There are very few subjects as controversial in the world of modern music as the use of AI. The proliferation of artificial intelligence has proven to be embarrassing for artists who fear the art generated by the automobile, as imperfect, this can exceed the demand for authenticity drawn by hand and leave them out of a job. The presence of AI in music predates traditional problems that occurred in the 2000s and dates back to the 1950s and 1960s. In the past five years, however, the public and the artists have looked at the influence of AA Develop on the music they consume, which has always been encountered by mixed reactions.
Without a doubt, one of the greatest dangers that AI poses for the music industry is in its relatively easy manufacturing with little or no involvement of votes or creative producers. This makes AI mature for abuses on the part of companies too wishing to push music which has the use of the latest technologies, even if it has the price of a final without soul. As planned with the emergence of any new technological progression for entertainment, its commodification by companies only led to a wide bunch of adversaries who have become more and more absolute in their IA intolerance in all artistic forms. Combined with its high energy consumption and environmental farming, the growing presence of AI in popular culture has been the subject of a severe reaction.
We do not need to look far to see this improper use occur, because it was not until 2022 that we saw blatant examples of musicians such as controversy with the infamous virtual rapper FN Meka. Although this virtual rapper really emerged in 2019, it is only when his signature under Capitol Music Group that questions about the words generated from AI was born on a larger scale due to dependence on predominance stereotypes black in the lyrical content and the caricature of the artist depicts. . This led to a dismissal of Capitol Music Group not even two full weeks after his signature in the label, a small victory for AI critics in music to savor in the face of his growing presence in popular music.
A more recent example of the insipid IA was with Drake’s “Taylor-Made Freestyle” at the end of April of last year. In the middle of a rap-and-forth-heated rap beef with a compatriot Hip-Hop Kendrick Lamar, Drake saw the publication of a piece that used AI to reproduce the votes of the prolific rapper snoop Dogg and the Lated Tupac Shakur legend. As expected, the use of a venerated and deceased voice of the rapper who died in a strange manner without the authorization of Shakur’s succession was subject to a harsh conviction of listeners and criticisms; To the point where he undoubtedly pushed Kendrick to release “Euphoria” on April 30 of last year. Ironically, Drake’s popularity in modern hip-hop has been the subject of his voice to the use of AI as was the case with the song “Heart on My Sheeve” published by Ghostwriter977 in 2023, which Used Vocal Deepfakes by Drake and The Weeknd on Top original compositions and lyrics.
As indicated previously, the use of AI in music has preceded the last two decades of music and has been experienced for some time. However, its use was mainly relegated to research teams in academic environments and experimental music laboratories that try to recreate compositions found in classical music. The play “Illiac Suite for String Quartet” produced in 1957 was made using the composer Illiac I (Illinois Automatic Computer) by the composer Lejaren Hiller and the mathematician Leonard Issacson to create a musical composition entirely generated by computer. Decades later in 1997, the artificial intelligence program appointed Experiment in Musical Intelligence (EMI) managed to surpass a human composer in the manufacture of a composition that has recreated the sounds of the Baroque composer Johann Sebastian Bach, which would serve Later the development field for another computer program named Emily Howell after her designer.
Although these cases were significant in the presentation of the efficiency of automated programs and artificial intelligence in the composition of new pieces of music compared to human composers, accessibility and easy to use nature of the software of Modern IA have moved away from a desire to engage in thought- provoking experimentation, and more towards a means with which artists from the creative process in favor of more creative songs in bankruptcy. This, with the problems mentioned above, encourages criticisms to wonder if there is a place for an ethical use or non -operator of AI in music. It is not uncommon for anti-ai listeners to have taken a fatalistic state of mind and proclaim the beginning of the end of authenticity in music, which will soon be replaced in its entirety with automated programs whose idea Composition cuts songs of popular music in a serrated patchwork of a song based on trends made by data. Such concerns, although serious and well -intentioned, must also take into account the different ways in which the creatives implement technology to create unique sounds rather than replacing pre -existing musical identities.
