Each week, I first summarize my adventures in making music. Lately, I have been composing tracks for the Disquiet Junto, the Naviar Records Haiku Music Challenge and, this year for the first time, Weekly Beats. I also have other projects and collaborations I will share occasionally.
I also bring together the perspective I shared in posts on social media (currently Mastodon) about the music industry in the section: Music + Tech + Law. These thoughts are intended to come from me as a consumer of, and participant in, the entertainment business. However, I cannot completely separate the thoughts I generate from the part of my brain I use for my day job as a lawyer experienced in technology contracts and intellectual property.*
My Music
Earlier this week, I posted a track for NaviarHaiku536. I haven't participated in the Naviar Haiku Music Challenge recently, but I have been meaning to. The prompt was a haiku composed by John Hinks aka FlownBlue who passed away recently. I did not know John, but I would listen to his tracks and he would occasionally "Like" mine. Despite not knowing him, I was still saddened by his passing and composed this somber ambient track as a small tribute to him.
I spent the bulk of my music-making time last week on the above track. When I started working on my submission for Weekly Beats, I turned up the tempo, but not enough and had to scrap what I was working on. I ended up with a more energetic track, but it does have some ethereal sounds and feels like a follow up to that ambient track above.
This track also comes with an interesting story about SoundCloud’s automated content ID system. Read more about it in the section below.
Music + Tech + Law
I have limited experience with music in a clinical setting, but one example where I realized its effect is when I had to have a procedure done and I was very anxious. When the doctor came in, he asked, “What do you want to listen to?” He said each patient gets to choose the music and he plays it in the operating room. He didn’t have a special music device like the one described in this article, just his phone. I didn’t have a preference at the time, but having some music and knowing I had that option put me more at ease.
I like the quote in this article about the limitations of AI music - saying these systems only “simulate the past and propose average renditions of what our past might have sounded like.” The author suggests that the keys to preserving the human element of music in the future are composing new works and performing live. I feel like I’m doing my part by making music, but I haven’t figured out whether or how I want to perform my solo electronic music live. I have only ever played in bands.
I uploaded this song I mentioned above to SoundCloud, but when I went to share it, something looked off. Then I received a message saying my track was taken down for containing material protected by copyright. Specifically, this short, meditative piece consisting primarily of a steady drum beat.
While my song is a longer multi-track recording typical of popular dance music. I filed a dispute and my track was reinstated, but I'm concerned about this automated process.
This is my first experience with SoundCloud's content ID system. What struck me the most about the process was, in order to file a dispute, I had to sign a form and tick a box that said, “I agree to indemnify SoundCloud against all claims, losses and liabilities incurred by SoundCloud as the result of my tracks being reinstated.” I can understand why someone insisted on including this, but how many independent artists can afford to hire an attorney to defend SoundCloud in a copyright lawsuit?
*My opinions are not my employer’s and this material does not create an attorney-client relationship, is not intended to convey legal or ethics advice, and does not guarantee the same or similar results in all cases.
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