WEBVTT 00:09.677 --> 00:13.380 >>> IN JULY OF 1965 BOB DYLAN 00:13.381 --> 00:15.215 >>> IN JULY OF 1965 BOB DYLAN PERFORMED HIS FIRST CONCERT WITH 00:15.250 --> 00:17.117 PERFORMED HIS FIRST CONCERT WITH AN ELECTRIC GUITAR. 00:17.118 --> 00:19.586 AN ELECTRIC GUITAR. HE WAS BOOED BY PURISTS WHO 00:19.620 --> 00:21.521 HE WAS BOOED BY PURISTS WHO INSISTED ON ACOUSTIC SOUND. 00:21.522 --> 00:23.790 INSISTED ON ACOUSTIC SOUND. NEW TECHNOLOGY IN MUSIC OFTEN 00:23.791 --> 00:26.693 NEW TECHNOLOGY IN MUSIC OFTEN HAS BEEN VIEWED WITH SKEPTICISM. 00:26.694 --> 00:30.330 HAS BEEN VIEWED WITH SKEPTICISM. SYNTHESIZERS INSTEAD OF PIANOS. 00:30.331 --> 00:31.798 SYNTHESIZERS INSTEAD OF PIANOS. AUTO TUNE INSTEAD OF A GOOD 00:31.799 --> 00:34.000 AUTO TUNE INSTEAD OF A GOOD VOICE AND NOW ARTIFICIAL 00:34.001 --> 00:35.134 VOICE AND NOW ARTIFICIAL INTELLIGENCE FINDING ITS WAY 00:35.136 --> 00:36.737 INTELLIGENCE FINDING ITS WAY INTO THE SONGS WE HEAR ON THE 00:36.771 --> 00:37.037 INTO THE SONGS WE HEAR ON THE RADIO. 00:37.038 --> 00:39.840 RADIO. HOW DO THE PURISTS FEEL ABOUT 00:39.841 --> 00:40.207 HOW DO THE PURISTS FEEL ABOUT THAT? 00:40.241 --> 00:44.645 THAT? NBC’S JAKE WARD HAS OUR SUNDAY 00:44.679 --> 00:46.480 NBC’S JAKE WARD HAS OUR SUNDAY SPOTLIGHT. 00:46.514 --> 00:48.515 SPOTLIGHT. >> Reporter: FRANCE SHUBERT, 00:48.516 --> 00:50.951 >> Reporter: FRANCE SHUBERT, MYSTERIOUSLY ABANDONED THIS 00:50.952 --> 00:53.954 MYSTERIOUSLY ABANDONED THIS PIECE OF MUSIC, SYMPHONY NUMBER 00:53.955 --> 00:55.055 PIECE OF MUSIC, SYMPHONY NUMBER 8 YEARS AGO. 00:55.056 --> 00:57.257 8 YEARS AGO. MUSIC THAT HAS AGONIZED OVER 00:57.292 --> 00:58.525 MUSIC THAT HAS AGONIZED OVER EVER SINCE. 00:58.560 --> 01:01.028 EVER SINCE. NOW LUCAS CANTORE HAS FINISHED 01:01.029 --> 01:04.064 NOW LUCAS CANTORE HAS FINISHED HIS UNFINISHED SYMPHONY WITH A 01:04.099 --> 01:07.401 HIS UNFINISHED SYMPHONY WITH A NEW WRITING PARTNER. 01:07.435 --> 01:09.870 NEW WRITING PARTNER. >> I’VE COLLABORATED WITH AN 01:09.871 --> 01:12.740 >> I’VE COLLABORATED WITH AN ENDLESS STREAM OF IDEAS THAT 01:12.741 --> 01:13.474 ENDLESS STREAM OF IDEAS THAT NEVER GETS TIRED, NEVER HAS A 01:13.475 --> 01:14.475 NEVER GETS TIRED, NEVER HAS A BAD ATTITUDE. 01:14.476 --> 01:16.777 BAD ATTITUDE. DOESN’T NEED TO TAKE A BREAK. 01:16.778 --> 01:18.646 DOESN’T NEED TO TAKE A BREAK. >> Reporter: THE AI ANALYZED 01:18.647 --> 01:19.980 >> Reporter: THE AI ANALYZED SHUBERT’S BODY OF WORK IN ORDER 01:19.982 --> 01:22.683 SHUBERT’S BODY OF WORK IN ORDER TO THINK LIKE HIM AND PREDICTED 01:22.684 --> 01:23.984 TO THINK LIKE HIM AND PREDICTED MELODIES FOR CANTORE TO USE. 01:23.985 --> 01:26.086 MELODIES FOR CANTORE TO USE. >> THE PURPOSE OF AI IS TO OFF 01:26.120 --> 01:28.455 >> THE PURPOSE OF AI IS TO OFF LOAD SOME OF THE ANALYTICAL 01:28.490 --> 01:30.391 LOAD SOME OF THE ANALYTICAL TASKS THAT COMPUTERS ARE BETTER 01:30.425 --> 01:32.893 TASKS THAT COMPUTERS ARE BETTER AT THAN HUMAN MINDS. 