The Value of Musical Creativity in Industry 4.0 Era:
Based on Musical Composition Generated by Artificial Intelligence &
Computer Learning
Ferry Matias, Catur Surya Permana, Ahmad Hidayat, Made Bagus Permadi P.
Program Studi Seni Musik, Fakultas Ilmu Seni & Sastra,
Universitas Pasundan, Jl. Dr. Setiabudhi 193, Bandung, Indonesia
Keywords: Music, Artificial Intelligence, Computer Learning, Paradigm of Value, Industry 4.0.
Abstract: Music and creativity are an inseparable thing, creativity even as one of indicator for valuing of artistic
compositions. The creativity of western music for some considered had been exploited since the 16s until the
era of the 20s. As if trying to emerge new expressions, east exoticism and computer midi futurism were
pursued. The era of 3.0 was an era in which computers are made it easy and efficient to accommodate idea
(human-driven), but in the era of 4.0 computers no longer as tools, but become a source of creativity for
human collaborators (smart factories) based on Artificial Intelligence and Computer Learning. For the author,
the value of musical creativity is interesting to be studied more deeply. Does music generated by computers
have the value as high as those generated by humans? From this thought, this paper tries to discuss the
paradigm of musical value in the 4.0 era. Value discussed philosophical and empirical-sociological reviews.
The results of this thought emerging the discuss and discourse about creativity in academics in the field of
ethics as an attitude of intelligence through reasoning and academic arguments that produce work that can
be accounted for.
1. INTRODUCTION
Creativity is one measure of the value of the
existence of an art, especially western music, music
and creativity is indeed something that cannot be
separated. As the creativity expressed by Boden
(1987) cited by (Ramon: 2018) that, ...creative ideas
are novelty, combinations of known... involves
memory, analogy, learning and reasoning under
constraints (limitation).
As is well known that western music is more
than 20 century old, if (Ganap, 2009) considers that,
...it is not excessive opinion if the source material for
western music creation has been drained in the
creation of baroque, classical and romantic music
works even modern era until the 20th century. Since
the discovery of the theory of the circle of fifth in the
17th century, the emancipation of western musical
instrumental music in Europe began to occupy a
higher position than vocal music in the Gregorian era.
That century became the starting point of the
development of intellectual music in the composition
of sonatas, concerto and even symphonies, so in
modern times composers sought to process new
material sources through exoticism (adoption of non-
western sources) and through futurism (MIDI).
Futurism digitalization in the 3.0 era began to
give the effectiveness of the production of music
creators in accommodating and distributing musical
ideas through technology media. However, the era of
3.0 computer technology is still limited to tools, while
the behavior of creativity is still human-driven.
The 3.0 era is sometimes still misunderstood
as a digitalization era that is not much different from
era 4.0, 4.0 is only considered to add a more
humanistic and beautified experience, even though
there are very basic differences in era 4.0, namely a
system where humans are no longer operators, but
computers and technology have acted as collaborator
creators who are able to make their own decisions
through artificial intelligence (AI) and computer
learning technology.
AI has been considered able to give a new way
to find other sources of music creation, such as what
Boden said that creative ones are novel, so with the
support of computer learning, algorithmic systems,
data computation through artificial intelligence can
produce the same creativity as behavior humans can
be, even more advanced.
Matias, F., Permana, C., Hidayat, A. and Permadi P., M.
The Value of Musical Creativity in Industry 4.0 Era: Based on Musical Composition Generated by Artificial Intelligence Computer Learning.
DOI: 10.5220/0009443801850191
In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 185-191
ISBN: 978-989-758-430-5
Copyright
c
 2020 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved
185

In the urban context, Benny Yohanes's
creativity paradigm (ibid, p; 9) is divided into five
ontological bases, and one of them is the Futuristic
ontological basis, the ontological basis of this
perspective raises a creativity to present another
(novel), the thing that the future to be presented in the
present.
