Man, music, machine - why we should engage musically with AI

Date: Monday, 27 May 2024
Time: 6:00-7:30 p.m.
Venue: University of Music Weimar, Fürstenhaus, Senatssaal (1st floor) and in the stream
Registration for online participation at: gute.lehre(at)hfm-weimar.de
AI technologies are on everyone's lips and are changing our society to a great extent. What significance do AI technologies have for our society and for art? What contribution can art and artists make to this socially relevant topic? When is artistic work with AI more than just the use of a new toolbox and what does all this mean for teaching?
In his keynote speech, Julian Stahl (Kulturstiftung des Bundes) will take an inquisitive and critical look at current developments using various examples from art and music and reflect on the social relevance of AI with regard to the development of artistic projects and innovative concert formats.
In a subsequent panel discussion, he will discuss important aspects of AI and art with Moritz Wehrmann (Bauhaus University Weimar) and Benjamin Püllen (University of Music Weimar student). Moritz Wehrmann is an artistic assistant at the Bauhaus-Universität Weimar. In his teaching and his own creative work, he deals intensively with questions of generative AI.
Speakers: Julian Stahl (German Federal Cultural Foundation, Advisor for Digitality as Cultural Practice), Moritz Wehrmann (Bauhaus University Weimar), Benjamin Püllen (University of Music Weimar, Master of Singing & Arts Management) | Moderation: Dorothea Warneck (University of Music Weimar)
When AI composes - music from the computer

Date: Tuesday, 11 June 2024
Time: 6:00-7:30 p.m.
Venue: University of Music Weimar, Fürstenhaus, Senatssaal (1st floor) and in the stream
Registration for online participation at: gute.lehre(at)hfm-weimar.de
On Tuesday, 11 June 2024, Alexander Vaughan (University of Music Weimar) will present his generative AI music software SwanSonic, which generates classical orchestral music. He will also reflect on the question of how the artistic process of composing changes when generative AI tools are used and how SwanSonic can be used profitably in teaching.
He will then discuss with Carsten Dufner (University of Music Weimar) and others how the classical music business must/will change and adapt if AI-generated music increasingly comes onto the market and, at least for the time being, catches on with audiences because it is new and unknown. How will concert formats and programmes as well as music education formats change? And what does this mean for the further development of teaching in artistic subjects or Arts Management programmes?