一種算法創(chuàng)造了所有可能的音樂(lè)旋律，因此沒(méi)有人可以起訴侵犯版權(quán)

一種算法創(chuàng)造了所有可能的音樂(lè)旋律，因此沒(méi)有人可以起訴侵犯版權(quán)

New music is no longer a thing, thanks to a pair of lawyers who created an algorithm to write every single musical melody that can possibly exist. Rather than claiming all music as their personal property, however, the duo have released their entire catalog of tunes into the public domain, in the hope that this will bring an end to copyright lawsuits.

新音樂(lè)不再是一個(gè)問(wèn)題，這要感謝一對(duì)律師，他們創(chuàng)造了一種算法來(lái)編寫(xiě)每一個(gè)可能存在的音樂(lè)旋律。然而，他們并沒(méi)有聲稱所有的音樂(lè)都是他們的個(gè)人財(cái)產(chǎn)，而是將他們所有的曲目都發(fā)布到公共領(lǐng)域，希望這將結(jié)束版權(quán)訴訟。

Lawyer, musician, and programmer Damien Riehl came up with the idea after realizing that all singer-songwriters are essentially walking on a “melodic minefield”, because there are only a finite number of melodies that can exist. As such, with each new song that gets written, the chances of creating something genuinely unique decreases, and the possibility of writing a melody that has already been recorded by someone else increases.

律師、音樂(lè)家和程序員達(dá)米安·里爾(Damien Riehl)在意識(shí)到所有的創(chuàng)作型歌手本質(zhì)上都是走在“旋律雷區(qū)”上之后，才有了這個(gè)想法，因?yàn)槟軌虼嬖诘男蓴?shù)量是有限的。因此，每寫(xiě)一首新歌，創(chuàng)作出真正獨(dú)特的東西的機(jī)會(huì)就會(huì)減少，而創(chuàng)作出已經(jīng)被別人錄過(guò)的旋律的可能性就會(huì)增加。

In a recent Tedx Talk, Riehl explains that this wouldn’t be a problem if it weren’t for the ridiculous nature of copyright laws, which state that a piece of music becomes copyrighted the moment it is recorded. Even worse, it is possible to be sued for “subconscious infringement”, whereby an artist may have to pay a settlement to another artist even if they claim to have never heard the song that they are accused of copying.

在最近的Tedx演講中，Riehl解釋說(shuō)，如果不是版權(quán)法的荒謬本質(zhì)，這不會(huì)是一個(gè)問(wèn)題，版權(quán)法規(guī)定，音樂(lè)作品一經(jīng)錄制即受版權(quán)保護(hù)。更糟糕的是，它可能會(huì)被起訴為“潛意識(shí)侵權(quán)”，即一個(gè)藝術(shù)家可能不得不向另一個(gè)藝術(shù)家支付和解金，即使他們聲稱從未聽(tīng)過(guò)他們被指控抄襲的那首歌。

Ben Taub

Riehl sites numerous such cases, revealing how George Harrison was found guilty of subconscious infringement after the chorus to his song My Sweet Lord was deemed to be too similar to a track called He’s So Fine by The Chiffons. In another example, Radiohead were forced to name a group called The Hollies as co-writers of their song Creep, which apparently included a melody that also appears in one of the latter band’s songs.

Riehl網(wǎng)站上有許多這樣的案例，揭示了喬治·哈里森是如何在他的歌曲《My Sweet Lord》的合唱被雪紡綢樂(lè)隊(duì)認(rèn)為與《He 's So Fine》太相似后被判潛意識(shí)侵權(quán)的。在另一個(gè)例子中，電臺(tái)司令被迫指定一個(gè)名為“霍利斯”(Hollies)的樂(lè)隊(duì)為他們的歌曲《Creep》的聯(lián)合作者，這首歌的旋律顯然也出現(xiàn)在后者的一首歌曲中。

To try and bring an end to such cases, Riehl teamed up with Noah Rubin to create an algorithm that could produce every 12-note melody that has ever been written or can ever be written, using one octave of musical notes. The algorithm uses the same ‘brute force’ technique that hackers use when attempting to steal passwords, by essentially generating every possible combination of characters.

為了結(jié)束這種情況，Riehl和Noah Rubin合作創(chuàng)造了一種算法，可以產(chǎn)生所有已經(jīng)寫(xiě)好的或能夠?qū)懙?2個(gè)音符的旋律，使用一個(gè)八度音階。該算法使用了與黑客試圖盜取密碼時(shí)相同的“蠻力”技術(shù)，即生成所有可能的字符組合。

A total of 68 billion melodies were generated, which are now all available at allthemusic.info.

總共產(chǎn)生了680億首旋律，現(xiàn)在在allthemusic.info上都能找到。

The pair argue that their algorithm highlights how musical melodies are essentially just numbers arranged in a particular order, and that since numbers can’t be copyrighted, music should also not be constrained by infringement laws.

他們認(rèn)為，他們的算法強(qiáng)調(diào)了音樂(lè)旋律本質(zhì)上是按特定順序排列的數(shù)字，而且既然數(shù)字不能被版權(quán)保護(hù)，音樂(lè)也不應(yīng)該受到侵權(quán)法的約束。

"No song is new. Noah and I have exhausted the data set," explains Riehl. "Noah and I have made all the music to be able to allow future songwriters to make all of their music."

“沒(méi)有一首歌是新的。諾亞和我已經(jīng)用盡了所有的數(shù)據(jù)集，”Riehl解釋道。“諾亞和我創(chuàng)作了所有的音樂(lè)，讓未來(lái)的詞曲作者能夠創(chuàng)作他們所有的音樂(lè)。”