Such thinking is shown through factual
examples through media coverage these days, The
Yamaha Company has developed an AI that captures
data from an artist body movement (dancer) in which
the movement is converted into midi data and then
transferred to a piano instrument, like that be played
by pianist. Not to mention the presence of computer
learning hardware such as Sync and Magenta
developed by Google giving way to new possibilities
in expressing artistic art.
The novelty that emerges certainly results in a
new musical artifact, but as a statement (Bourdieu,
2011) that art is not only produced in the form of
concrete objects but also in its abstract form, namely
value, then the thought, a question arises then,
whether musical artifacts generated by computer can
regarded has a values as high as that generated by
human?
The question becomes a discussion as well as
the intent and purpose of this paper, the discourse of
value in era 4.0 aims to provide a critical description
that sees that one side of technology enhances
civilization and academics discourse in the field of
ethics and attitude intelligence through reasoning and
academic arguments that produce work that can be
accounted for.
2. AI & Computer Learning
The author chose several examples of musical
phenomena resulting from the development of
Artificial Intelligence (AI) and computer learning. (1)
First a demonstration example initiated by the Tokyo
University Of Art with the Yamaha company, the
development of artificial intelligence (AI) technology
has enabled the transformation between motion art
namely body movement into a musical composition.
Through the engadget.com website, Steve Dent
stated that AI tech developed by the Yamaha
company was able to translate the motion language of
a famous dancer (body movement) called Kaiji
Moriyama into musical notation accommodated in
acoustic piano instruments.
Figure 1. Mai Hi Ten Yu
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
Yamaha company stated in this era 4.0, AI tech
gave rise to a "form of expression that merges or
combines the art of body exercise with music." In
other words Yamaha also stated, this is the first step
to creating or achieving a new form of artistic
expression. has been displayed at a concert held in
Tokyo with the headline "Mai Hi Ten Yu". In the
concert Kaiji Moriyama played the piano using his
body movements accompanied by the Berlin
Philharmonic Orchestra Scharoun Ensemble.
Figure 2. Kaiji Moriyama & Berlin Philharmonic
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
Figure 3. Hand Sensor Installation
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative
186

Figure 4. Foot Sensor Installation
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
Figure 5. Body Sensor Instalation
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
then the movements of the back, hands and feet are
converted into data, then AI directly converts them
into database based melodies in the form of Musical
Input Digital Interface (MIDI),
Figure 6. MIDI
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
The MIDI data is then automatically sent to the
Disklavier Player Piano instrument to the sound of the
acoustic piano.
Figure 7. Artificial Intelegence
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
Figure 8. Diskclavier Piano
Doc : Yamaha Corporation retrieved from :
https://www.youtube.com/watch?v=tLFe2AzCodk
Second (2) Another example can be seen
through the project developed by Magenta, Magenta
is the development of computer learning that allows
generating sound. This technology makes it possible
to bring up virtual media and new materials from
conventional materials, through a technology called
NSync.
Figure 9Nsync, generating sound instrument
Retrieved from :
https://magenta.tensorflow.org
The tool is based on computer learning that allows
mixing sounds that have different characters and
frequencies into a new material. Bass and Drum
instruments, even Flute and Drum (Flure) Instruments
are united into a new type of sound.
The Value of Musical Creativity in Industry 4.0 Era: Based on Musical Composition Generated by Artificial Intelligence Computer Learning
187

Figure 10. Mixed Sound - computer learning
Retrieved from :
https://magenta.tensorflow.org
3. PARADIGM OF MUSICAL’S
VA L U E S
Discourse on art and creativity in the discourse
of value is a perspective that is both perspective and
relative, but no art is born without creativity.
Soemardjo (2000) mentions two important keywords,
first (1) art is an expression, second (2) art as
representation. Expressions are identical to human
feelings, sad; angry; happy; etc., (ibid; p; 73), are
considered as internal factors while representation is
the response of humans to objects outside themselves
(ibid, p; 76), which are then realized in a creative way.
