Kolmogorov complexity analysis suggests that we can measure how well we understand a piece of music by the concision of a program that produces it. Furthermore, the inherent complexity of grooves and fugues can be compared via the lengths of their programmatic representations. Algorithmic composition has curious implications for the creation, copyright and performance of pieces, both finite and infinite.In this talk I examine the relationship that complexity theory and disjunctive sequences have to music, music-generating programs and literary works. I then apply these ideas by devising a program to generate an infinite ‘Copyright Infringement Song’ that contains all other songs within it. I adopt literary modes of analysis and presentation, which I motivate by arguing that music is a cultural and artistic phenomenon rather than a natural one.