This technology has opened the way to truly creative computer-composers, like Iamus and Melomics109. A different approach is being followed by Melomics, a technology focused on teaching computers the rules of music composition, not the works of previous composers. For this reason, Cope's work has been said to not produce original music. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. In classical music, software exists that automatically generates music in the style of another composer, using musical analysis of their works. Plagiarism is relevant to different musical styles in different ways. King stated on the issue, "I don't think anybody steals anything all of us borrow." Musical ideas It goes way back." Princeton University professor of American history Sean Wilentz defended Dylan's appropriation of music stating "crediting bits and pieces of another's work is scholarly tradition, not an artistic tradition". In 2012, when Bob Dylan was questioned over his alleged plagiarism of others music he responded, "It's an old thing – it's part of the tradition. He defines it within the folk-music tradition as "lines that have circulated so long in folk communities that tradition-steeped singers call them instantly to mind and rearrange them constantly, and often unconsciously, to suit their personal and community aesthetics". Folklorist Carl Lindahl, refers to these recycling of lyrics in songs as "floating lyrics". Noted blues author and producer Robert Palmer states "It is the custom, in blues music, for a singer to borrow verses from contemporary sources, both oral and recorded, add his own tune and/or arrangement, and call the song his own". The issue of "plagiarism" in folk music is difficult to define as copying and not crediting songs was common, and the common sharing of musical ideas and expressions was held as a universal trust. though it is difficult to come to a definition of what is "similarity". copyright law, in the absence of a confession, musicians who accuse others of stealing their work must prove "access"-the alleged plagiarizer must have heard the song-and "similarity"-the songs must share unique musical components. where copyright law overlaps, the law with the shorter term is upheld) makes them public domain in the states of the European Union. But the " Rule of the shorter term" (i.e. "Memphis Blues"), but they are normally not public domain in the European Union until 2028 (1958 + 70). Handy (1873 – 1958) are public domain in the USA because they were published before 1922 (e.g. For example, the work of Robert Johnson (1911 – 1938) is public domain in the European Union because Johnson died more than 70 years ago (1938 + 70). In 2015, a lawsuit which challenged the copyright, found this was not the case. In some instances, it was also erroneously assumed that songs are still in copyright such as "Happy Birthday to You". Composer Dmitri Shostakovich perhaps commented sarcastically on the issue of musical plagiarism with his use of " We Wish You a Merry Christmas," an instantly recognizable tune, in his Prelude No. As well, some artists abandon the stigma of plagiarism altogether. įor these reasons, accidental or "unconscious" plagiarism is possible. Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic determinacy. All forms of music can be said to include patterns. 2.4 Unsettled, alleged, and forgiven incidentsĪny music that follows rules of a musical scale is limited by the ability to use a small number of notes.
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