In other words, art is an expression and
representation of human experience about them, and
that which is outside of them is then manifested or
realized in concrete products (music in the form of
sound) that have aesthetic value as a result of the
creative process. This creative process in general by
the author is divided into two aspects, first (1)
objective aspects, meaning those related to material
things, technical, artistic and concrete forms every
their periodicity. Second (2) through empirical
studies, especially from the sociological perspective.
First (1) the history of western music began in
the 400s in the era of early Christian. That era shows
the initial creativity of musical composition that
emerged as a representation of the early church
(Religion Servant) as a representation of the society
of theism. Gregorian Chant was originally only a
single song, then when instrumental music developed
since the 17th century in Europe, especially since JS
Bach (1685-1750) discovered the theory of circle of
Fifth which produced 24 tonics for sharp (#) and 24
tonics for flats (b ) which became the basis of the birth
of the tonal system in western music, so from that
discovery paved the way for the emergence of
emancipation of instrumental music that appeared in
the form of fuga, sonata, concerto and even
symphony (Ganap, 2009: 3).
The value of Instrumental composition
creativity is seen based on the advantages of an
instrumental work whose notes are independent of the
lyrics or visual context in working on musical
elements including themes and variations through
musical line frames based on diatonic scale for
producing complex motifs and textures. That is what
(Ganap, 2009) considered the depletion of western
music material since the cantus firmus principle was
used effectively in the source of the creation of
instrumental music in the seventeenth century.
Cantus Firmus in the early Baroque era (1600-
1750) is often played using the principle of counter
points on harpsichords and cello, or other melodic
instruments which are characterized by exact
rhythms, monodyous textures, and most solo works
with accompaniment and harmony accompanied by
bass continuo (Forney, 2011: p106).
Creativity continues to move along with the
superiority of its compositions in classical times
(1750-1825). Its superiority is no longer merely the
textural movement of tones through counter-point
principles, but has demanded orderliness, objectivity,
and harmony proportions that reflect art and
architecture in classical times that are new to ancient
Greece and Rome style. Creativity in this era was
assessed based on characteristics that were singable,
lyrical melody, diatonic harmony, regular rhytm and
homophonic texture meters and the use of folk music
elements, (ibid: p150).
Not to mention if we continue to the era
afterwards in the romantic age which is known by
many composers through great works such as
symphonies, concerto and several chamber music.
The superiority of values in the romantic era is also
shown through the characteristics of the lirical theme,
colorful harmonies, expanded proportions and larger
orchestras featuring new instruments (ibid: p244),
then into the post romantic era which has changed
into impressionist style until the twentieth century in
the era modern, creativity is no longer literal
descriptive but has tended to use symbols of
description.
The last century in the 20th century saw its
superiority in a trend of artistic creative exploration
that was simplicity and abstract, surrealism and
Expressionism in music. The most popular figure is
Schoenberg and Webern, these two figures gave rise
to a new harmony system with unlimited instrument
registration, meaning that it can be very high and very
low compared to the limitations of instrumental music
in the classical era (ibid: p284).
CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative
188

The value of the artistic aspect if it is
concluded is that the journey and its changes also
follow the changing times and culture it represents.
So that the process of awareness, prudence,
intellectuality and even a game of human perception
gives value for a temporary musical possibilities in
each era.
The second aspect (2) is to assess creativity
not only seen from technical studies about artistic and
aesthetic, but value is also the result of cultural
structuring, so it needs to be seen through the
empirical view of study. (Minette, 2009: p19) said
that music is the result of many complex factors, ie.
musical, religious, economical, educational that were
interplayed, so before speaking of values in a cultural
perspective, music is also very relative to how to look
at it.
The classical composition, for example, as
stated by (Bambang, 2014) that J.S Bach, Bethoven
or chopin works must have been regarded as music,
but other entities such as the sound of trumpets Miles
Davis or Heavy Metal were also called music. Not to
mention the type of music that sounds as if it is
without structure and impresses without melodies and
sounds strange from Arnold Schönberg's atonal
composition, even worse if music is composed of
sound elements, then John Cage's work entitled 4'33
"is only quiet for four minutes thirty three seconds.
