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My research interests lie in the intersection of statistical physics, network science, biological science and computational social science, broadly exploring patterns behind petabytes of data. One of my recent activities in this area is aiming to understand the fundamental properties of human dynamics and interactions at various scales. I\'m also interested in soft matter physics, focusing mainly on the jammed matters that includes colloidal suspensions, dense emulsions and granular materials.\r\n\r\n\r\n\r\n", ],socialMedia:[],facultyAssistants:[ ],relatedLinks: [{ name: "Department of Physics", link: " " }, { name: "College of Arts and Sciences", link: " " }, ],courses: [ ]}, "display-name"); }; Chaoming SongAssociate Professor

email: c.song@miami.edu

phone: (305)284-7119

building: Knight Physics Building

room: Room 305

University of Miami Coral Gables, FL 33124 305-284-2211 University of Miami Coral Gables, FL 33124 305-284-2211 305-284-2211 Resources About UM myUM CaneLink Academic Calendar Blackboard UM Network Alumni & Friends Medical Center Hurricane Sports Careers Visit Campus Map Parking & Transportation Connect social-facebook social-twitter social-youtube social-instagram Copyright: 2023 University of Miami. All Rights Reserved. Emergency Information Privacy Statement & Legal Notices

Air Force Band members and guests sing the new U.S. Space Force service song during the 2022 Air, Space and Cyber Conference in National Harbor, Md., Sept. 20, 2022. (U.S. Air Force photo by Eric Dietrich)

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Imagine a future, if you will, in which us songwriters don\u2019t have to sit around in our drafty garrets, plumbing the depths of our pain and misery for the public\u2019s entertainment and enjoyment. A future where creative inspiration is at our very fingertips, right past our keyboards on our laptop screens, where we creatives can sit back and let robots do all the heavy emotional lifting for us.

It went on. There were two verses, a chorus, a bridge and an outro. I\u2019m not sure how it decided this was Decemberist-y, but I get it. It\u2019s like what someone might think a Decemberists song sounded like if they\u2019d skimmed a few reviews, observed some fairly skin-deep Twitter hot takes. It\u2019s got sailors and lighthouses and battles at sea. I get it. Fine.

So that\u2019s kind of wild. Not only can this AI write out a convincing-looking song lyric, but it can put together chords that, at least at first glance, kind of work. I mean, the verse progression\u2019s got the classic pattern: the root chord, the 4 and the 5. It\u2019s got the minor fall and the major lift. It pleases the Lord.

Chorus:

G - Am - F - C

Of sailors brave, and adventures untold

G - Am - F - C

Of a life on the waves, and a heart grown old

G - Am - F - C

Of a world of discovery, waiting to be sought

G - Am - F - C

In a song that will live, when he is not

Bridge:

Am - F - C - G

And I know that this man's song will stay

Am - F - C - G

As a lighthouse's beam, to guide me on my way

Am - F - C - G

For in his voice, I heard a longing heart

Am - F - C - G

And a tale that will start, a brand new part

Outro:

C - G - Am - F

So let us sing, of this man's sweet sound

C - G - F - C

And let our hearts and our feet hit the ground

C - G - Am - F

For in this place, we're free from all our fears

C - G - F - C

And his song takes us, to our wildest dreams.

It was a bit of a headscratcher. It wasn\u2019t able to format it in such a way that it was clear when the chords changed, so I had to guess. The verses were particularly baffling, with four of the eight chord changes happening on the first line, the second four happening over the next three lines. I thought it was maybe a mistake; I asked it to write them out a few more times, but each time they came back the same. That was how the song went, goddamn it.

