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Before Iamus, algorithms were merely talented forgers, mimicking the styles of the greats. Scientists at the University of Málaga took a different path: their cluster of 352 processors was designed to generate its own unique avant-garde music. In less than 10 minutes, the system could produce a complex symphonic score in PDF, fully ready for the musicians' stands. In 2012, this material was recorded by the London Symphony Orchestra. Despite initial skepticism, many critics admitted the machine-generated music did not sound 'dead'; on the contrary, it presented a genuine intellectual and professional challenge to live performers.

However, the real shock was felt by the legal world. The related Melomics109 system generated nearly a billion compositions, which the developers released into the public domain under a CC0 license. By doing so, the team essentially 'staked a claim' to a vast array of melodic combinations for free. This precedent forced legal scholars worldwide to grapple with a new dilemma: how can the uniqueness of a human composition be proven if a machine has already mathematically exhausted most of its potential motifs?