Other phenomena such as those which are clearly as
a song and even have musical value, according to
Bruno Nettl cited by (Bambang, 2014) that, for
Iranians the Qur'an is not categorized as 'music'
(mūsīqī), even for Iranian music instrumental is
connoted as sin and cannot be assosiated to religosity
like European music. Charles Culver (ibid, 2014)
defines music as a sound with periodic and regular
vibrations, but cannot be universally applied because
it takes the example of some in the tribe in Papua
Nugini (Kaluli) and the tribe in Africa sounds of
friction with irregular patterns is considered music.
Cathleen Marie who cited by (Bambang,
2014) understands music as an 'auditory phenomenon
produced even Bambang adding ‘apreciated’ and
intentionally, so in other words music is a sound that
becomes music, it must be produced with a specific
purpose, then the quality of appreciation that arises
depends on the meaning that given by listener
(conscious of value). Then how are random natural
sounds or those that are not intentional, or even some
that are clearly considered musical value are not even
considered as music as in Iranian society. This is what
returns again, music must be appreciated as music if
the listener does see it as music.
The ability to appreciate is indeed necessary
through the process of internalization through a
society which teaches its music itself, so that creative
experience is the result of the accumulation of
individual experiences in the social environment,
which is (Bourdieu, 2011) called cultural capital.
Cultural capital is a type of capital that is associated
with intellectual skills, the wealth of ideas of art ideas
obtained through long experience in the social arena,
so that valuation is certainly determinization, or
attraction of power in the arena (Bourdieu, 2011). The
accumulated experience is obtained through
(Minnete, 2009: p19) trial and error in social contexts
or situations through reflection, practiced, and
developed over period of time which temporarily
continues to experience small adjustments and
changes.
So that the factor of audience appreciation
level also affects the value that appears. (Bambang,
2014) explained that appreciation of musical values
is obtained through listening activities, listening to
the right is certainly through at least include the stages
(1) Sensuos, (2) Affective, and (3) Intellectuals.
(1) Sensuous (spontaneous) - through the
senses of hearing, the matter of 'delicious' or
'unpleasant' is seen through the body's moving
response when hearing musical elements from reggae
music, house music, in contrast to Jazz or classical
which tends to be complex, body language we may
face frowning through our faces or other body
language that says there is complexity.
(2) Affective (through listening habits) we can
be able to appreciate and familiarize ourselves with
music that may initially be uncomfortable and then
become towards likes or even dislikes. (3)
Intellectuals (understanding) Understanding is not
limited to likes or dislikes but has entered the
intellectual cognitive area which then enables us to do
two things (ibid, 2014), (1) able to empathize
meaning regardless of the likes or dislikes of the art
but want to see the objective value which is the
specialty of music (2) is able to give a predicate to the
composition of musical composition, this is where
appreciation or giving of value, which this party
through Bourdieu’s perspective is the role of social
appraisers including curators, media art, art
intellectuals and even the majority audience, which
then raises justifications about the "right way",
"Wrong way", "Better ways" in evaluating a
performing work.
4. DISCUSSION
The concert performance was held by Tokyo
University of Art, Yamaha and Berlin Philharmonic
The Value of Musical Creativity in Industry 4.0 Era: Based on Musical Composition Generated by Artificial Intelligence Computer Learning
189

Orchestra with the title Mai Hi Ten Yu at first glance
as a form of performance like classical music in
general, with a musical texture familiar to
appreciators who are familiar with the style of music
in the century era 20s, as in atonal Schoenberg or
Webern works. Piano Formation and string
instruments are room music style instrumentation in
the era of impressionism, both in expressions and
sensuous impressions, but the difference is the
composition of the music presented is a result of the
transformation of kinetic language.
From the point of view of formal analysis, the
superiority of the creative presentation of the concert
may only lie in the technological capabilities that
change the language of motion into musical elements
for piano instruments. The transformation in the
previous era was also often carried out both a
combination of music and motion art, painting. The
common thread of art collaboration lies in the
interpretation of each that will perceive different
materials to be able to create a coherence, and the
value of art lies in that interpretation.
