Entertainment
Screen music composers fight for better regulation around AI-generated music
As artificial intelligence continues to evolve at a breakneck pace, humans who have spent decades working on their craft are struggling with the prospect of being replaced by machines.
Ask film composer Josh Hogan what he thinks about the rise of AI-generated music platforms that can create songs on demand, and the response will likely be scathing.
“AI creates a kind of smoothie, a gray matter, something that looks like music but is homogeneous,” he says.
“There's no real goal, there's no real hook or trap.
“This has nothing to do with the intention that usually comes from human beings who say: 'we mean this'.”
The Western Australian composer has devoted himself to music for most of his life, performing in bands and orchestras as a drummer and percussionist.
Today he is known for his award-winning soundtracks for film and television, created alongside his collaborator Ned Beckley.
“I'm still a person who is very interested in music,” he says.
“And that’s really why I hope to get hired, because people know that I’m going to put my heart and soul into creating music.”
Mr. Hogan wants to make it clear that he supports new tools that can help more people make music.
But he doesn't buy AI music generators' arguments that they will democratize music creation by lowering the barrier to entry.
“It actually destroys the creative process, it takes away the work of making the thing,” he says.
“Ultimately, the optimist in me says that humans will only be interested in human stories.”
“It's a very difficult thing for us as a culture to understand, but we're going to have to ask ourselves: What is the work of making? What is the work of creativity? And is that something that a human being does?”
How does AI create music?
As AI music generators gain millions of new users, the screen music industry is among the creative sectors desperately trying to get ahead.
Udio, a New York-based startup, launched its tool in April.
It has already attracted nearly two million participants, creating songs in seconds by typing text messages into a box.
Udio's Conor Durkan described it as a “radical shift in music making.”
“Our goal is to enable all kinds of people to flourish creatively through music,” he explains.
Co-founder Andrew Sanchez said the tool was proving popular with people without musical skills and professionals who were integrating it into their workflows.
“I was with some film composers last weekend and one of the most interesting examples was they said, ‘Hey, let’s try to generate some music or mood for the moment where a hand emerges from a grave in a dark cemetery,’” he says.
“And that gave some really good examples. None of them were exactly what the composer wanted, but it gave them some ideas that they were then able to take and develop throughout the whole thing.
“If we look three years from now, or even two years from now, we think people will say, 'This is a powerful technology that enables a whole range of new things, new creations.'”
But in the meantime, the world's biggest record labels are currently suing Udio developer Uncharted Labs and another startup, Suno, for alleged copyright infringement.
Mr. Sanchez said he could not go into detail about how Udio's model was trained, because of the ongoing litigation, but compared it to human learning.
“Great composers and songwriters develop their musical ear and develop their musical abilities by listening to music,” he says.
“And in the same way, these technologies are able to assimilate abstract ideas about music, the general building blocks, you might say, the fundamental pieces of what constitutes music, which can then be created and assembled into these really cool, innovative ways of making new music.”
But that's not an argument Kingston Anderson, executive director of the Australian Film Composers Guild, is about to accept.
“Without the original music, they can’t learn,” Anderson says.
“They are infringing copyright because they are using that person's music to generate new music.
“To say, ‘Oh, they’re just listening,’ what does that mean?”
“It's not a person sitting in a room listening to a tape.”
Push to protect creatives
As this landmark court case unfolds in the United States, bodies representing Australia's creative industries are calling for regulations to protect their original work and livelihoods.
In a strongly worded proposal to a Senate committee investigating the impact of AI, the Film Composers Guild warns that there is “a real risk of destroying an entire creative industry.”
“It's already happening in the advertising world,” Anderson says.
“The next step is to generate images as well. So I think within two or three years, most advertising, a large portion of advertising, will be generated by AI.”
The guild is demanding that composers be compensated for any use of their work by AI companies and that permission be sought before its use.
Alex Jenkins, director of the WA Data Science Innovation Hub at Curtin University in Western Australia, agrees the law needs to catch up.
“We need to find a way to compensate artists and musicians if their music, if their voice, if their skills are used to train an AI model,” Jenkins says.
The challenge will be to act quickly enough to make a difference.
“It's evolving faster than any technology we've seen since the introduction of the Internet,” he says.
“So by the time the regulations are put in place, by the time the regulators are coming together and working on these issues, the technology has changed again.”
The Senate committee is expected to report its findings in September.
The sector grapples with ethics
Even within the growing field of AI music creation, there are varying views on the ethics of generative music.
Soundraw, a Tokyo-based company, operates a different model from other platforms in that it is not based on text prompts and the output cannot be uploaded to streaming platforms.
Founder Tao Romera explains that his AI was trained using content created internally by the company's own team of producers.
Mr. Romera believes there is value in an AI tool that makes music production viable for people working on projects with small budgets.
But he believes it is unethical for AI companies to scrape copyrighted music.
“It feels wrong because you're basically taking all the knowledge and effort that's gone into creating this music by hundreds of thousands of humans and then you're disrupting the industry based on their work.”
The future of industry
As to the extent to which AI will ultimately replace human creatives, no one seems to know.
Alex Jenkins remains doubtful.
“To really bring that emotional impact to music is such a human thing,” he says.
Josh Hogan agrees.
“[AI] “It's not necessarily going to support the act of creating great music that the audience will relate to, or in our work, creating great music that connects with characters on a screen, for example, or that tells a story,” he says.
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