galanterie redux - Alican Çamcı, Dorukhan Doruk

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Alican Çamcı
galanterie redux
Commissioned by Klasik Keyifler "Sei Solo"
written for Dorukhan Doruk
Historically, the eclectic influences of and sources for Johann Sebastian Bach’s music have been overlooked by critics and fans alike, instead suggesting that it spoke a divine truth, existing beyond its place and time. Musicologist Susan McClary claims that this is due to a desire to see Bach’s music (and contemporaneous “texts” of the Enlightenment) as somehow possessing a “universal rationality, objectivity, and truth,” at the expense of locating it within “the social values of the emergent bourgeoisie.” Its context erased, Bach’s music attains a status “above 1 ideology”–the subtlest form of bourgeois ideology itself. Today, a similar mystification of artificial intelligence in the cultural sphere forecloses possible understandings of human-machine interactions, with conclusions ranging from a depoliticized utopian vision to a catastrophic view of the future. However contrasting they may be, such views assign a certain finitude to this historical
moment, severed from its context. The “profound” statements and sentiments about how AI will affect the human condition veils the various material effects of intelligent machines and their ramifications in daily life. In galanterie redux, a series of computer-generated melodic fragments act as a metaphor for this reification. A machine learning algorithm uses the fifth movements of each of Bach’s six cello suites (referred to as galanteries, these are the only “nonstandard” movements of the suites) as its training set. Based on the musical information extracted from this corpus, the algorithm creates new music, which serves as the source material for the piece. In particular, I focus on passages that sound slightly bizarre: isolated fragments that modulate unexpectedly, are cut short immaturely, or are incorrect syntactically. In galanterie redux, these isolated segments are presented through a filter of distortion, creating hollowed-out, blurry snapshots from a Bachmachine. The melodies are rendered bodiless; like silhouettes floating in between silences.


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