We might see the same concept in the opening
ceremony of a world cellist YoYo Ma who
collaborated with dancer Lil Buck (Rothman, 2011).
The presentation is a composition presentation that
illustrates the elegance of a Swan ‘The Swan 'which
is then represented through the figurative movement
of Lil Buck. The difference is the transformation of
motion which in the pre-technological era is carried
out through free perceptions or interpretations as an
art of interpretation, once again that’s where the value
was seen, in contrast to Mai Hi Ten Yu, Kaiji
Moriyama's movements are not perceived by the
human mind to be articulated in musical language, but
the human movement which is considered as data
then AI tech which will determine the results of
sound, which Yamaha states aims to produce
structured sounds and as much as possible avoid
random sounds as a result of the fluctuating
movements of Konji Moriyama.
From the futuristic phenomenon above, indeed AI
tech can enable new patterns to emerge, even
musicologists can work to find new music systems
from the show which can then also find patterns in the
art of musical motion. However, Mai Hi Ten Yu can
still be seen as a balanced collaboration between
human driven and smart factory. Balance occurs
because but the Movement of Kanji Moriyama will
still produce and determine the musical elements
formed, even musical expression which will then
affect the musical space (harmony) for the strings
section. In contrast to Magenta and Sync, computer
learning technology is more about something that is
not actually empirical, it is actually the opposite, that
is, the resulting computing becomes a source of
human creativity, so without computer learning ideas
and ideas it will stimulate human creativity.
Preliminary questions about how we will see
computational results? Can computers be given
creative titles, Rámon (2018) states that creativity
computed is almost the same as mathematical theory,
computing systems in artificial intelligence (AI) can
now automatically write poetry, painting and
composting music, but then is it worth the same as art
produced by humans ?.
The answer to that question is of course
dependent, jokes is still have value as long as it still
makes people laugh even though it is generated by
computer, is there a joke like that ?, but it is different
from visual works, of course (Ramon, 2018). Even
the question can go back far that, what is generated
by computers can then be considered music? This has
also been stated before that for certain tribes forest
sounds that are clearly natural sounds not produced
by humans can be perceived as music. Ramon (2018)
also states that enough time to depart from the old
paradigm to the new paradigm, if creative behavior is
always synonymous with organic (living) things, so
far it has been considered that more likely animals
such as chimpanzees or dolphins have intelligence in
certain levels, even the world of computer science
never acknowledges this (ibid, 2018).
The old paradigm still believes that computing is
only a simulation of a behavior of creativity, but not
creativity itself. But there is a lot of evidence these
days that robots have become subjects even able to
imitate and jokes, painting and even playing music
like humans. This is an antithesis of the old paradigm
that creativity is not merely a gift, and value is not
necessarily the one produced by organic elements
only, even science is able to investigate, simulate and
even generate new creativity in the art.
5. CONCLUSION
If valuable art exists because of the results of
sensory sensitivity, spiritual contemplation, and
especially appreciated, the author will judges the
results of AI and Computer literacy hve value as not
as high that produced by humans, same opinion who
agrees (Searle, 1980 & Boden, 1987) quoted by
Ramon (2018), who judged that even if computers
through artificial intelligence can have the same
creativity as Bach and Einstein, still most of them are
judged only as if they look creative but they aren’t
actually really creative.
CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative
190

Searle uses syntactic and semantic words in
evaluating the results of art that are generated through
computer technology. Computer is only able to do
syntactic manipulation of inputs that are converted
into data, in this case MIDI and then manipulated into
a new, seemingly non-semantic outcome. Semantics
means complete meaning, not fragmented on the
basis of computational speculation, but intentionally,
coherence occurs in consciousness. Whereas Syntax
is more directed at the connotation of the game of
grammar or the possible combination of
computational symbols.