For the record, this is a remarkably mediocre song. I wouldn\u2019t say it\u2019s a terrible song, though it really flirts with terribleness. No, it\u2019s got some basics down: it (mostly) rhymes in all the right places (though that last couplet is a real doozy), it uses a chord progression (I-V-vi-IV) that is enshrined in more hits from the western pop canon than I care to count. But I think you\u2019d agree that there\u2019s something lacking, beyond the little obvious glitches \u2014 the missed or repeated rhymes, the grammatical mistakes, the overall banality of the content. Getting the song down, I had to fight every impulse to better the song, to make it resolve where it doesn\u2019t otherwise, to massage out the weirdnesses. I wanted to stay as true to its creator\u2019s vision as possible, and at the end, there\u2019s just something missing. I want to say that ChatGPT lacks intuition. That\u2019s one thing an AI can\u2019t have, intuition. It has data, it has information, but it has no intuition. One thing I learned from this exercise: so much of songwriting, of writing writing, of creating, comes down to the creator\u2019s intuition, the subtle changes that aren\u2019t written as a rule anywhere \u2014 you just know it to be right, to be true. That\u2019s one thing an AI can\u2019t glean from the internet.

Recent examples, which include a faux song that sounds a lot like something the British alt-rock band Oasis would put out, hint at AI's bold, creative possibilities and its ethical and legal limitations.

This wasn't the first time the music corporation flexed its litigation muscles, and it won't be the last; earlier this month, it ordered a takedown of an AI track based on the music of Eminem. The song featured lyrics like, "Cats, cats, cats, always on the prowl / They're sneaky and sly with their eyes on the goal."

"One danger is the lowering of artistic standards to a point where fake becomes real and mediocrity rules," said singer-songwriter and voice actor Dan Navarro. "Then commercial music becomes like brown-food-product; able to sustain life, but never truly satisfy."

Launch event for the Human Artistry Campaign at SXSW in Austin, Texas, March 16, 2023. From left: Rob Levine, Billboard; Jessy Wilson, artist; Dan Navarro, songwriter; Erin Reilly, University of Texas. Ben Whitehair, SAG-AFTRA hide caption

The2023 song contest offers the chance to win great prizes, gainrecognition and promote your songs with publishers and producers in themusic industry. The Great American Song Contest is also the only majorsongwriting contest that provides entrants written critiques from thecontest judges.

The Board of Hipgnosis Songs Fund Limited which offers investors a pure-play exposure to songs and associated intellectual property rights, and its Investment Adviser, Hipgnosis Song Management Limited, announce the Company's interim results for the six-months to 30 September 2023.

However, Sanremo was not the only song contest in Italy at the time: in the mid-1950s, the City of Venice and RAI organised the International Song Festival in Venice. The first edition in 1955 included entries submitted by the radio services of EBU members from Austria, Belgium, France, Italy, Monaco and the Netherlands. They each submitted six songs that were original and no longer than 3 and a half minutes, with the entries being voted on by national juries and the winner being awarded the Golden Gondola prize.

In those first few Contests it seemed obvious to participating artists that they should enter songs sung in their native tongue, but as the event expanded and grew in popularity, songwriters began to assume that the more universal the lyrics, the more likely the song would resonate with juries. Which could explain the popularity of classic Eurovision winners like Boom Bang A Bang and La La La.

Greetings to my fans and followers with gratitude for all your support and loyalty across the years.

This is an unreleased song we recorded a while back that you might find interesting.

Stay safe, stay observant and may God be with you.

Bob Dylan

The Song of Songs is considered one of the five megillot (scrolls), which are read on major festivals. It is traditionally chanted in the synagogue during Passover, due to its thematic connection with springtime. Following the mystical tradition, some Sephardic and Hasidic Jews have a custom to recite it each week on Shabbat evening, as Shabbat serves as a renewal of loving vows between God and the Jewish People. While the tradition ascribes the its authorship to King Solomon (Song of Songs Rabbah 1:1), who lived in the 10th century BCE, modern scholars note the many literary parallels with other love poetry and wedding songs from both Babylonia and Egypt and suggest a later date of composition, perhaps around the fourth through sixth centuries BCE.

Often referred to as "The Black National Anthem," Lift Every Voice and Sing was a hymn written as a poem by NAACP leader James Weldon Johnson in 1900. His brother, John Rosamond Johnson (1873-1954), composed the music for the lyrics. A choir of 500 schoolchildren at the segregated Stanton School, where James Weldon Johnson was principal, first performed the song in public in Jacksonville, Florida to celebrate President Abraham Lincoln's birthday. ff782bc1db