01:32.895 --> 01:33.360 AT THAN HUMAN MINDS. >> SLOW IT DOWN. 01:33.395 --> 01:35.095 >> SLOW IT DOWN. THE FINALE. 01:35.097 --> 01:38.165 THE FINALE. >> Reporter: CANTORE SAYS USING 01:38.166 --> 01:43.170 >> Reporter: CANTORE SAYS USING AI TO ANALYZE MUSIC IS ONE 01:43.171 --> 01:45.272 AI TO ANALYZE MUSIC IS ONE COMPOSER BORROWING ANOTHER. 01:45.273 --> 01:46.507 COMPOSER BORROWING ANOTHER. >> IT’S TO MAKE MUSIC BETTER AND 01:46.541 --> 01:52.680 >> IT’S TO MAKE MUSIC BETTER AND FASTER. 01:52.714 --> 01:54.815 FASTER. >> ALL HUMAN CREATIVITY FALLS 01:54.849 --> 01:56.650 >> ALL HUMAN CREATIVITY FALLS INTO PATTERNS THAT A MACHINE CAN 01:56.685 --> 01:59.387 INTO PATTERNS THAT A MACHINE CAN LEARN, AT LEAST IMPERSONATE, AND 01:59.388 --> 02:01.923 LEARN, AT LEAST IMPERSONATE, AND MUSIC TURNS OUT TO BE ESPECIALLY 02:01.924 --> 02:02.223 MUSIC TURNS OUT TO BE ESPECIALLY EASY. 02:02.224 --> 02:05.326 EASY. ♪ THERE’S MORE TO WHO WE ARE ♪ 02:05.327 --> 02:08.629 ♪ THERE’S MORE TO WHO WE ARE ♪ >> IN FACT, POP ARTIST KAREN 02:08.630 --> 02:11.298 >> IN FACT, POP ARTIST KAREN SUTHERLAND IS USING AI TO WRITE 02:11.300 --> 02:12.099 SUTHERLAND IS USING AI TO WRITE MELODIES FOR HER. 02:12.101 --> 02:14.635 MELODIES FOR HER. >> SHE’S NOT A TRAINED MUSICIAN, 02:14.669 --> 02:16.704 >> SHE’S NOT A TRAINED MUSICIAN, BUT SHE WAS RAISED ON CODE AND 02:16.738 --> 02:17.738 BUT SHE WAS RAISED ON CODE AND SOCIAL MEDIA. 02:17.772 --> 02:20.474 SOCIAL MEDIA. >> UNDERSTANDING THE LANGUAGE OF 02:20.509 --> 02:22.143 >> UNDERSTANDING THE LANGUAGE OF DATA AND HOW MUSIC CAN TRANSLATE 02:22.177 --> 02:24.078 DATA AND HOW MUSIC CAN TRANSLATE INTO DATA MADE SO MUCH SENSE TO 02:24.113 --> 02:26.514 INTO DATA MADE SO MUCH SENSE TO ME. 02:26.515 --> 02:29.317 ME. >> RIGHT. 02:29.318 --> 02:30.418 >> RIGHT. >> THERE ARE A NUMBER OF 02:30.419 --> 02:32.720 >> THERE ARE A NUMBER OF DIFFERENT PARAMETERS I USE FROM 02:32.721 --> 02:35.423 DIFFERENT PARAMETERS I USE FROM CREATING ALBUMS, EVER SINCE THE 02:35.424 --> 02:42.330 CREATING ALBUMS, EVER SINCE THE KEY I WANT, MAJOR, MINOR, 02:42.331 --> 02:42.830 KEY I WANT, MAJOR, MINOR, MIXLODIAN. 02:42.832 --> 02:44.866 MIXLODIAN. >> Reporter: SHE HAD HER PICK OF 02:44.900 --> 02:46.601 >> Reporter: SHE HAD HER PICK OF CREATIVE PROGRAMS FROM SONY’S 02:46.635 --> 02:50.538 CREATIVE PROGRAMS FROM SONY’S FLOW MACHINES TO JUKE DECK BUT 02:50.539 --> 02:53.641 FLOW MACHINES TO JUKE DECK BUT CHOSE AMPER FOR HER LATEST ALBUM 02:53.642 --> 02:54.976 CHOSE AMPER FOR HER LATEST ALBUM CALLED I AM AI. 02:55.010 --> 02:58.079 CALLED I AM AI. THE PROCESS HAS SPARKED FIERCE 02:58.080 --> 02:58.413 THE PROCESS HAS SPARKED FIERCE DEBATE. 