By Jeremy Jefferson, Graduate Music Fellow
Introduction
AI has become a trending topic lately for a multitude of reasons: How does it affect the environment? Is its risk beneficial or ultimately detrimental? Is it ethical and moral, and to what extent will we as humans use, and ultimately, depend on it? All of these are important questions, but I want to focus on two that are specific to classical music: the humanness in classical music vs using AI, and if AI will become increasingly prevalent in our space like it has so many others. As of now, I believe that classical music is preserved from an overdependence on AI, but there are risks.
Classical Music’s “Humanness”
When I say as of now, I mostly mean that classical music is a space reserved for the human mind and human emotion. As a performer, there are always aspects of that thought and emotion that exists in performance. Take a string quartet – one of my favorite ways to perform music.
String quartets are one of the most intimate forms of expression for string players. Four individual minds brought together to create one product – it gives me chills just thinking about it. This is a pillar of what music is to me: this collaboration and expression that transcends words all together.
Let’s a look at of the most famous string quartets, Dvorak Op. 96 String Quartet No. 12, more affectionately known as the “American” string quartet. This piece is quite intimate for many reasons; most importantly, it’s how Dvorak expresses feelings through the instruments. The violins start with a simple 16th note figure that seems to represents the sky, and the cello enters with this deep, whole note that brings listeners back down to Earth. Then the viola starts with a series of notes that listeners know. This beginning carries across well because of the violins and the cello; it creates such a wonderful landscape for the violist to add detail to. It’s the effort of all four players to build on this soundscape.
I believe wholeheartedly that AI cannot replicate this. There’s an innate “humanness” that exists in string quartet that AI will always fail to keep up with. You can ask AI how it would create the sounds that Dvorak was looking for, such as: “how do I replicate the sound of local birds from Spillville, Iowa?”; “How do I make a theme inspired by African and Indigenous Americans?” AI can get close, I’m sure. I would even go as far as to say that you can ask AI to replicate Dvorak. If that’s the case, you may ask, “what’s the difference?”
The Human Touch in Composing and Performing
You can see the differences in both composing and performing. Regarding composition. I find it to be another way that people can express themselves through music. Personally, it stretches my thinking because I don’t exclusively write for viola – I enjoy writing for all of the stringed instruments.
AI has already invaded the space of composition, mostly seen through pop music in commercials. In terms of classical AI writing, I can also see its eventual use, but the critical difference is decisions made by individual composers. Take Shostakovich’s Viola Sonata. In the last movement, before the last statement of the theme, Shostakovich quotes all 15 of his symphonies in a row as an homage to himself because he knew he was dying. AI could try and replicate this idea, but to do it in the way Shostakovich did takes a human touch. I would even say there’s an impulse to write pieces in a certain way that takes a human to do it.
When it comes to playing, there are so many decisions that exist because we act on impulse. In string quartet playing, it’s these impulses that create real magic. These impulses occur the most in “phrasing,” or the musical sentence. Take the sentence, “I love classical music.” You can choose which word to emphasis. It’s the same in music—you can choose which notes to emphasis. A good phrase is something that is malleable and can always change. Notably though, phrasing is often when performers have disagreements and conversations about how a piece is played. These discussions become an important part of playing the piece itself. It’s one of the best parts of musicmaking to me.
AI seems to pick the most “perfect” phrasing, but it’s the invention of the music on the page that’s the most special. How does this particular performer choose to express music in the moment? There’s so much to learn about a person in how they choose to phrase music. If we go back to Dvorak’s American, the second movement is a perfect example of this. There are so many ways to play it: How do you move the 16th notes? Do you slide up to the high notes? Where do you slide? Why do you slide there? These questions build the magic and electricity that brings people together for music.
Conclusion
AI is here to stay, regardless of personal beliefs and ethical or moral quandaries. As a violist and composer, it’s important to recognize that it’s seeping into my current career path and future trajectory. For those who work in and/or enjoy music, there are important differences from human-composed and performed music that I don’t believe will go anywhere. However, it’s important for all of us to learn about this subject in order to fully grasp its current and potential impact.