Nadhamuni Gayatri Bharath is a Sydney-based musician and singer originally from Chennai in Tamilnadu, India. She was trained in Carnatic music in the “Guru-Sishya” tradition and performs traditional and contemporary fusions of Carnatic music in Australia and globally. She was recently approached by AI music company Mubert to produce a catalogue of Carnatic music. Unsure of what this meant for the cultural heritage of Carnatic music, Gayatri sought advice. What, she asked, were the implications of selling music that was not even hers but belonged to a cultural tradition, thousands of years old, that didn’t really have authors? What did the AI do with the music? How could she do right by Carnatic music heritage? She’d already consulted the Indian Consulate General in Australia, who was keen to support her acting to protect Carnatic music, but although enthusiastic, these discussions hadn’t eventuated in anything concrete. I was delighted that she...
Music AI’s Global Reach Available to Purchase
Oliver Bown is an academic interested in understanding artistic and musical creativity using digital technology, and its relation to society. His research uses diverse methodological approaches to understanding technology, art and creativity, centered on a strongly social perspective on creative art and music practice. His 2021 book Beyond the Creative Species (MIT Press) summarizes this body of work, applying literature on the psychology and social dynamics of creativity to questions of how we understand the creative autonomy of machines, how we design for interactions with creative AI, and how creative AI will impact cultures of creative practice. He has worked as a creative coding practitioner, making his own music improvising systems which have been featured at the London Science Museum, the North Sea Jazz Festival, BBC Radio 3, the Computer Music Journal, the New Interfaces for Musical Expression Conference, and the International Symposium on Electronic Art, amongst other venues.
Oliver Bown; Music AI’s Global Reach. Journal of Popular Music Studies 1 June 2025; 37 (2): 112–116. doi: https://doi.org/10.1525/jpms.2025.37.2.112
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