IBDP Music Experimenting creating AI generated Für Elise скачать в хорошем качестве

IBDP Music Experimenting creating AI generated Für Elise

Creating Excerpt #1 My first creating excerpt serves as an example of integrating deep neural networks and artificial intelligence (AI) into traditional classical music. To do this, I’ve developed an algorithm using multipurpose technology such as GPT-2 and WaveNet to dissect a piece’s harmony, rhythm, and style, in order to generate sequences and raw audio waveforms. The piece I chose to experiment on is Fur Elise, as the main theme is simple, and the piece can be musically reinterpreted as other genres such as blues and ragtime. The picture below is an example of the embedded piano score that is AI-generated based on the first four bars of Fur Elise. Wanting to preserve the Ternary ABA structure of the original Fur Elise, as well as the repetitive nature of the piece, I retained the linear broken chord sequence in the left hand and adopted a similar motif structure for the right hand. I also ensured that the generated piece would include the original’s elegant chromaticism (0:09-0:11). After analyzing the original structure, I noticed Beethoven’s arrangement of the development section to be more chordal and virtuosic (0:27-0:37), commencing the build-up of the climax, which includes an accelerando (0:51), increase and decrease in octave for broken chords (0:58-1:16). The piece ends with three altered chords (1:17-1:21), and instead of the original’s ending chord, I decided to end on a single bass note to signify resolution. Creating Excerpt #2 My second creating excerpt serves as a development from the first excerpt, in which I composed the cello line based on the generated piano line, and I adapted Fur Elise into a Baroque-style piece. Taking inspiration from Bach’s preludes from Bach’s Well-Tempered Clavier, I selected a more sustained piano to accompany the cello, which paired well as I was able to adapt Bach’s approach to composing cello pieces based on his famous Cello Suite No.1. Not wanting to overbear the melody, the generated left hand of the piano incorporated broken chords to create the illusion of sustained harmony (1:40-1:43), which was common during the Baroque period and apparent in pieces such as Bach’s C major prelude. The cello line consists of long sustained notes, with running major scales to evoke a sense of stillness and stability (1:51-1:57), with long trills that are common from the era (1:45-1:46). The piano then plays short detached notes fitting the Baroque style (1:47-1:50). Using Fur Elise’s original Ternerary ABA structure, the piece repeats back to its A form, before introducing a new episode that includes a contrapuntal texture with alternating melodies between the piano and the cello (2:47-2:51). Similar to Bach’s prelude endings, the composed piece ends with a half-note trill. Creating Excerpt #3 My second creating excerpt serves as a four-part quartet, in which I composed the flute, double bass, and harp line based on the generated piano line. I selected the four instruments based on the rhythmic fluency of the original piece’s right hand. To present a mood of serenity, and distinguish between the bass and melody line that alters between the different instruments, I kept the piano with a similar composition to the original throughout the piece, introducing the flute with slight syncopation to indicate a change in tone (3:23-3:40), before transitioning to the double bass with a repetitive mezzo staccato that indicates that it’s the bass line (3:40-4:04). I decided to introduce a new episode by doubling the piano and harp as both have deep bass strings and short high-pitched notes, so the music would have a fuller sound (4:04-4:07), before making the counter-melody being the cello line and the main melody being the piano line. Finally, the flute is included to build the climax (4:29), before returning to the single piano melody that indicates resolution. I aimed for a contemporary style piece, as I wanted to experiment with the expansion of tonality, particularly with the piano’s overtones in a higher register giving a round quality that juxtaposes the harp’s more resonant and gentle timbre (4:09-4:12).