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Singing, artificial intelligence, and reverence for voices

Months ago, social networking sites began broadcasting singing clips of artists with other voices, through artificial intelligence technology that powers the world.
The last creation of this technology, Amr Mostafa announced a melody that he dedicated to the late singer Umm Kulthum, using artificial intelligence technology to put her voice on this melody, and we listen to a very small clip of this song. The matter did not stop at the security limits of a composer known for his fast rhythmic works (some of which were copied from Western music), but rather prompted the owner of the Alam al-Fan company, Mohsen Jaber, to threaten to sue Mustafa in the event that he implemented the step, and released a new song with the voice of Mrs. Umm Kulthum.
Amr Mostafa’s response came as a question to the producer, Jaber, about how he accepted that Mrs. Umm Kulthum would appear through the “hologram” technology? Is this allowed? As for her singing of a new melody, it is forbidden?
This response formed a natural interaction by the pioneers of social networking sites, some of whom denounced Amr Mostafa’s move, and others expressed their understanding of the producer Jaber’s fear, requesting that the young composer be given room for the final judgment on the song, which Mustafa stresses that it will inevitably be released.
Amr Mostafa is not the only one who announced a melody with the voice of a late artist. Followers on social media broadcast songs based on “artificial intelligence” technology, including what appeared two days ago from a duet that brought together the late artist Abdel Halim Hafez and singer Amr Diab. However, the duet between them appeared light, with an intermittent voice, and Abdel Halim Hafez’s voice was not clear.
Law experts confirm that Mohsen Jaber has the right to file lawsuits if he finds someone who “distorts” an artist’s image. This, of course, is what Alam al-Fan sought to do, by fighting the voices that sing for the singing “giants” whose artistic rights it owns. Indeed, Alam al-Fan filed lawsuits against the exploitation of artistic content, including music and voice, for some singers and singers whose work the company monopolizes and acquires the rights to. The lawsuits reached the limits of forcing them to pay large sums of money, and to pledge not to expose these productions or publish them through social networking sites and various media outlets.
And about this experience, actress Maguy Bou Ghosn wrote a tweet in which she asked: “The voices of artists were borrowed, through artificial intelligence technology, to sing, matching their voices to a large extent … Ok, so it is possible to borrow any voice to form a sentence or a complete unreal speech, how much this topic will create confusion.” And problems?

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When following the comments and interviews conducted by many critics, we find that there are concerns not related to the issue of rights, but rather to the sanctification of artistic symbols, which must not be touched. What if we put a melody on the voice of a male or female singer that no one cares about? Will it make a noise?
It is clear that this issue, and with the rise in the level of talk about artificial intelligence, will take on fateful dimensions in the coming years in the way people cooperate with each other, especially in lyrical and artistic experiences, while others are working to legitimize these technologies through the consent of the concerned person to imitate him or sing to him.