connick sternly told Amber, you need to understand what Hart was writing about.

Kree also got stopped shortly after she launched into Harold Arlen’s “Stormy Weather.” She was singing in a loose, bluesy manner, like she said she'd heard Etta James do the song. But for Kree to do those fancy runs, Connick said, were diluting the meaning of the lyrics. The woman in this song, he explained, is sad and depressed; she's lost her man. “You don’t sound depressed,” Connick observed. He wanted Kree to do it more like Lena Horne, who introduced the song in 1940. No frills needed.

Not one of the contestants took Connick's "Then" advice when they got on stage. Substance was thrown out the window for pyrotechnic vocal tricks. Angie sang Gershwin’s “Someone to Watch Over Me,” an ode to vulnerability, in full-power voice. She hardly came off as “a little lamb who’s lost in the wood,” as the lyric says. More like a John Deere tree cutter.

The judges loved Candice’s version of Billie Holiday’s “You’ve Changed,” giving her a standing O. Not Connick, whose tip to "Keep it simple" went completely over her head. “One of the worst things that can happen in a relationship is when the other person starts to drift away from you,” Connick told Candice. She needed to express that feeling. Her blaring version had no poignancy.

Connick squirmed in his front-row seat during the “Then” performances. I haven’t seen such facial contortions since Linda Blair got anointed with holy water in The Exorcist.

His breaking point came when Randy Jackson implied that Connick's advice had hindered Kree’s vacuous rendition of "Stormy Weather," which none of the judges liked. He thought she should have sung it more like Etta James, as she had wanted to do. As it turned out, her rendition was neither Etta nor Lena, nor even Kree. It lacked any personality or feeling. You could see Connick about to pop his cork. That's when Keith Urban went into the audience, took Connick by the hand and brought him to the judge’s table. Taking a seat, Connick proceeded to school a very defensive Jackson in the art of singing standards. The point Connick tried to make, which Jackson didn't want to hear, was that the show’s contestants didn't know these classic songs well enough to take liberties with their melodies and lyrics. In doing so, they were murdering the music.

To me this made an even bigger point. Since its debut in 2002, Idol has always put value on over-the-top vocal performances. Subtlety and intimacy gets you the boot. If minimalists like Peggy Lee or Billy Holiday were to compete on Idol today the judges would eat them alive.

I was friends with Hal Schaefer, a famous vocal coach who died last October. He’s credited with teaching Marilyn Monroe to sing. I once asked him what he thought of Barbra Streisand. “When she was a teenager she came to my apartment on Riverside Drive to see if I would give her vocal lessons,” said Schaefer, who was then living in New York. “I was blown away not just by her voice, but her knowledge. She knew who every composer and lyricist was. She knew the entire American songbook. I told her after she sang for me that I would not work with her. She didn’t need me. But I told her she had to promise me never to take vocal lessons from anyone, because what she did was completely right. Once in a while that kind of talent comes along.”

On a recent NPR interview Streisand talked about how, when interpreting a song, she never violates its melody or lyrics, even when putting her own distinct spin on it. That’s why she's so great. And that's why Connick got so frustrated with the Idol contestants.

He listened to them, but they wouldn't listen to him.

Re-made PG Porn