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Roll over, Beethoven: London orchestra play piece written by a computer (but listening to THIS, human composers may not be out of jobs quite yet…)

July 2nd, 2012 FAKE NEWS for the Zionist agenda

By
Rob Waugh


PUBLISHED:

06:59 EST, 2 July 2012

|

UPDATED:

06:59 EST, 2 July 2012

The London Symphony Orchestra is to play a piece of music composed by a computer program.

Until the LSO was handed the score, no human had adjusted, inspected or corrected the music.

It is all the work of the computer program, created by a team at the University of Malaga and running on a ‘cluster’ of computers built for the purpose.

Scroll down to listen

Until the LSO was handed the score, no human had adjusted, inspected or corrected the music

Until the LSO was handed the score, no human had adjusted, inspected or corrected the music

The casing for the computer cluster that houses 'Iamus' the composer

The casing for the computer cluster that houses ‘Iamus’ the composer

It’s the first time music composed by a computer has been considered good enough for top-flight classical musicians to play.

A CD of the performance will be released in Steptember.

The orchestra is recording the program’s work this week in Malaga.

The only thing its human ‘handlers’ specify is the rough length they want the finished piece to be, and what instruments Iamus will compose for.

Early reviews say that the sounds are jarring, ominous and spooky – and not dissimilar to modern classical pieces.

Computers have already DJed at dance events, using hydraulic arms from car factories, but an orchestra playing the ‘work’ of a machine is a new departure.

‘When we tell people, they think it’s a trick, ‘Francisco Vico of the University of Malaga team which designed Iamus said in an interview with The Guardian.

‘Some simply don’t believe us. Others say it’s just creepy.’

Here's one I made earlier: One of Iamus's first works

Here’s one I made earlier: One of Iamus’s first works

‘A computer cluster, named Iamus, has been specifically built to fully exploit the potential of this technology,’ say the team.

‘Iamus is dedicated to compose melodies, which are collected in an ever growing repository of music of several genres. As this technology develops, longer and more complex music fragments are generated.’

Iamus ‘mutates’ sounds to create its music, altering basic material in a process its creators say is similar to evolution.

‘As evolutionproceeds, we get longer and more elaborated pieces,’ says Vico.

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Well that’s seven minutes of my life wasted …

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17:45. 2nd. Tone.
Before daring to describe anything as “rubbish” you had better take a long look at your comprehension and spelling ( not ‘formularised’ but ‘formulaic’ ). Your capitalisation is primitive, also. For future reference, write Second Viennese School with a capital ‘S’.

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Nothing can compare with Beethoven`s genius.

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Xenakis’s ST-48, composed by computer, premiered by French Radio Orchestra (top-flight classical musicians, I would imagine) in 1968. A number of computer-composed works featured on BBC Radio 3, and BBC TV ‘Tomorrow’s World since then, including a Turing Test-type experiment where the actual computer-composed piece was judged the least-likely computer-composed by most listeners – ahead of similar tests with computer-generated art-work and text!

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Sounds like formularised atonal rubbish.Please do not insult the Viennese school.

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I am reminded of the great conductor Sir Thomas Beecham: when he was asked have you ever conducted anything by Stockhausen(an atonal composer), he replied, ” No but I’ve stepped in it more than once.”

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Tedious and boring, just a miss mash of notes ……..not pleasing to my ear.
britexpat.

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Must’ve been composed by one of Natwest’s computers.

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An interesting and attractive piece, somewhat redolent of early 12- note Schoenberg, a medium, only now gradually coming into its own following its inception in the late nineteenth century. Mechanical composition has been available since the practical application of the programmable machine; a matter of more than 70 years. Such a device renders anything possible, the only constraints being those of imagination, time, budget and perceived market. Characteristically desirable, but long deceased voices, for instance, performing pieces unwritten in the lifetime of the singer, even in another language, for instance.

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Sounds as though the music was composed by Stockhausen.

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