DOI: 10.4149/SH_2022_2_2

The presented text brings the third and final part of the study titled Ján Zimmer – Context and Development of the Composer’s Work. The focus of the text lies in the analysis of the development of the composer’s work following the period of his persecution associated with the premiere of his Concerto Grosso Op. 7. Emphasis is placed on Zimmer’s music based on the tetrachordal compositional approach but we also observe his adoption of innovations connected with the rationalization of the octave’s organisation and general development of European music of the time. The text also includes testimonies and memories of the composer’s son Richard Zimmer, the long-time performer of Zimmer’s music Anna Predmerská-Zúriková, and the Slovak composer and performer Ivan Buffa.

Keywords
Ján Zimmer; Slovak composer

DOI: 10.4149/SH_2022_2_3

Creativity is a state of mind during which something new arises. The study analyzes this state from the perspective of psychology and seeks intersections with music practice. Creativity is influenced by social, educational, personal, environmental and other traits. The process of composing is considered to be one of the highest and most difficult forms of musical activity. That is why compositional activity is determined by deep knowledge in the field of music theory and also by genetic premises such as the ability to experiment, high intelligence, extroversion or interest in non-musical activities. The text also presents the investment theory of creativity by authors Zhang & Sternberg, which at first glance has nothing to do with art, but serves as a useful scheme for application in the music field. This connection is presented in the second part of the study, in which the individual sources of creativity (intelligence, knowledge, intellectual types, personality traits, motivation and environment) are analyzed and looked through from the perspective of musical creativity and composition, referring to numerous studies by Slovak and foreign music theorists.

Keywords
creativity; composition; intelligence; knowledge; intelectual types; personality traits; motivation; environment

DOI: 10.4149/SH_2022_2_4

The study presents a description of the historical development of artificial intelligence, its basic principles and its integration into audio production and editing software. It captures the issue of AI creativity as a key factor in music production and post-production work. It explains the essential functions of artificial intelligence in software designed for post-production of recorded music and describes the analysis of the input data of software using artificial intelligence for sound editing and its expected software processing. Due to the commercial purpose of these software, the data regarding the internal processes of the software represent proprietary know-how of commercial companies and are not available to the public. The study presents selected companies and post-production programmes (iZotope, LANDR, CloudBounce, Flow Machines, Gullfoss, COSMOS), music production programmes (Amper Music, Magenta, AIVA Technologies, Watson Beat, Melodrive, Brain.FM, ORB Composer, MuseNet, Humtap) and other programmes (Spotify, Shazam, AWS DeepComposer).

Keywords
artificial intelligence; music; post-production; software

[The contribution is available only in Slovak language in the printed version of the revue.]