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Music and artificial intelligence

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Artificial intelligence and music (AIM) is a common subject in the International Computer Music Conference, the Computing Society Conference[1] and the International Joint Conference on Artificial Intelligence. The first International Computer Music Conference (ICMC) was held in 1974 at Michigan State University.[2] Current research includes the application of AI in music composition, performance, theory and digital sound processing.

A key part of this field is the development of music software programs which use AI to produce music.[3] As with applications in other fields, AI in music also simulates mental tasks. A prominent feature is the capability of an AI algorithm to learn based on past data, such as in computer accompaniment technology, wherein the AI is capable of listening to a human performer and performing accompaniment.[4] Artificial intelligence also drives interactive composition technology, wherein a computer composes music in response to a live performance. There are other AI applications in music that cover not only music composition, production, and performance but also how music is marketed and consumed. Several music player programs have also been developed to use voice recognition and natural language processing technology for music voice control.

History

In 1960, Russian researcher Rudolf Zaripov published worldwide first paper on algorithmic music composing using the "Ural-1" computer.[5]

In 1965, inventor Ray Kurzweil premiered a piano piece created by a computer that was capable of pattern recognition in various compositions. The computer was then able to analyze and use these patterns to create novel melodies. The computer debuted on the quiz show I've Got a Secret, and stumped the hosts until film star Henry Morgan guessed Ray's secret.[6]

In 1997, an artificial intelligence program named Experiments in Musical Intelligence (EMI) appeared to outperform a human composer at the task of composing a piece of music to imitate the style of Bach.[7]

Software applications

Interactive scores

Multimedia Scenarios in interactive scores are represented by temporal objects, temporal relations, and interactive objects. Examples of temporal objects are sounds, videos and light controls. Temporal objects can be triggered by interactive objects (usually launched by the user) and several temporal objects can be executed simultaneously. A temporal object may contain other temporal objects: this hierarchy allows us to control the start or end of a temporal object by controlling the start or end of its parent. Hierarchy is ever-present in all kinds of music: Music pieces are often hierarchized by movements, parts, motives, measures, among other segmentations.[8][9]

Computer Accompaniment (Carnegie Mellon University)

The Computer Music Project at CMU develops computer music and interactive performance technology to enhance human musical experience and creativity. This interdisciplinary effort draws on Music Theory, Cognitive Science, Artificial Intelligence and Machine Learning, Human Computer Interaction, Real-Time Systems, Computer Graphics and Animation, Multimedia, Programming Languages, and Signal Processing.[10]

ChucK

Main article: ChucK

Developed at Princeton University by Ge Wang and Perry Cook, ChucK is a text-based, cross-platform language that allows real-time synthesis, composition, performance, and analysis of music.[11] It is used by SLOrk (Stanford Laptop Orchestra)[12] and PLOrk (Princeton Laptop Orchestra).

MorpheuS

MorpheuS[13] is a research project by Dorien Herremans and Elaine Chew at Queen Mary University of London, funded by a Marie Skłodowská-Curie EU project. The system uses an optimization approach based on a variable neighborhood search algorithm to morph existing template pieces into novel pieces with a set level of tonal tension that changes dynamically throughout the piece. This optimization approach allows for the integration of a pattern detection technique in order to enforce long term structure and recurring themes in the generated music. Pieces composed by MorpheuS have been performed at concerts in both Stanford and London.

AIVA

Created in February 2016, in Luxembourg, AIVA is a program that produces soundtracks for any type of media. The algorithms behind AIVA are based on deep learning architectures[14] AIVA has also been used to compose a Rock track called On the Edge,[15] as well as a pop tune Love Sick[16] in collaboration with singer Taryn Southern,[17] for the creation of her 2018 album "I am AI".

Google Magenta

Google's Magenta team has published several AI music applications and technical papers since their launch in 2016.[18] In 2018, they released a piano improvisation app called Piano Genie. This was later followed by Magenta Studio, a suite of 5 MIDI plugins that allow music producers to elaborate on existing music in their DAW.[19] In 2023, their machine learning team published a technical paper on Github that described MusicLM, a private text-to-music generator developed. [20][21]

Riffusion

This section is an excerpt from Riffusion.[edit]
Generated spectrogram from the prompt "bossa nova with electric guitar" (top), and the resulting audio after conversion (bottom)

Riffusion is a neural network, designed by Seth Forsgren and Hayk Martiros, that generates music using images of sound rather than audio.[22]

The resulting music has been described as "de otro mundo" (otherworldly),[23] although unlikely to replace man-made music.[23] The model was made available on December 15, 2022, with the code also freely available on GitHub.[24]

The first version of Riffusion was created as a fine-tuning of Stable Diffusion, an existing open-source model for generating images from text prompts, on spectrograms,[22] resulting in a model which used text prompts to generate image files which could then be put through an inverse Fourier transform and converted into audio files.[24] While these files were only several seconds long, the model could also use latent space between outputs to interpolate different files together[22][25] (using the img2img capabilities of SD).[26] It was one of many models derived from Stable Diffusion.[26]

In December 2022, Mubert[27] similarly used Stable Diffusion to turn descriptive text into music loops. In January 2023, Google published a paper on their own text-to-music generator called MusicLM.[28][29]

Forsgren and Martiros formed a startup, also called Riffusion, and raised $4 million in venture capital funding in October 2023.[30][31]

The question of who owns the copyright to AI music outputs remain uncertain. When AI is used as a collaborative tool as a function of the human creative process, current US copyright laws are likely to apply.[32] However, music outputs solely generated by AI are not granted copyright protection. In the Compendium of U.S. Copyright Office Practices, the Copyright Office has stated that it would not grant copyrights to “works that lack human authorship” and “the Office will not register works produced by a machine or mere mechanical process that operates randomly or automatically without any creative input or intervention from a human author.”[33] In February 2022, the Copyright Review Board rejected an application to copyright AI-generated artwork on the basis that it "lacked the required human authorship necessary to sustain a claim in copyright."[34]

