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   augustus pugin 🌖 (augustus@shitposter.club)'s status on Thursday, 25-May-2023 00:26:32 JST augustus pugin 🌖
   how long until we can feed sheet music into AI models and get new Chopin
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     :afire: palingenetic man :afire: (anonaccount@poa.st)'s status on Thursday, 25-May-2023 00:29:30 JST :afire: palingenetic man :afire:

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     @augustus About now.
     
     ai-muzic.github.io/getmusic/
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     mandlebro (mandlebro@qoto.org)'s status on Thursday, 25-May-2023 01:51:57 JST mandlebro

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     @augustus Never. We may someday be able to accurately reproduce his style in new pieces, (as a well trained and talented composer probably could now), but Chopin was an artist that continually evolved throughout his lifetime. True new Chopin would be a continuation of that evolution. However, without the pressures of the human experiences that made him evolve the way he did as an artist, I can't see how that evolution could be continued. Why would an AI trained on earlier Chopin write something as shocking as the scherzo at the end of the b flat sonata? It would have no reason for that statement, while Chopin did because of what he was going through in his life.

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     augustus pugin 🌖 (augustus@shitposter.club)'s status on Thursday, 25-May-2023 01:57:24 JST augustus pugin 🌖

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     • mandlebro
     @mandlebro I'm sure it could make generic Chopin that isn't too far removed from the stuff he wrote, but it wouldn't be able to come up with flashes of genius that characterize a lot of his pieces. for instance I was listening to the Grand Polonaise recently and noticed that he's using the exact same chords as Op.9 no.2 right down to the flat 9 descending line on the dominant chord that then turns to a pretty obscure Fm->Bdim->Fm in the left hand that I've seen nobody other than him do, so I think he does have a consistent bag of learnable of tricks that he's used all over the place
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     augustus pugin 🌖 (augustus@shitposter.club)'s status on Thursday, 25-May-2023 01:58:45 JST augustus pugin 🌖

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     • mandlebro
     @mandlebro also I've heard that the reason for that weird end to that sonata is due to him being aware it needed to be performed for an audience, and there was no way he could allow the Funeral March be the end of the sonata because its so depressing sounding that it would be bizarre for audience to want to applaud it, so he needed a piece that was moody and virtuoso-style but not too thematic to give them something to applaud for
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     mandlebro (mandlebro@qoto.org)'s status on Thursday, 25-May-2023 05:13:52 JST mandlebro

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     @augustus I just re-listened to it and to me, it does not feel like it works as a three movement piece for a similar reason. Ending on a slow emotive movement like that leaves a sense of qn unresolved emotional state that asks for a conclusion, but the conclusion he chose colors the whole sonata. If you interpret it as a peice about death, than the the third movement has a sense of melancholy acceptance to it. The last movement undos this and leaves you with a sense of anxiety and dread. It feels like a death rattle to me. Like you know what's coming and you can't do anything about it and can't quite come to terms with it even though your trying. Really unusual and specific emotional color thats definitely not an obligatory bookend the way some of Beethovens early last movement feel.

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     augustus pugin 🌖 (augustus@shitposter.club)'s status on Thursday, 25-May-2023 05:16:49 JST augustus pugin 🌖

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     • mandlebro
     @mandlebro it's probably one of my favorite pieces by him, not for the musicality just how it uses pure virtuosity to achieve totally artistic emotional effect. there's a lot of stuff like that in Liszt too. and it sound atonal even though it never leaves Bbm