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| Art created by Gemini for this essay. |
AI in music....and AI in the arts in general.
Before we leap in, one thing worth remembering - and it's highly likely to anger everyone reading this right now - is that most of the public discourse on this topic (at least by musicians and industry folk) has been of a legal or philosophical nature, while usually taking a brief moment to mention how "fake" AI sounds as composer or performer (or poet or essayist or visual artist).
If that's your view, you need to swallow a bitter pill: The market disagrees with you, and (by any metrics you yourself would apply to a fellow human) you are wrong.
Sienna Rose, The Velvet Sundown, Nick Hustles, Xania Monet, FN Meka, Yona, Breaking Rust, Eddie Dalton, and more....including the 100% AI driven (no human intervention) creation Anna Indiana - all streaming millions to hungry listeners. Listeners who largely don't care about any of the issues we're about to get into - they care only about if they like the music.
Admittedly, this pisses me off a little, too.
At any rate, ponder that for a moment and then we'll leap in.
While I've thought extensively about this topic (and have for longer than I care to say, as I've been an avid fan of the works of Raymond Kurzweil for a long time, starting with his 1990 book "The Age of Intelligent Machines", and, as an irrelevant aside, still own my Kurzweil K-2000 keyboard), it's usually fragmented based on specifics. I've never really coalesced these thoughts into a single, specific policy position.
So let's explore "both sides" of this issue and see where we land.
Worthy of note: It should be obvious that the history given below (on both sides of the issue) is greatly abbreviated and oversimplified for brevity and ease of discussion. But the major pillars remain.