Visionary in electro-pop who is once again celebrated for his revolutionary work in the 1900s and 2010s, Imogen Heap remains attached to sound experimentation both in and out of its musical production. Always impatiently the future of musical technology, it adopted technology to develop its own vocal model AI, AI.MOGEN, both for its use and use of smaller budding artists. Of his file acclaimed solo Talk to you To his collaborations with Guy Sigsworth in the Frou Frou Frou, Heap duo provided the bases of electronic pop artists like Caroline Polachek, FKA Twigs and even Ariana Grande.
The origins of Ai.Mogen go back to five to six years as a chatbot powered by fans. With a subsequent development and its use in a remix of the single of the pop artist Slovak Karin Ann “False Gold”, Heap has designed a model that uses his voice as an instrument to produce new sounds. Its hopes are that technology can come with various guarantees to avoid improper use of its voice for hateful content and ensure that songwriting credits are properly attributed to it. His collaborative attitude towards fans and artists also inspires him to encourage other musicians to experiment with their own vocal models in a way that ensures privacy, creativity and appropriate credit of the role of an artist in a composition Made using their AI voices. As expected from the technologically progressive artist, it recognizes the drawbacks and the potential for abuse of large music labels that AI faces, and it fights them with its optimism and its confidence in its ability to develop more guarantees for Make sure that these AI vocal models are used in an appropriate way as a way to inspire new artists to take new instructions for themselves rather than a substance substitute. Of course, the job is not the only established artist known for the experiment that has taken pleasure in the potential of AI.
How considered one of the most creative, talented and influential artists of artistic pop of the last four decades, the Icelandic pop sensation Björk would not be also renamed by criticism and listeners today was not for his approach daring innovation and defense of defense of defense of the defense of defense of the defense of the defense of the champion of defense of defense of the defense of the Champion of the defense of the champion of the champion of the defense of innovation and her champion of the champion of the champion of the champion of the defense of innovation and his champion the new technologies even when they are confronted to severe criticism. This sounds today in the world of modern music, because the experimental pop icon has deemed good to help create the “manifesto of nature” with photographer Aleph Molinari and the visual artist Anohni. The work is a healthy installation in the Center Pompidou in Paris, in France, which uses a generative AI to recreate the sounds of extinguished animal species and endangered to point out a future of unknown biodiversity which draws from the past while waiting Optimically, new species that will even arise in the face of climate change and other current environmental damage.
For the majority of his career, Björk was an ardent defender of environmental protection in the midst of overfishing and increasing concerns surrounding climate change. His albums Volta (2007), Biophilia (2011) and Fossora (2022) have all responded to her lyric and conceptually environmental concerns, and her healthy “manifesto of nature” is another way with which she hopes to instill wonder and hope with the public on the species Now disappeared, in danger of extinction and to come to come. Similarly to Imogen Heap, Björk’s experience was not without criticism of anti-AU listeners who noted the confusing nature of a pro-environment installation using a technology supposed to be damaging to the environment due to of its mass consumption. Her answer was the one who called for more in-depth research by listeners and herself in a “frugal AI” which is not based on such harmful methods of using energy, and she ensures To clarify a large part of the mixture of animal cries with its own voice and the AI generated sounds has been neglected and chosen manually by itself. This method of using AI suggests a more practical approach to technology that helps promote creativity with new sounds that evoke unknown landscapes.
All that is said, my intention is not to minimize the concerns raised by AI opponents or to suggest that they are poorly informed. I would say that such criticisms are not only welcome, but also necessary to ensure that this technology is not subject to more abuse that it has already undergone. However, what I must emphasize is that, as the phenomenon of sampling in hip-hop and the invention of the vocoder before him, AI currently undergoes a very critical period in his presence in popular music which manages the death of innovation. Sampling and vocoders have succeeded not only to overcome such criticism, but they were used in such a creative and inspiring way that they end up improving the specific music pieces in which they are presented and the music medium as a whole . In this sense, music in AI is unique potential of the problems it raises for drawn art. Rather than replacing the artistic efforts of creators with strange similarities, AI in music could potentially represent a new future in which new sounds arise from visionaries that promote imagination, appropriate use and true concern for the development of art which continues to innovate more than it imitates.