See also

References

  1. ^ INFORMS Computing Society Conference: Annapolis: Music, Computation and AI Archived 2012-06-30 at archive.today. Rcf.usc.edu. Retrieved on 2010-12-22.
  2. ^ International Computer Music Association - ICMC. Computermusic.org (2010-11-15). Retrieved on 2010-12-22.
  3. ^ D. Herremans; C.H.; Chuan, E. Chew (2017). "A Functional Taxonomy of Music Generation Systems". ACM Computing Surveys. 50 (5): 69:1–30. arXiv:1812.04186. doi:10.1145/3108242. S2CID 3483927.
  4. ^ Dannenberg, Roger. "Artificial Intelligence, Machine Learning, and Music Understanding" (PDF). Semantic Scholar. S2CID 17787070. Archived from the original (PDF) on August 23, 2018. Retrieved August 23, 2018.
  5. ^ Zaripov, Rudolf (1960). "Об алгоритмическом описании процесса сочинения музыки (On algorithmic description of process of music composition)". Proceedings of the USSR Academy of Sciences. 132 (6).
  6. ^ "About Ray Kurzweil".
  7. ^ Johnson, George (11 November 1997). "Undiscovered Bach? No, a Computer Wrote It". The New York Times. Retrieved 29 April 2020. Dr. Larson was hurt when the audience concluded that his piece -- a simple, engaging form called a two-part invention -- was written by the computer. But he felt somewhat mollified when the listeners went on to decide that the invention composed by EMI (pronounced Emmy) was genuine Bach.
  8. ^ Mauricio Toro, Myriam Desainte-Catherine, Camilo Rueda. Formal semantics for interactive music scores: a framework to design, specify properties and execute interactive scenarios. Journal of Mathematics and Music 8 (1)
  9. ^ "Open Software System for Interactive Applications". Retrieved 23 January 2018.
  10. ^ Computer Music Group. 2.cs.cmu.edu. Retrieved on 2010-12-22.
  11. ^ ChucK => Strongly-timed, On-the-fly Audio Programming Language. Chuck.cs.princeton.edu. Retrieved on 2010-12-22.
  12. ^ Driver, Dustin. (1999-03-26) Pro - Profiles - Stanford Laptop Orchestra (SLOrk), pg. 1. Apple. Retrieved on 2010-12-22.
  13. ^ D. Herremans; E. Chew (2016). "MorpheuS: Automatic music generation with recurrent pattern constraints and tension profiles". IEEE Transactions on Affective Computing. PP(1). arXiv:1812.04832. doi:10.1109/TAFFC.2017.2737984. S2CID 54475410.
  14. ^ [1]. AIVA 2016
  15. ^ [2] AI-generated Rock Music: the Making Of
  16. ^ [3] Love Sick | Composed with Artificial Intelligence - Official Video with Lyrics | Taryn Southern
  17. ^ [4] Algo-Rhythms: the future of album collaboration
  18. ^ [5] Welcome to Magenta. Douglas Eck. Published June 1, 2016.
  19. ^ [6] Magenta Studio
  20. ^ [7] MusicLM on Github. Authored by Andrea Agostinelli, Timo I. Denk, Zalán Borsos, Jesse Engel, Mauro Verzetti, Antoine Caillon, Qingqing Huang, Aren Jansen, Adam Roberts, Marco Tagliasacchi, Matt Sharifi, Neil Zeghidour, Christian Frank. Published January 26, 2023.
  21. ^ [8] Understanding What Makes MusicLM Unique. Published January 27, 2023.
  22. ^ a b c Coldewey, Devin (December 15, 2022). "Try 'Riffusion,' an AI model that composes music by visualizing it".
  23. ^ a b Llano, Eutropio (December 15, 2022). "El generador de imágenes AI también puede producir música (con resultados de otro mundo)".
  24. ^ a b Nasi, Michele (December 15, 2022). "Riffusion: creare tracce audio con l'intelligenza artificiale". IlSoftware.it.
  25. ^ "Essayez "Riffusion", un modèle d'IA qui compose de la musique en la visualisant". December 15, 2022.
  26. ^ a b "文章に沿った楽曲を自動生成してくれるAI「Riffusion」登場、画像生成AI「Stable Diffusion」ベースで誰でも自由に利用可能". GIGAZINE. 16 December 2022.
  27. ^ "Mubert launches Text-to-Music interface – a completely new way to generate music from a single text prompt". December 21, 2022.
  28. ^ "MusicLM: Generating Music From Text". January 26, 2023.
  29. ^ "5 Reasons Google's MusicLM AI Text-to-Music App is Different". January 27, 2023.
  30. ^ Gal, Dr. Itay (February 10, 2025). "Free A.I. music creation platform launches, competing with Suno". The Jerusalem Post. Retrieved February 16, 2025.
  31. ^ Nuñez, Michael (January 30, 2025). "Riffusion's free AI music platform could be the Spotify of the future". VentureBeat. Retrieved February 16, 2025.
  32. ^ "Art created by AI cannot be copyrighted, says US officials – what does this mean for music?". MusicTech. Retrieved 2022-10-27.
  33. ^ "Can (and should) AI-generated works be protected by copyright?". Hypebot. 2022-02-28. Retrieved 2022-10-27.
  34. ^ Re: Second Request for Reconsideration for Refusal to Register A Recent Entrance to Paradise (Correspondence ID 1-3ZPC6C3; SR # 1-7100387071) (PDF) (Report). Copyright Review Board, United States Copyright Office. 2022-02-14.

Further reading

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