Computers are better now at face recognition than humans. My brother Doug has written photoshop filters that can do a watercolor painting over a pencil sketch given a photo. And now, David Cope has produced really beautiful music from a computer; the genius of it is his grammatical analysis of music:
Again, Cope hit the books, hoping to discover research into what that something was. For hundreds of years, musicologists had analyzed the rules of composition at a superficial level. Yet few had explored the details of musical style; their descriptions of terms like “dynamic,” for example, were so vague as to be unprogrammable. So Cope developed his own types of musical phenomena to capture each composer’s tendencies — for instance, how often a series of notes shows up, or how a series may signal a change in key. He also classified chords, phrases and entire sections of a piece based on his own grammar of musical storytelling and tension and release: statement, preparation, extension, antecedent, consequent. The system is analogous to examining the way a piece of writing functions. For example, a word may be a noun in preparation for a verb, within a sentence meant to be a declarative statement, within a paragraph that’s a consequent near the conclusion of a piece.
This kind of endeavor is precisely what the science of teaching is about; if Cope can teach a computer to make beautiful music, he can teach me to make beautiful music. By abstracting away the particular notes and looking at what makes music Bach-like as opposed to Beethoven-like or Mozart-like, he has shown us where new innovation will occur: first, in exploring the space, and second, in adding new dimensions to that space.