How AI Is Transforming The Way We Make And Listen To Music

The work is divided into three movements, each of which approaches machine learning in a slightly different way. This post will provide a brief overview of the research that went into the work, but for more information please refer to the sources at the bottom. For its part, the search engine giant would benefit from creating a music product because this would enable it to compete with rivals such as Microsoft. Another free-to-access AI tool is MidJourney, which generates videos, while uberduck.ai has been used by French DJ David Guetta to mimic the voice of Eminem so it could be added to one of his instrumentals. Kanye West’s voice has been taken to make it sound like he’s singing the 2006 acoustic ballad Hey There, Delilah, while a ‘deepfake’ has been produced of Rihanna supposedly performing Beyoncé’s Cuff It. Whether you’re technophobic, fearing an apocalyptic uprising in machines akin to ‘I, Robot’, or a training lawyer seeing GPT-4 beat 90% of your peers in the bar.

Generative AI is a broader field that encompasses Natural Language Processing (NLP) and Natural Language Generation (NLG) as specific areas of focus. Generative AI refers to the use of artificial intelligence techniques to generate new content, such as text, images, music, and more. Ed is now VP of Audio at Stability AI, the company behind Stable Diffusion, the hugely successful, open-source image generation technology that helped kickstart the mass adoption of Generative AI.

Legally, this contravenes the basic principle of property rights upon which liberal democracies are founded. If you have created something, then you as the owner permit or forbid someone from using it. Kyncl said artists should have genrative ai a choice when it comes to AI music adding his company’s priority would be to ensure artists have a choice to opt in. Another emotional argument against AI music is its inability to mimic cultural, historical, or societal values.

AI Music Generator

In the latter, we can think of viewer as ‘collaborator’ in a procedural work, and the minting of an NFT as establishing an incipient form of shared ownership between artist and spectator. On the other hand, when rendered, the generative process is captured at a moment in space-time, freezing the procedural work to become an objet d’art. We revert from Umberto Eco’s Open Work (12) to an older conception of fixity.

According to Time, the first pop album created with the help of AI was Hello World by Francois Pachet, a composer and director of the Spotify Creator Technology Research Lab. And in 2019, Holly Herndon used an AI-synthesized version of her own voice to sing harmonies alongside her own vocals. When I think of publishers licensing artist’s vocal and instrumental sounds, it brings up all sorts of questions when applied for advertisements. VEED works in all browsers, including Chrome, Safari, Microsoft Edge, Firefox, and more. VEED also works on any device – mac, iPhone, iPad, Windows, Android, Linux, and more. Google, which owns YouTube, has also been in talks with Warner Music about a product, the Financial Times reported.

AI tools to make video editing easier!

This has proven invaluable, especially for students juggling creative passions with other obligations, such as crafting a dissertation or creating music on weekends around a day job. The UK government accepted this recommendation and announced that the UKIPO will produce a code of practice providing guidance to AI firms seeking to use copyrighted works as an input to their models. A notable aspect of the UK government’s response to this recommendation is that if an AI firm commits to this code of practice, it can expect to have a “reasonable licence” offered by the relevant rightsholder(s) in exchange. However, concrete proposals are yet to be put forward and there was no mention of this in the Government’s AI White Paper published at the end of March 2023. Some human recording artists have decided the best solution is to use AI tools to augment their music – for creative or experimental reasons – while retaining overall control of their output.

Computers have been involved with making music since their very earliest days. What’s changed recently, thanks to the development of deep learning and generative AI, is that they’re becoming increasingly good at doing it without human involvement. Further impact may be seen in the budgets the brands and agencies put towards their music choices. The cost to licence a pre-existing commercial track or creating a new bespoke soundtrack versus the cost to use AI.

Perhaps, one could refer to existing precedents available in respect of generative AI. Copyright Office (USCO) published a position statement stating that it will assess whether there is human authorship when deciding whether to grant registration or not. The answer to this will depend on how the AI tool was devised to create the work. Therefore, applying the human authorship principle means we must consider whether AI is used as an author (AI-generated music) or whether AI is merely an assisting tool in creating the music (augmentative AI). However, deciding whether AI was an author, or a tool is not sufficient as there are other stakeholders involved in the process too and they include AI software designers and data scientists. As a result, it is difficult to determine the responsibility for each element of the final AI-generated music output.

