I feel the futuristic relationship between technology and human in Dan Tepfer, a jazz pianist (4)
As I have been writing, I got the futuristic feeling equivalent to the concept of “human augmentation” when I watched Dan Tepfer, a jass pianist, was playing ad lib, and in response to that, the computer program written by him was automatically playing the piano keyboard (as if his third hand was playing). In other words, he played ad-lib, and continued the play expanding his ideas while listening to "the reflection from the algorithm".
On the next day (June 5, 2019) I talked with Dan Tepfer, his piano trio had a live concert at Marunouchi Cotton Club in Tokyo. While listening to his play, I was thinking such things as, "corresponding to his complex and calculated rhythm would be difficult for the drummer and the bassist". Let's quote just pictures from his twitter to show the atomospher.
By the way, I'm coming back to the question that I wrote several times in this series of blogs, "Which is likely to be replaced by AI, between composers and performers?". This question has little relationship with the jazz domain in which players are composers at the same time, and is related more to the classical music domain. Since I personally have some acquaintances and friends who are involved in this field as professionals, this question may sound, in a sense, very rude for them, but in fact, I am almost aware that this is not a question that requires the answer such as "Which is right?"
When I wrote the story of Shogi last time, I said that the professional Shogi society first feared that "if AI is highly developed, the meaning of human professionals may not be lost," but as a result, humans and AI are opening up a larger world in collaboration. That story is symbolic. The world of Shogi is profound, but the world of "music" and art is even deeper, and it will be meaningless that humans and AI fight territory in areas where 1% has not yet been developed.
Composers will further expand their ideas with technology and create music that humans have never imagined before. When I talked with a young classical composer who had been gathering attention from public for winning numerous composition awards, I said, “I think it'd be difficult to judge great music without the context. For example, in the case of painting, Picasso's cubism would have been meaningless without the history," but the young composer said, "I believe universally great music for human can exist without of context, and I want to compose it", which was very impressive to me. If there were "universally great music", and if we analyze it theoretically, it might be something which resonates with the frequency that human DNA includes inside, and if so, the latest life science findings and biotechnology may give a hint or a playing method to a young composer.
A pianist may express his/her mind more richly using the invisible third hand like Dan Tepfer, and may notice that the play can be done without the computer. Then, he/she may do the performance by oneself. Currently there may be many classical musicians who avoid the use of computers because it reminds them the electronic music, but computers that have learned deep learning may start playing the piano as if it could have been played by human in the past, and it might be as original and shocking as Glenn Gould's Turkish march. In fact, in the world of Shogi that I wrote last time, it is happening that professional players study the hands pointed by a computer and master them. In the world of sports, it is difficult to reach the top level without training using technology.
Now, I've finished what I wanted to write when I started writing this blog. I first wrote this blog in Japanese, but since it had some good reputation among some Japanese readers, I have translated them into English. I am in contact with Dan Tepfer, and when I first told him about this blog, he said "I'll read it with Google translation", so I've translated it. Actually, translation is becoming extremely easier than before if you only understand English. It's also an augmented skill for me.
<- to the first article <- to the previous article
On the next day (June 5, 2019) I talked with Dan Tepfer, his piano trio had a live concert at Marunouchi Cotton Club in Tokyo. While listening to his play, I was thinking such things as, "corresponding to his complex and calculated rhythm would be difficult for the drummer and the bassist". Let's quote just pictures from his twitter to show the atomospher.
Had an incredible time at @cottonclubjapan with @jorgeroeder and @natewoodmusic. Thanks for the welcome, Tokyo! And thanks Y.Yoneda for the pics. pic.twitter.com/jM8vpNtiuB— Dan Tepfer (@tepferdan) 2019年6月9日
By the way, I'm coming back to the question that I wrote several times in this series of blogs, "Which is likely to be replaced by AI, between composers and performers?". This question has little relationship with the jazz domain in which players are composers at the same time, and is related more to the classical music domain. Since I personally have some acquaintances and friends who are involved in this field as professionals, this question may sound, in a sense, very rude for them, but in fact, I am almost aware that this is not a question that requires the answer such as "Which is right?"
When I wrote the story of Shogi last time, I said that the professional Shogi society first feared that "if AI is highly developed, the meaning of human professionals may not be lost," but as a result, humans and AI are opening up a larger world in collaboration. That story is symbolic. The world of Shogi is profound, but the world of "music" and art is even deeper, and it will be meaningless that humans and AI fight territory in areas where 1% has not yet been developed.
Composers will further expand their ideas with technology and create music that humans have never imagined before. When I talked with a young classical composer who had been gathering attention from public for winning numerous composition awards, I said, “I think it'd be difficult to judge great music without the context. For example, in the case of painting, Picasso's cubism would have been meaningless without the history," but the young composer said, "I believe universally great music for human can exist without of context, and I want to compose it", which was very impressive to me. If there were "universally great music", and if we analyze it theoretically, it might be something which resonates with the frequency that human DNA includes inside, and if so, the latest life science findings and biotechnology may give a hint or a playing method to a young composer.
A pianist may express his/her mind more richly using the invisible third hand like Dan Tepfer, and may notice that the play can be done without the computer. Then, he/she may do the performance by oneself. Currently there may be many classical musicians who avoid the use of computers because it reminds them the electronic music, but computers that have learned deep learning may start playing the piano as if it could have been played by human in the past, and it might be as original and shocking as Glenn Gould's Turkish march. In fact, in the world of Shogi that I wrote last time, it is happening that professional players study the hands pointed by a computer and master them. In the world of sports, it is difficult to reach the top level without training using technology.
Turkish march by Glenn Gould
Now, I've finished what I wanted to write when I started writing this blog. I first wrote this blog in Japanese, but since it had some good reputation among some Japanese readers, I have translated them into English. I am in contact with Dan Tepfer, and when I first told him about this blog, he said "I'll read it with Google translation", so I've translated it. Actually, translation is becoming extremely easier than before if you only understand English. It's also an augmented skill for me.
<- to the first article <- to the previous article
コメント
コメントを投稿