Download Pan Pan Song
Elis Riebow
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.
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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.
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.
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