02:58.447 --> 03:00.281 DEBATE. IS IT STILL ART IF IT’S COMPOSED 03:00.282 --> 03:01.449 IS IT STILL ART IF IT’S COMPOSED BY A MACHINE. 03:01.450 --> 03:03.585 BY A MACHINE. >> DO YOU FEEL YOU ARE THE 03:03.619 --> 03:06.087 >> DO YOU FEEL YOU ARE THE COMPOSER, THE MUSICIAN. 03:06.089 --> 03:09.057 COMPOSER, THE MUSICIAN. >> I WROTE THAT QUESTION AND IT 03:09.091 --> 03:12.260 >> I WROTE THAT QUESTION AND IT ALWAYS -- IT PROVOKES THE MOST 03:12.261 --> 03:13.361 ALWAYS -- IT PROVOKES THE MOST CONTROVERSY, I THINK. 03:13.362 --> 03:14.896 CONTROVERSY, I THINK. THERE’S A STRONGER VIEW THAT ALL 03:14.897 --> 03:17.999 THERE’S A STRONGER VIEW THAT ALL OF THESE TOOLS WILL FORTIFY 03:18.000 --> 03:19.801 OF THESE TOOLS WILL FORTIFY CREATIVITY AND HELP US THINK 03:19.835 --> 03:21.036 CREATIVITY AND HELP US THINK OUTSIDE OF THE BOX MORE. 03:21.070 --> 03:21.903 OUTSIDE OF THE BOX MORE. >> Reporter: CAN YOU IMAGINE A 03:21.938 --> 03:24.205 >> Reporter: CAN YOU IMAGINE A DAY WHEN THE SOFTWARE REPLACES 03:24.207 --> 03:25.140 DAY WHEN THE SOFTWARE REPLACES MUSICIANS OUTRIGHT? 03:25.174 --> 03:27.175 MUSICIANS OUTRIGHT? >> DEFINITELY IT’S NOT ABOUT IS 03:27.176 --> 03:29.077 >> DEFINITELY IT’S NOT ABOUT IS THE COMPUTER BEING CREATIVE, 03:29.078 --> 03:31.112 THE COMPUTER BEING CREATIVE, IT’S DOES THE PERSON WHO’S 03:31.114 --> 03:32.481 IT’S DOES THE PERSON WHO’S LISTENING TO THE MUSIC OR LOOK 03:32.482 --> 03:34.883 LISTENING TO THE MUSIC OR LOOK AT THE ART THINK THAT THAT -- 03:34.884 --> 03:35.984 AT THE ART THINK THAT THAT -- >> Reporter: RESONATES? 03:35.985 --> 03:36.618 >> Reporter: RESONATES? >> YEAH. 03:36.652 --> 03:39.254 >> YEAH. >> Reporter: IF WE USE ONLY THE 03:39.288 --> 03:40.622 >> Reporter: IF WE USE ONLY THE PATTERNS OF THE PAST TO WRITE 03:40.656 --> 03:42.591 PATTERNS OF THE PAST TO WRITE MUSIC OF THE FUTURE, WILL WE BE 03:42.625 --> 03:45.527 MUSIC OF THE FUTURE, WILL WE BE STUCK IN AN ENDLESS LOOP? 03:45.528 --> 03:47.929 STUCK IN AN ENDLESS LOOP? FOR NOW ARTIFICIAL INTELLIGENCE 03:47.964 --> 03:52.000 FOR NOW ARTIFICIAL INTELLIGENCE CAN WRITE MUSIC FOR NOT ONLY AN 03:52.035 --> 03:54.202 CAN WRITE MUSIC FOR NOT ONLY AN AMATEUR LIKE ME -- WOW, WE DID 03:54.204 --> 03:54.937 AMATEUR LIKE ME -- WOW, WE DID IT. 03:54.970 --> 03:56.538 IT. AI CAN EVEN STAND IN FOR THE 03:56.540 --> 03:59.107 AI CAN EVEN STAND IN FOR THE GREATEST COMPOSERS OF THE WORLD. 03:59.142 --> 03:59.374 GREATEST COMPOSERS OF THE WORLD. FOR "SUNDAY TODAY," JAKE WARD,