![]() ![]() In the short term, Ben-Tal says, musicians can use an AI, as he did, to improvise with a pianist outside of their skill set. ![]() ![]() Yet these models still present attractive creative capabilities. Where do songwriters fit into this future? And before then, can songwriters defend themselves against plagiarism? Should audiences be told, as WIRED does in its articles, when AI is used? In this vein, copyright may need a substantial rethink: Google has refrained from releasing its MusicLM model, which turns text into music, because of the “the risks associated with music generation, in particular, the potential misappropriation of creative content.” In a 2019 paper, Ben-Tal and other researchers asked readers to imagine a musician holodeck, an endpoint for music AI, that has archived all recorded music and can generate or retrieve any possible sound on request. For him, generative AI isn’t unlike turntables: When artists discovered they could use them to scratch records and sample their sounds, they created whole new genres. They are exploring how AI and humans might collaborate rather than compete.īen-Tal says his work presents an alternative to “the human-versus-machine narrative.” He admits that generative AI can be unsettling because, on a superficial level at least, it exhibits a kind of creativity normally ascribed to humans, but he adds that it is also just another technology, another instrument, in a lineage that goes back to the bone flute. Yet some artists, musicians prominent among them, are quietly interested in how these models might supplement human creativity, and not just in a “ hey, this AI plays Nirvana” way. These anxieties slot neatly among concerns about automation, that machines will displace people-or, rather, that the people in control of these machines will use them to displace everyone else. Or that computers are rapping, or at least trying to: the “robot rapper” FN Meka was dropped by Capitol Records following criticism that the character was “ an amalgamation of gross stereotypes.” In the most recent intervention, none other than Noam Chomsky claimed that ChatGPT exhibits the “ banality of evil.” Or that AI is stealing from illustrators, who are suing Stability AI, DeviantArt, and Midjourney for copyright infringement. You will have heard that AI is replacing journalists, churning out error-riddled SEO copy. This scene, of a machine and human peacefully collaborating, seems irreconcilable with the current artists-versus-machines discourse. ![]()
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