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Thanks for the tip! I’m working on a slower segment at the moment -
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By PeterthePapercomPoser · Posted
Hello @schedevrant and welcome to the forum! I am not too familiar with chatgpt, deepseek, or grok or any other AI tools for that matter.. but the owner of this forum @chopin is developing a notation software called Music Jotter that is able to take data generated by AI tools and create music. He's showed off the capabilities of AI tools and Music Jotter and what they can do on his YouTube channel - Can ChatGPT compose like Chopin? From what I understand, since ChatGPT and Gemini can understand midi data you feed it and output midi data - you can import it into notation programs and see the notes etc. That's just my understanding of the AI capabilities though. Can you maybe talk more about the difficulties you encountered in realising midi data output from AI tools and opening them in Musescore or other notation programs? They can export their files as midi even if PDF, jpg or mp3 isn't a format that ChatGPT understands, right? And thanks for asking! I'm sure many people will find this topic useful. And hopefully some of what I said will be helpful! -
By schedevrant · Posted
Hello there, nice people! I'm new on here, also not an English-speaker, hope I'm not breaking any rules of the forum (and of grammar, for that matter :). Started music college 2 years ago, don't have any previous *advanced* music training. Major — vocals (jazz, pop); + I got piano 101, music literature, arrangement, music theory, solfeggio, the usual. However, my real desire is to write orchestral music, like Tchaikowsky... but with lyrics. Right now I'm struggling with basic problems — bad sightreading, bad understanding of instrumentation, rhythm, difficult notation, of theory, not that great of an ear. Not being able to play any of the instruments properly (I've just taken up violin and cello, can play guitar — poorly). But I'm working on all of it. My trouble is mostly with instrumentation and orchestration. I found a way that I would prefer to practice them — via Berlioz's famous Treatise. I read chapters, took notes and analysed the perfect examples that Hector'd put there. Then I asked chatgpt/deepseek/grok to come up with musescore exercises for me to better understand each of the topics, so that I could get used to actual notes, rhythms, harmonies, not just DAWs. Then I realised AI can't read or hear notes properly... In any format. It just fantasises about what key, tempo it could be, but doesn't really see musescore, pdf, jpg or mp3. In my turn, I can't rely on my own perception of the "works" (yeah, like 8 bars in pizz. for strings). So, do you have suggestions as to how I can comfortably carry on studying with that great book? Maybe a better AI thing? Or a format I hadn't thought of? Maybe hints on how I can review/check my own practice "through the eyes of a pro", some solid points? Anyway, I really don't want to bother people that are actually good at composing with my extra-amateur 8-bar exercices, I liked the idea of anonymity with that AI thing... Too bad that it doesn't have ears or eyes, too! Thanks for the attention, have a great day! -
By Fugax Contrapunctus · Posted
Much to my wholehearted agreement, you already pointed this out in your review of my other dodecaphonic canon: "Although I have read from Taruskin's Music History book that counterpoint without tonality would be not too meaningful without the rules for dissonances and its resolution, but it is clearly not correct here. Given your ultimate care for preventing clashing dissonances, I find this one actually quite melodious and even tonal, or at least pan-tonal." In any case I don't find Taruskin's assessment entirely correct, just as you pointed out, since care for the clashing and resolution of dissonances need not necessarily be strictly derived from the rules of tonality, but instead out of the composer's own stylistic preference. One of the greatest things I have thus far found true for the dodecaphonic tone row system is that it allows for an immense amount of diversity when it comes to compositional approaches, which is specially true for stylistic notions of what works and doesn't in any given work according to the composer's own intrinsic judgement. In many regards I believe my usage and deployment of contrapuntal techniques to be the polar opposite of Schönberg's in terms of the treatment of dissonance, as in coining the term "emancipation of dissonance" so as to refer to his own proclivity towards unprepared and unresolved dissonances he was so proudly fond of, I believe he essentially stopped hearing dissonances as "ill-sounding" or unpleasant to the ear. For better or worse, my own particular stylistic preferences remain fairly attached to the etymologically quintessential definition of dissonance I just provided, independent of a tonal context. As such, my reticence towards unsing certain intervals has little to do with the standards conventions of tonal preparations and resolutions thereof, but with my own tendency towards finding intervals like minor 2nds and major 7ths quite distasteful to hear in clashing (though slightly more toolerable in suspensions), and also difficult to handle contrapuntally with my current bare-bones approach towards the general treatment of tone rows in my latest canons.
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