Firstly, they all came to the use of those techniques after having been through years of work the 'hard way', often being able to play to a conservatoire standard, and had a very extensive grounding in the tradition that came with that. Then they owned* or designed the thing they were asking to 'do it for me' and could modify it at their discretion, effectively making it an integral element of the composition. The prior training was crucial in getting anything good out of any of it IMO (high level reflection based on canon knowledge and deeply considered personal sensibility, etc.)

* I suppose in the early days, running on an mainframe would belie the definition of ownership per se, as it required access and was limited to that specific machine/institution, but then we are talking about a time where personal computing wasn't available.

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jrajav 10 hours ago | parent [-]

Thanks for your well considered response. I disagree with the notion that extensive classical training is required in order to make beautiful, noteworthy music. There are innumerable counterproofs of this in every era of music. I also disagree that fully and deeply owning/designing one's tools is required - though I understand that we are more specifically talking about generative tools, I personally argue there's not enough meaningful distinction. One chooses to exercise intent, whether the tool is acoustic or digital, general or hyper-focused. And fully understanding the workings of every tool is a fool's errand in this modern age.

Whether these then extend to AI and LLMs I still can't fully say. There is, obviously, some kind of qualitative leap here. I'm not fully settled.

But I guess I lean more towards - it is a tool, let people use it to make their own beauty.

	▲	windowliker 10 hours ago \| parent [-]
		I didn't specify that the training had to be a classical, conservatory, background. It was only mentioned with regard to the background many of the original computer musicians came from, and which is understandable considering the era and situation of computing back then. Autechre are a good counter-example of that, which I have noted above. Two hip hop heads from the north of England, who have made some of the best contributions to electronic/computer music in recent decades. As you point out, there are loads more, not worth making a list here. Though I will still assert that I am yet to hear any good music come from someone who has anything less than a developed knowledge and passion (obsession?) for their area of interest, be that classical repertoire or drum and bass. I wonder how one is supposed to exercise intent when the tool in question is specifically designed with the purpose of removing your ability to have direct influence on the result it produces. At best we get curation/collage, which in itself is no big change from the way things have been for decades (sample packs, premade loops, and going back further, sample CDs, for instance), but what goes away is the human touch.