Music Arrangers and Orchestrators
Arts, Design, Entertainment & MediaAI exposure
- Data source: BLSPublished: 2026-08
High· relative
LowFour relative bandsVery highGroup-level value
Scale, basis and source
Four relative bands (Low / Moderate / High / Very high)
831 detailed occupations in the BLS Employment Projections table. Assigned per National Employment Matrix (NEM) code, so occupations sharing a NEM code carry the same band
- Data source: AnthropicPublished: 2026-03
0.037
0.000Range of values carried here0.745Scale, basis and source
- Data source: ILOPublished: 2025
0.28
0.09Range of values carried here0.70Group-level value
Scale, basis and source
Generative AI exposure index, 0–1 as published
ISCO-08 unit group — every occupation sharing the code gets this value
Computed by this site, not published by the ILO: of the 1,012 occupations this site links to the ILO dataset, 73% score at or above this value.
What kind of figure this source publishes
The BLS category is a relative rank, not an absolute level, and it is not a first-hand measurement: it groups an occupation's percentile ranks across several published studies into four bands. It is not an employment or wage forecast, not a probability of adoption, and it does not separate automation from augmentation.
Task-level exposure
Exposed tasks only| Task | Claude.aiRaw / share % | APIRaw / share % |
|---|---|---|
Determine voices, instruments, harmonic structures, rhythms, tempos, and tone balances required to achieve the effects desired in a musical composition.27-2041 | 0.00000.0 | 0.0100100.0 |
Apply elements of music theory to create musical and tonal structures, including harmonies and melodies.27-2041 | 0.00000.0 | 0.00000.0 |
Transcribe ideas for musical compositions into musical notation, using instruments, pen and paper, or computers.27-2041 | 0.00000.0 | 0.00000.0 |
Explore and develop musical ideas based on sources such as imagination or sounds in the environment.27-2041 | 0.00000.0 | 0.00000.0 |
Consider such factors as ensemble size and abilities, availability of scores, and the need for musical variety, to select music to be performed.27-2041 | 0.00000.0 | —0 |
Experiment with different sounds, and types and pieces of music, using synthesizers and computers as necessary to test and evaluate ideas.27-2041 | 0.00000.0 | —0 |
Arrange music composed by others, changing the music to achieve desired effects.27-2041 | 0.00000.0 | —0 |
Transcribe musical compositions and melodic lines to adapt them to a particular group, or to create a particular musical style.27-2041 | 0.00000.0 | —0 |
| Not observed on any surface — 22 task(s) — These tasks have no row in the source for this release. The 0 in the share row is a display-stage composition ratio; absence is what the — in the raw row states. | ||
Use gestures to shape the music being played, communicating desired tempo, phrasing, tone, color, pitch, volume, and other performance aspects. | —0 | —0 |
Direct groups at rehearsals and live or recorded performances to achieve desired effects such as tonal and harmonic balance dynamics, rhythm, and tempo. | —0 | —0 |
Study scores to learn the music in detail, and to develop interpretations. | —0 | —0 |
Audition and select performers for musical presentations. | —0 | —0 |
Plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists. | —0 | —0 |
Write musical scores for orchestras, bands, choral groups, or individual instrumentalists or vocalists, using knowledge of music theory and of instrumental and vocal capabilities. | —0 | —0 |
Position members within groups to obtain balance among instrumental or vocal sections. | —0 | —0 |
Perform administrative tasks such as applying for grants, developing budgets, negotiating contracts, and designing and printing programs and other promotional materials. | —0 | —0 |
Confer with producers and directors to define the nature and placement of film or television music. | —0 | —0 |
Meet with soloists and concertmasters to discuss and prepare for performances. | —0 | —0 |
Fill in details of orchestral sketches, such as adding vocal parts to scores. | —0 | —0 |
Write music for commercial mediums, including advertising jingles or film soundtracks. | —0 | —0 |
Transpose music from one voice or instrument to another to accommodate particular musicians. | —0 | —0 |
Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos. | —0 | —0 |
Assign and review staff work in such areas as scoring, arranging, and copying music, and vocal coaching. | —0 | —0 |
Study films or scripts to determine how musical scores can be used to create desired effects or moods. | —0 | —0 |
Create original musical forms, or write within circumscribed musical forms such as sonatas, symphonies, or operas. | —0 | —0 |
Collaborate with other colleagues, such as copyists, to complete final scores. | —0 | —0 |
Copy parts from scores for individual performers. | —0 | —0 |
Coordinate and organize tours, or hire touring companies to arrange concert dates, venues, accommodations, and transportation for longer tours. | —0 | —0 |
Produce recordings of music. | —0 | —0 |
Stay abreast of the latest trends in music and music technology. | —0 | —0 |
Values in this tab are predicted labels, not observations. Eloundou et al. (2023) published two rating regimes — human raters and GPT-4 — and the β shown here is derived from the GPT-4 rater basis alone; the same task can take a different value under the other regime. The unit and the meaning differ from the observed shares (%) in the other tabs, so do not place them on the same axis.
| Task | βE1 + 0.5 × E2 |
|---|---|
Study scores to learn the music in detail, and to develop interpretations.O*NET Task ID 22546 | 1.0 |
Apply elements of music theory to create musical and tonal structures, including harmonies and melodies.O*NET Task ID 22547 | 1.0 |
Determine voices, instruments, harmonic structures, rhythms, tempos, and tone balances required to achieve the effects desired in a musical composition.O*NET Task ID 22549 | 1.0 |
Transcribe ideas for musical compositions into musical notation, using instruments, pen and paper, or computers.O*NET Task ID 22551 | 1.0 |
Write musical scores for orchestras, bands, choral groups, or individual instrumentalists or vocalists, using knowledge of music theory and of instrumental and vocal capabilities.O*NET Task ID 22554 | 1.0 |
Fill in details of orchestral sketches, such as adding vocal parts to scores.O*NET Task ID 22559 | 1.0 |
Explore and develop musical ideas based on sources such as imagination or sounds in the environment.O*NET Task ID 22560 | 1.0 |
Write music for commercial mediums, including advertising jingles or film soundtracks.O*NET Task ID 22561 | 1.0 |
Transpose music from one voice or instrument to another to accommodate particular musicians.O*NET Task ID 22562 | 1.0 |
Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos.O*NET Task ID 22563 | 1.0 |
Use gestures to shape the music being played, communicating desired tempo, phrasing, tone, color, pitch, volume, and other performance aspects.O*NET Task ID 22544 | 0.0 |
Audition and select performers for musical presentations.O*NET Task ID 22552 | 0.0 |
Meet with soloists and concertmasters to discuss and prepare for performances.O*NET Task ID 22558 | 0.0 |
β = E1 + 0.5 × E2 · E1 = tasks where direct LLM access alone cuts time by at least 50%, E2 = tasks where software built on top of an LLM cuts time by at least 50%. Values take only 0 / 0.5 / 1.0.
Data sources & licenses — O*NET®, Anthropic Economic Index, Eloundou et al. (2023): see full notices on the Credits page