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CANCELLED: How AI is Evolving the Creation and Performance of Music

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October 22, 2024

2:00pm Eastern/11:00am Pacific

Update: This webinar has been postponed. We will refund anyone who has already paid for this event and will be in touch with you in the future when we have confirmed a new date and time.

Part 2 of AI and the Future of Classical Music: How Artificial Intelligence Is Changing Creative Fields.

Technology has always shaped the art of music—from instruments to acoustics to recording to listening. In the first of three webinars focusing on artificial intelligence and how it will change orchestras, we look at the creative potential of AI in making music. Might AI be the great democratizer, turning millions of music lovers into composers and performers? How are composers redefining how and what they make using AI? And how are the roles and careers of the artist (and of orchestras) going to change?

Continuing the conversation begun at Conference in Houston with The AI Disruption is Here!, this session will delve into practical and creative implications for composers, arrangers, and performers, and give artistic planners and programmers a sense of the AI-driven music revolution unfolding around us.

Speakers: Clarice Assad, Composer, Vocalist, and Multi-Instrumentalist and Douglas McLennan, Editor, ArtsJournal.com

Who Should Attend?

Artistic administrators, conductors, composers, programming staff, orchestra librarians, musicians, executive directors, board members, and anyone interested in how AI may shape the future of music.

Even if you can’t attend the session live, register to receive a recording.

Cost

  • $20 for members
  • $35 for non-members
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About the Speakers

Clarice Assad (she/her)
Composer, Vocalist, and Multi-Instrumentalist

Credit: Marcelo Macaue

A powerful communicator renowned for her musical scope and versatility, Brazilian-American Clarice Assad is a significant artistic voice in the classical, world music, pop, and jazz genres and is acclaimed for her evocative colors, rich textures, and diverse stylistic range. A prolific Grammy Award–nominated composer with more than 70 works to her credit, she has been commissioned by internationally renowned organizations, festivals, and artists and is published in France (Editions Lemoine), Germany (Trekel), Brazil (Criadores do Brasil), and the U.S. (Virtual Artists Collective Publishing). An in-demand performer, she is a celebrated pianist and inventive vocalist who inspires and encourages audiences’ imaginations to break free of often self-imposed constraints. Assad has released seven solo albums and appeared on or had her works performed on another 34. Her music is represented on Cedille Records, SONY Masterworks, Nonesuch, Adventure Music, Edge, Telarc, NSS Music, GHA, and CHANDOS. Her innovative, accessible, and award-winning VOXploration series on music education, creation, songwriting, and improvisation has been presented throughout the world. Sought-after by artists and organizations worldwide, the multi-talented musician continues to attract new audiences both onstage and off.

Douglas McLennan (he/him)
Editor, ArtsJournal.com

Photo courtesy of the speaker

Douglas McLennan is the founder and editor of ArtsJournal.com, the leading aggregator of cultural news stories online. This September, ArtsJournal will turn 25-years-old. Doug is a speaker, consultant and writer on arts, technology and journalism and designs strategies for an accelerating cultural world working with arts organizations and journalism startups. He taught digital storytelling at the Annenberg School for Communication and Journalism at the University of Southern California for eight years. He holds a Master’s degree in Piano from the Juilliard School. You can reach him at mclennan@artsjournal.com.

Questions?

Please contact Member Services at member@americanorchestras.org.

AI and the Future of Classical Music: How Artificial Intelligence Is Changing Creative Fields is presented by the League of American Orchestras in partnership with ArtsJournal.

This webinar was made possible by generous grants from the Howard Gilman Foundation and National Endowment for the Arts, as well as, in part, by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

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