In my current research I investigate the impact of revolutionary development of AI technology on ontological, aesthetic, and evaluative considerations on music. In particular, I aim to answer two research questions: ‘How does the development of computer-generated music affect the ontology of musical works?’ and ‘Do we deem computer-generated music as creative as human-generated music? If not, why?’. The scope of this research is to fill the existing gap in the literature in regard to the impact that cutting-edge developments in AI have on aesthetic and ontological debates on music and art. Given its interdisciplinary approach, it will build a bridge between research on computer-generated music, aesthetics, and behavioural analysis of attitudes of reception. This will be decisive to shed light on the controversial issue of creativity and, consequently, on pressing questions over matters of intellectual property and AI. It will also contribute to explain the role that intuitions play in our relation with artefacts produced by AI systems.
In my PhD project I defend and develop a new account for the ontology of musical works: Musical Stage Theory, the view hat a musical work is a performance. I propose this account as an alternative to mainstream and well accepted views on the nature of musical works with a specific intent, that of suggesting a way to analyse the identity of musical works which gives due relevance to musical practices and, at the same time, is grounded on a solid ontological basis. As a corollary to the main ontological thesis, Musical Stage Theory also allows for contextually dependent senses of authenticity of musical performances.
- profile updated Feb 07, 2019
- profile updated Mar 18, 2015
- profile picture updated Oct 23, 2014