AI: it’s not artificial, and it’s not intelligent. That’s a paraphrase of the computer scientist and composer Jaron Lanier’s take on AI as a work-replacing, culture-consuming and composer-destroying technology.
Yet how can Lanier be right? Because AI’s virtual tentacles are already grasping into the real musical world: if we can generate deepfake Drake and artificially resurrect John Lennon, what are the possibilities for classical cultures? Algorithmically induced Bach? Virtually composed Smyth? Network-synthesised Brahms?
This story is from the August 2023 edition of BBC Music Magazine.
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This story is from the August 2023 edition of BBC Music Magazine.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Discovering Donizetti - Thanks to a two-year lockdown project, nearly 200 previously lost Donizetti songs will now see the light of day
Thanks to a two-year lockdown project, nearly 200 previously lost Donizetti songs will now see the light of day. For most people, undertaking a lockdown project meant learning to bake sourdough bread, getting fit with Joe Wicks, or taking up a language. But Professor Roger Parker, the eminent historian of Italian opera and emeritus professor at King's College London, had something far more ambitious in mind. He set about unearthing songs by Gaetano Donizetti - many of which had been lost since the composer's lifetime - and the enterprise turned into a two-year labour of love.
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The youngest of six, Bohuslav was a sickly child, and his father or older sister often had to carry him the 193 steps up to the tower. He was shy at school, too, though showed an early talent for the violin and gave his first concert at 14. By the following year, the future composer was off to the Prague Conservatoire to take the first, if faltering, steps towards a career in music.
Symphonies Beside the Sea- Before cinema, the wireless and coach trips cast them adrift, seaside orchestras were once a major holiday attraction
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As we get older do we respond differently to that vast canon of music dealing with mortality? Is it inevitably true that, as we journey through the decades, we are better able to interpret or empathise with a profoundly death-obsessed masterpiece such as Schubert's Winterreise? Or do human beings possess such a flexible sense of empathy that we can relate to virtually any state of mind if it is evoked convincingly enough by a composer?
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