The Impact Of Artificial Intelligence As music creation by the means of artificial intelligence is becoming more common, we ask if the whole concept of copyright needs a rethink Report by Will Simpson
Artificial intelligence (AI) has long existed on the edge of our imaginations as a threat, a challenge and, perhaps, a promise. Indeed, the idea of robots making music, via the likes of Kraftwerk and Daft Punk, has over the years become almost comfortingly retro. But it is here now, in 2020. Only not in the manner those electronic icons once presented. 30
If you count the algorithms that dictate our use of streaming services as AI then it has already completely re-shaped pop music over the last decade. The ‘Like this? Try this!’ culture that algorithms have engendered has overturned the way we are introduced to music. It’s proved a double edge sword. Whilst they’ve undoubtedly been useful to consumers there is an argument that their presence – alongside Spotify playlists – has homogenised pop to the extent that these days anything daring and different doesn’t stand much of a chance of making a commercial impact. But aside from that they are also shaping the creation of music. The last few years have seen a proliferation of AI tools for musicians, from ones that aid live performance such as Rhythmiq and NotePerformer, to those that arrange samples (Atlas), to compositional software such as Aiva and Amadeus Code. The latter is a songwriting aid into which you input the type of music you intend to create. It then makes suggestions about which chord you could use and might recommend a melody that’s ‘inspired by’ an existing track.
The Musician • Autumn 2020
Of course, you don’t have to follow its lead, but suppose you do allow Amadeus Code to chose the chords and top-line melody – who should get the copyright? Yourself? The company that developed the software? Or the writer whose track ‘inspired’ the melody? It’s a potential minefield. Electronic auteurs AI has long been talked up by cutting edge figures – Brian Eno was endorsing ‘generative’ music back in the 90s. More recently Berlinbased artist Holly Heardon released her 2019 AI-assisted album, Proto. But established electronic auteurs incorporating AI is one thing, more concerning is the implication it has for other musicians. On library music composers, for example. Universal Music has apparently stated that within five years all their library music could be AI-generated. Michael Sweeney, the MU’s Recording and Broadcasting Official fears the impact this may have on members’ livelihoods, and the implications AI has in terms of copyright. “While AI is unlikely to ever replace human songwriters and composers, there are dangers for cultural diversity when it comes to what they might produce and what people’s search terms might direct them to. We should not be afraid of the technology, but we do need to understand it, and in particular be alert to the fact that human beings, with all their potential for inherent biases, are the ones creating the software.” Update the act Copyright in the UK is still covered by the Copyright, Design and Patents Act of 1988, passed long before mass usage of the
Brian Eno has long been interested in generative electronic music creation
“We should not be afraid of technology, but we do need to understand it” Michael Sweeney
