Caitlin Galli, a member of Sigma Kappa, is a 20 year old studying dietetics and psychology. She has been dancing since she was five years old at the Peter Smith School of Irish Dance, which has been renamed the Heritage Company of Irish Dance. She has competed at the regional, national, and world championships of Irish dance and has participated in numerous shows, including three at Carnegie Hall!
Galli is also a member of the newly established Irish Dance Club at Rutgers University. The organization, which officially began this semester, encourages all students to join, whether or not they have Irish dance experience.
There are three unique parts to the Irish Dance Club. It is a social club. They meet on campus, one time per semester, to discuss Irish dance, the competition, the history, and the heritage, and it is a fun time to meet and make new friends. Secondly, the club encourages a practice circle, where girls and guys get together and practice their steps from various dance schools outside of Rutgers, or they teach new dancers Irish dance techniques. Lastly, there is the show/competition side to the club. There have already been several shows on campus, and there are more scheduled for the future. The show the club puts on is short, fun, and can be taught to any level of dancer. Members also compete in inter-collegiate competitions, once a semester, welcoming any level of dancer to compete. The competitions are fun, and give students a change to meet others across the country who have a passion for Irish dance.
As a new club, members have a lot of hope for the future, even though they are small now. In coming semesters, they will be holding movie events in the Rutgers Cinemas, and hosting a dance competition of their own. Interested in joining the Irish dance club? Check them out on Facebook by searching Rutgers Irish Dance.
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This article has not been reviewed by Odyssey HQ and solely reflects the ideas and opinions of the creator.
StableDiffusion
The Illusion of Creativity
AI-generated music is often marketed as “artistic” or “educational.” But what does it really teach?
- That style can be replicated without understanding.
- That emotion can be simulated without feeling.
- That effort can be bypassed with a prompt.
For young creators, this sets a dangerous precedent. Why learn to play guitar when an algorithm can do it faster? Why study harmony when AI can generate chord progressions in seconds? The risk isn’t just laziness — it’s the loss of depth, discipline, and the tactile joy of creation.
I have listened to several AI-generated music covers. My initial reaction was one of considerable impressiveness, particularly regarding the reimagining of classic pop hits in diverse genres with novel arrangements. Here is one good example a-ha — Take On Me
However, after engaging with several such Ai generated song covers, a sense of emotional detachment emerged, attributable to the perceived absence of human artistry and genuine sentiment, resulting in a technically flawless yet ultimately soulless auditory experience.
Copyright in Crisis
What does the copyright law say about AI generated music, especially in field of music covers. Who is liable for copyright in this case, AI developers, people who used AI to generate music or people who published it on music platforms?
Recent lawsuits show that the music industry is pushing back hard:
- Universal, Sony, and Warner sued AI music platforms Suno and Udio in 2024 for allegedly training their models on copyrighted songs without permission Ars Technica The Lyon Firm.
- They’re seeking up to $150,000 per infringed song, arguing that the AI outputs resemble famous tracks and voices (e.g., Mariah Carey, Michael Jackson).
- These lawsuits target the developers of the AI tools — but they raise broader questions:The legal gray area is training data. Courts haven’t yet ruled definitively on whether using copyrighted songs to train AI counts as infringement or fair use Sites at USC.
But who’s liable?
Role | Legal Risk | Why |
AI Developers | ✅ High | For training on copyrighted material without licenses. |
Users | ⚠️ Moderate | If they intentionally recreate protected works. |
Publishers/Platforms | ✅ High | For distributing infringing content. |
The grey area lies in training data. Courts haven’t yet ruled definitively on whether using copyrighted songs to train AI counts as infringement or fair use. Meanwhile, AI-generated works themselves aren’t eligible for copyright unless a human provides substantial creative input — leaving them in legal limbo.
The Educational Mirage
Some argue that AI music helps people learn genres, production styles, or vocal techniques. But this “education” often lacks context. It’s like learning to paint by watching a printer — technically impressive, but creatively hollow.
True musical education involves:
- Struggle and iteration: Learning through mistakes.
- Emotional connection: Expressing what words can’t.
- Cultural lineage: Understanding the roots of sound.
AI shortcuts bypass all of this. And in doing so, they risk flattening the rich terrain of human creativity into a sterile landscape of algorithmic mimicry.
Why This Fight Matters
This isn’t just about music. It’s about the future of art, storytelling, and human expression. If we allow machines to dominate creative spaces, we risk turning culture into content — optimized, monetized, and devoid of soul.
We must ask: Do we want a world where art is made by machines, or one where machines help humans make better art?
5 Key Takeaways
- AI-generated music blurs the line between innovation and erosion in the creative arts
- AI-generated music raises questions about copyright, culture, education, and artistic expression
- AI-generated music can replicate style without understanding, simulate emotion without feeling, and bypass effort with a prompt
- AI-generated music sets a dangerous precedent for young creators by potentially leading to a loss of depth, discipline, and joy of creation
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