Favorite artist of all time Dante Diana es Incredibly largeRapper who died in 1997 in a shooting at age 24. Deyana, 39, a disc jockey and business owner in Chicago, always wondered what she could have done. Christopher Wallace, Also know Piggy Smalls, if his career does not come to an abrupt end. At the end of April, Teiana got the chance to try it for the first time and was blown away.
A song created by artificial intelligence in the voice of Piggy Smalls Rapping through „NY State of Mind.” Nas It took off on social media and received rave reviews from fans for its quality. But it sparked a debate: Did it violate the rapper’s legacy?
„Hearing something new from him is like finding something in a vault,” Deyana says in an interview. But to think further “it brought me back down to earth and made me realize that this is not true. … It’s done by AI.”
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The title is a part The rise of AI-generated music In recent weeks, the development of AI technology, capable of producing films, artworks, novels and other works, has revolutionized the technology industry and captivated audiences. Music is no exception, and the release of widely consumed, AI-generated tracks features the biggest names in music, AI raises questions about the future of the music industry in a world awash in instruments.
Using the voice of a dead artist adds another layer of legal and ethical uncertainty., and fans and artists weigh the desire for more music from dead artists while dealing with the discomfort of bringing their voices back from the dead. Some fans have expressed concern that artworks are being created using these artists’ voices without their permission and that someone other than the artist or their family may benefit. They have also questioned the authenticity of music and whether it can be considered art.
Nas’ card isn’t the only example of AI’s piggybacking. Influential hip-hop producer TimbalandWinner of four Grammy Awards and work Beyoncé YJAustin TimberlakeHe started his own song in his voice Piggy Smalls In a video that has been viewed over a million times on Twitter, as well as posted on Instagram.
„I’ve always wanted to work with Big and never got the chance until today,” she said in a video before singing a snippet of the song that includes a nasty Big imitation.
Some listeners wrote that they were impressed, commented with fire emojis, and even called the product historic. Others argued that the use of Biggie’s voice felt unnatural and that some of the lyrics sounded strange to the artist’s voice.
Timbaland, its real name Timothy Mosley, said he understood the criticism. He recalls the production of his posthumous album Michael Jackson In 2014, “Xscape„, at first „a little creepy”, but finally got to „my soul”.
Mosley described a similar feeling when making his Biggie track, noting that his intentions were to show what new technology could do and not necessarily release a track for money. He compared listening to the show to viewing fine art steeped in stories and „memories,” and talked about how technology has given fans the chance to connect with artists they’re missing the most. Mosley said other similar products are in the pipeline. „It’s really an artistic statement … to tell the world, 'It’s here, it’s not going anywhere,'” he said.
New works based on dead artists can overcome listeners’ initial discomfortMosley said. He said he’s tossing around ideas for respectful use of artists’ voices, such as producing music or a unique release to „celebrate” a dead artist’s birthday. „It brings back memories,” he argued: „Sometimes, if it’s done right — if it’s done with class and taste, the song is well-written and touches the soul — I think we’ll love it.”
By Justin BernardThe 27-year-old music producer, who has 2 million followers on TikTok, said he started using the AI-powered music software a few months ago. used to imitate living artists such as Drake, Bruno Mars Y RihannaBut Bernardes has also created tracks that mimic the voices of dead artists Michael Jackson, XXXTentacion Y Incredibly large
Bernardes says he wrestled with the ethics of this type of music production and followed his fans’ feedback closely. „It’s very gentle,” says Bernardes. „A portion of the people say: 'It’s not okay with me, leave them alone’. Then another part of the internet says: 'God, thank you so much’. It’s his voice that’s going to live on forever, and now they’re letting me imagine it in a way I never imagined.
Bernardes said he doesn’t make money from impersonation content like other artists to avoid legal issues. Now, he said, he’s focusing on creativity and making a name for himself in what he sees as the future of music production. He also said that he avoids using the voices of recently deceased artists „to account for processing time”. „I try to wait as long as I can and make sure my audience knows it’s out of respect, creativity and imagination,” he noted.
In April, „Heart on My Sleeve” was released, in the style of an AI theme Drake Y Weekend, sparked a debate about the definition of artistic expression and pointed to consumer interest in AI-generated music. In response to the topic, Universal Music GroupIt works Drake Y Weekend, asked „Which side of history do all stakeholders in the music ecosystem want to be on: artists, fans and human creative expression, or the side of deep fakes, fraud and denial of artists? Their due compensation.” The record company may not like the answer. „Heart On My Sleeve” received 15 million views on TikTok and 600,000 streams on Spotify before it was removed from those platforms.
Following Reddit’s founder posting a “NY State of Mind” cover, Alexis Ohanian, predicts the music industry will create a system that pays artists and their estates for using AI-generated voices. „It’s going to be a rough few months, but if labels rely on technological change this time around, maybe not screw up,” he tweeted.
According to legal scholars, US law remains shaky when it comes to ownership and copyright of AI-generated works, although it is clear that voices are not generally subject to copyright. Instead, a person’s right to voice falls within a patchwork of state laws intended to protect the use of a celebrity’s name, face, and other aspects of „image.”
But some experts point to another danger, one that has intensified in the age of social media and could explode as AI-generated music becomes more popular.
„Historically, if you look at music, African-American artists have rarely received relative credit and compensation for their contributions,” he said. Olufunmilayo North, Professor of Business Law at Temple University Beasley School of Law. He added that the digital age has made it easier for black artists to be denied compensation and recognition.
Arewa, an anthropologist, noted that the latest incarnation of the problem was the use of music created by black artists in Tiktok dances by white creators. If that trend continues as creative AI becomes more popular, Areva said, it could lead to denial of adequate compensation to black artists and misrepresentation or other unforeseen problems. „That’s the world we live in today,” he says. „I think it’s going to rear its head in all kinds of places.”
Fuente: The Washington Post
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