A prolific businessman and investor, and the founder of several large companies in Israel, the USA and the UAE, Yakov’s corporation comprises over 2,000 employees all over the world. He graduated from the University of Oxford in the UK and Technion in Israel, before moving on to study complex systems science at NECSI in the USA. Yakov has a Masters in Software Development.

AI expert, composer and researcher Dr Robert Laidlow of Jesus College, Oxford, also contributed his expertise and insights gained from 5 years’ experience in the field. His work draws on previous decades of research and is concerned with discovering and developing new forms of musical expression rooted in the relationship between advanced technology and live performance. As AI’s foothold in the music industry strengthens, there has been an inundation of thoughts and opinions from all sides of the argument.

As generative AI balloons, which have allowed anyone to create deep fake music, Google and Universal Music are reportedly working on modalities to license the voices and melodies of musicians used for AI-generated music. AI generators could still create songs in the styles of these artists, sure. But it would arguably be harder to create versions that live up to the originals, and harder still to surpass them. Top artists like Drake have previously maintained success by sticking to the same style and song structures. As Trapital’s Dan Runcie put it (in a piece about Drake, no less), “the streaming era has made it more lucrative to be consistently good than occasionally great”. With a sound that is so easy to pin down, though, it is no wonder that the first AI-generated song to truly rattle the industry is a fake Drake one.

Our larger report found that 86% of US adults say it’s important for companies to disclose their use of AI-generated content. To avoid driving down trust and satisfaction, disclosure needs to be heavily tested. Whether it’s leaning into language around artist-AI collaboration or specifically at exactly what points in production AI played a role, brands stand to benefit from understanding exactly what kind of messaging resonates with consumers or not. Listener perceptions are strongly impacted by knowledge of a song’s origins.

Sources told The Financial Times (The FT) that the two companies are in talks about an AI tool that would pay the owners of copyrights, with artists able to opt in or out. Another source told the newspaper that Warner Music is also looking at launching a product with the tech giant. The reports come after Universal Music, which represents Drake and The Weeknd, took down an AI-generated collaboration between the two artists from a streaming platform.

One, created by the California-based company OpenAI – which is responsible for the hugely popular AI bot ChatGPT – is called Jukebox. In fact, some YouTube channels are even dedicated to creating AI-generated music. Here’s an AI-generated advert for fake pizza brand ‘Pepperoni Hug Spot’ which was recently circulating on social media. Following his conversation with an AI robot artist (Ai-da), Baz Luhrmann, stated “until she can actually love and dream, I’m not worried”. He believes that AI can help facilitate creative work and do a lot of the grunt work, but will always lack the authentic emotions to fulfill the task completely. Most recently, hundreds of tech experts including Elon Musk and Steve Wozniak rallied together and signed an open letter calling for a pause on developing AI tools more advanced than GPT-4.

This is particularly so in circumstances where listeners may not be aware that the artist had nothing to do with the creation. While AIsis received prominent media attention (and therefore wide knowledge that Oasis had nothing to do with it), it is not inconceivable that, as the technology develops, “new” material may genrative ai be confused with an artist’s own music. Artists are increasingly having to consider the reputational impact of AI-generated music on both the industry as a whole and their own profiles. It is possible that the technology has the potential to democratize the industry, allowing for a more diverse and creative landscape.

• How are consumer perceptions of generative AI evolving as new applications emerge?
• The risks are also there such as over fitting, models need to be retrained on new market dynamics, potential for herd mentality and super crashes.
• This approach not only champions authentic storytelling, but also aligns brands with emerging cultural trends.
• It collects the data available to it and generates output that fits the criteria.
• In the latter, we can think of viewer as ‘collaborator’ in a procedural work, and the minting of an NFT as establishing an incipient form of shared ownership between artist and spectator.

Creative coding facilitates the procedural generation of sound and visuals (11). The practice enables artists, like the four in Sonic Alchemy, to script interactions and create generative audiovisual works. Alida Sun set herself the challenge to produce a new piece of generative art every day resulting in a series of over 1,533 sketches. Boreta and Aaron Penne’s Rituals on Art Blocks runs code in the browser in a manner where its output will not repeat for over 9 million years.