Other opposing perspectives may need
Openness, openness needs to be supported by the
power of appreciation, if Bambang (2004) divides the
stages of appreciation through listening, it is
necessary not only at the stage of affection to be close
to the experience of sounds but to have cognitive
stages as an inclusive attitude towards a new possible
form of value. In addition, Opinion of Cathleen Marie
(Bambang, 2014) who understands music as an
'auditory phenomenon produced even Bambang adds'
and intentionally appreciated', in other words music
is a sound that becomes music, must be produced with
the intention and certain goals, then the quality of
appreciation that arises depends on the meaning of the
listener (conscious of value). In other words, Mai Hi
Ten Yu will appreciate its had a high value if its
audience does see it as worth.
REFERENCES
Ramón López de Mántaras, 2018. Artificial Intelligence
and The Arts: Toward Computational Creativity,
retrieved Wednesday, 20 February 19, 20:59pm,
from:
https://www.bbvaopenmind.com/en/articles/artificial-
intelligence-and-the-arts-toward-computational-
creativity/
Ganap Victor, C Kismiyati, J Suprayitno, 2009, Teknik
Kontrapung Sebagai Sumber Penciptaan Karya Musik
Instrumental Sejati, retrived, Wednesday 20 Feb. 19,
21:28pm,
from:
http://digilib.isi.ac.id/1176/
Soemardjo Jacob, 2000, Filsafat Seni, ITB Press, Bandung,
Indonesia.
Mariama Holman, why the art are essential to Industry,
4.0 ?, Retrieved 6 Februari 2019, 17:29 WIB,
from :
http://www.partnershipmovement.org/news/p/why-
the-arts-are-essential-to-industry-4-0/
Himawan Willi & Setiawan Sabana, 2017, Pemanfaatan
Imaji Bali dari Instagramsebagai Metode Berkarya
Seni Rupa Bertemakan Identitas, Jurnal Panggung Vol.
27 No. 1, Retrieved 20 Februari 2019, 20:00
from:
https://jurnal.isbi.ac.id/index.php/panggung/article/vie
w/238/manual/PanduanOJS.pdf
Steve Dent, Yamaha AI's Transformed dancer into a
pianist, Retrieved 20 Februari 2019 20:16 WIB
from:
https://www.google.co.id/amp/s/www.engadget.com/a
mp/2018/01/31/yamaha-ai-dancer-piano/
Techedge, The Fourth Industrial Revolution Is Here, Are
You Ready?, Retrived 18 Februari 2019, 16:23 WIB,
from:https://www.google.co.id/amp/www.techedgegro
up.com/blog/the-next-industrial-revolution-is-here-are-
you-ready%3fhs_amp=true
Benny Yohanes, 2014, Paradigm of Art, Retrieved 8
November 2018, 03:38, WIB,
from :
http://journal.unpar.ac.id/index.php/ECF/article/view/
1983/1837
Pierre Bourdieu, 2011, Arena Produksi Kultural, Kawistara,
Yogyakarta, Indonesia.
Matias Ferry, 2018, Kreativitas Kekomposisian Musik
Berbasis Artificial Intelligence & Computer Learning
Era 4.0 – Prosiding Seminar Nasional: Pendidikan
Karakter & Industri Kreatif Dalam Perspektif Seni
Budaya di Era Industri 4.0, LPPM ISBI Bandung,
Sunan Ambu Press, Indonesia.
Minnete Mans, 2009, Living In The Worlds Of Music: A
View of Education and Values, Springer, London, New
York.
Bambang Sugiharto, 2014, Untuk Apa Seni?, Buku Seri
Humaniora Unpar, Matahari, Indonesia.
Josh Rothman, 2011, YoYo Ma and Lil Buck Perform The
Swan, Retrieved: Tue Feb 2019-02-25, 23:01pm,
from:
http://archive.boston.com/bostonglobe/ideas/brainiac/2
011/04/yo-yo_ma_and_li.html
The Value of Musical Creativity in Industry 4.0 Era: Based on Musical Composition Generated by Artificial Intelligence Computer Learning
191