When Deirdre Loughridge first embarked on teaching music technology classes in 2012, the prevailing belief among her students was that computers were “dehumanizing” music. Many of them were surprised and even disturbed by the notion that a computer could create music. However, Loughridge, an associate music professor at Northeastern University specializing in the history of music technology, noticed a significant shift in attitude over the years. Students began to embrace the idea of making music with a computer, considering it more intuitive. This evolution highlights the changing perception of the relationship between humans and machines in the realm of music.
As artificial intelligence takes center stage, the question of whether the music we enjoy is created by a human or a machine becomes increasingly relevant. Loughridge argues that the answer is not always straightforward, particularly in the context of music. She refers to an example in her upcoming book, “Sounding Human,” where a computer-generated piece mimics the style of renowned composer Chopin. While the music itself is created by AI algorithms, human programmers play a crucial role in its development. Loughridge underscores the fact that even Chopin composed music using a piano, which can be seen as a type of machine. This example challenges the simplistic view of human versus machine, presenting a more intricate and intertwined relationship.
Escaping the Binary Bifurcation
In “Sounding Human,” Loughridge aims to break free from the binary bifurcation that often dominates discussions about human and machine interactions. Contrary to the prevailing view, she explores how humans and machines have been intertwined throughout history. The book delves into the period from 1740 to 2020, starting with the introduction of an android-like flute player and concluding with contemporary musicians experimenting with machine learning. By examining this vast timeline, Loughridge examines the fluctuating attitudes towards the role of machines in music creation, challenging the assumption that machines are always opposed to human creativity.
During the 1700s, music was predominantly seen as a highly rational pursuit, and the use of machines in its creation was widely accepted. However, subsequent centuries witnessed a significant shift in attitudes, with music being regarded as something expressive and, in some ways, in opposition to machines. This transition sparked debates surrounding technological advancements such as valve additions to brass instruments. Loughridge emphasizes that attitudes towards machines in music have waxed and waned over time, and numerous examples throughout history demonstrate different reactions to technological changes. Understanding this historical context is crucial when engaging in contemporary debates surrounding artificial intelligence in music.
With the ongoing debate around AI, Loughridge’s book arrives at a crucial moment. She notes that attitudes towards this technology have evolved even in the past year, with more people polarizing their views into “good” or “bad.” By delving into the rich history of human-machine interactions in music, Loughridge provides readers with a broader perspective. The exploration of examples that challenge the conventional human versus machine framing allows for a more nuanced understanding of machines’ multifaceted potential and their impact on human creativity and expression.
The relationship between humans and machines in music is far from simple. Loughridge’s groundbreaking research and upcoming book “Sounding Human” shed light on the evolving attitudes, historical context, and the entanglement of humans and machines. By moving beyond binary thinking, we can embrace the complex interplay between humans and machines, opening up new avenues for exploration and understanding. As technology continues to advance, it is crucial to recognize that the future of music lies not in the elimination of humans but in the collaborative potential of human-machine partnerships.
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