When Deirdre Loughridge embarked on her journey of teaching music technology classes in 2012, she encountered a prevailing belief among her students that computers were stripping music of its human essence. However, as the years progressed, Loughridge noticed a significant shift in this mindset. It became increasingly apparent that her students were embracing the idea of creating music using computers. This transformation sparked Loughridge’s curiosity, leading her to delve deeper into the relationship between humans and machines in the realm of music. Her upcoming book, titled “Sounding Human,” explores this relationship and challenges the binary perception of human versus machine.
Loughridge’s book takes the reader on a historical journey, spanning from 1740 to 2020, to understand the evolving dynamics between humans and machines in music. She begins by captivating her audience with an example that defies conventional thinking – a computer-generated piece emulating the style of the renowned composer, Chopin. This thought-provoking introduction sets the stage for Loughridge’s exploration of how humans and machines have both clashed and collaborated throughout history.
During the 18th century, music was primarily perceived as a highly rational form of art. The incorporation of machines in musical creation was inherently accepted. However, as time marched on, there was a perceptible shift in attitudes towards music. It transformed from being viewed as a rational construct to an expressive outlet that was considered “antithetical to machines,” according to Loughridge. The advent of technological advancements, such as the introduction of valves to horns, fueled debates about the compatibility of machines with human musicality. Loughridge argues that these shifting beliefs reveal a cyclical pattern of acceptance and resistance to technological change.
Loughridge’s work is particularly relevant in the current discourse surrounding artificial intelligence (AI) and its impact on art. Over the past year, the debate has intensified, and opinions have become more polarized, with some viewing AI favorably and others condemning its use. By delving into the historical context provided in her book, Loughridge aims to offer a broader perspective to these discussions. The examples she presents challenge the traditional dichotomy of human versus machine, urging readers to consider alternative ways of understanding and engaging with technology.
“Sounding Human” reinforces the notion that human and machine are not mutually exclusive entities. Loughridge entangles the two, emphasizing their interconnectedness and exploring the infinite possibilities that emerge when considering their relationship. The book highlights the multifaceted impact of machines on music creation and consumption throughout history, inviting readers to expand their understanding beyond a simplistic human-machine binary.
As society continues to grapple with the implications of AI and technology on various aspects of our lives, including music, “Sounding Human” provides a nuanced perspective. By examining the history of music technology, Loughridge encourages us to question our preconceived notions and embrace the complexity of the human-machine relationship. Ultimately, it is through this exploration and understanding that we can fully appreciate the vast potential that lies within the entanglement of human and machine.
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