Music Directors and Composers

Arts, Design, Entertainment, Sports, and Media Occupations

Código O*NET-SOC: 27-2041.00

Conduct, direct, plan, and lead instrumental or vocal performances by musical artists or groups, such as orchestras, bands, choirs, and glee clubs; or create original works of music.

Fuente de datos: BLSPublicado: 2026-08
Alto· relativa
BajoCuatro bandas relativasMuy alto
Valor por grupo ocupacional
Escala, base y fuente
Cuatro bandas relativas (Bajo / Moderado / Alto / Muy alto)
831 ocupaciones detalladas de la tabla de proyecciones de empleo de BLS. El valor se asigna por código de la National Employment Matrix (NEM), de modo que las ocupaciones que comparten un código NEM reciben la misma banda
Conjunto de datos de origen (descarga XLSX)
Fuente de datos: AnthropicPublicado: 2026-03
0,037
0,000Rango de los valores aquí recogidos0,745
Escala, base y fuente
Índice de exposición observada, 0–1 tal como se publica
Mapeado sobre tareas de O*NET
Publicado por ocupación SOC 2018; toda ocupación O*NET con el mismo código SOC 2018 recibe este valor
Conjunto de datos de origen (descarga CSV)
Fuente de datos: ILOPublicado: 2025
0,28
0,09Rango de los valores aquí recogidos0,70
Valor por grupo ocupacional
Escala, base y fuente
Índice de exposición a la IA generativa, 0–1 tal como se publica
Publicado por grupo primario ISCO-08. Vinculado a esta ocupación, total o parcialmente, aplicando tal como se publicaron las tablas de correspondencia de la U.S. Bureau of Labor Statistics (ISCO-08 a SOC 2010, SOC 2010 a SOC 2018)
Conjunto de datos de origen (descarga PDF)

Qué tipo de cifra publica esta fuente

La categoría de BLS es un rango relativo, no un nivel absoluto, y tampoco es una medición de primera mano: agrupa en cuatro bandas los rangos percentiles de la ocupación en varios estudios publicados. No es una previsión de empleo ni de salarios, no es una probabilidad de adopción y no distingue entre automatización y aumento.

Task-level exposure

Solo tareas expuestas

30 tareas evaluadas · 27 tareas con β ≥ 0,5 (90,0%)

β = exposición directa (E1) + 0,5 × exposición con herramientas disponibles (E2), según la definición del repositorio de origen.

Unidad de origen: tareas de O*NET 27.2 → código de ocupación de O*NET 31.0
Todas las tareas puntuadas figuran en la lista de tareas de O*NET 31.0.

Fuente: OpenAI "GPTs are GPTs" exposure rubric
Versión: gh-main-0471612
Licencia: MIT License, Copyright (c) 2024 OpenAI

Tareas de las ocupaciones O*NET-SOC 2010 27-2041.01 Music Directors; 27-2041.04 Music Composers and Arrangers, que hemos vinculado a esta ocupación mediante la tabla de correspondencia oficial O*NET-SOC 2010 a 2019

Task (O*NET 20.1)	Claude.aiRaw / share %
Write changes directly into compositions, or use computer software to make changes. 27-2041.04	0.151165.0
Study films or scripts to determine how musical scores can be used to create desired effects or moods. 27-2041.04	0.01335.7
Create original musical forms, or write within circumscribed musical forms such as sonatas, symphonies, or operas. 27-2041.04	0.01175.0
Arrange music composed by others, changing the music to achieve desired effects. 27-2041.04	0.00903.9
Write musical scores for orchestras, bands, choral groups, or individual instrumentalists or vocalists, using knowledge of music theory and of instrumental and vocal capabilities. 27-2041.04	0.00733.1
Apply elements of music theory to create musical and tonal structures, including harmonies and melodies. 27-2041.04	0.00532.3
Perform administrative tasks such as applying for grants, developing budgets, negotiating contracts, and designing and printing programs and other promotional materials. 27-2041.01	0.00421.8
Determine voices, instruments, harmonic structures, rhythms, tempos, and tone balances required to achieve the effects desired in a musical composition. 27-2041.04	0.00401.7
Explore and develop musical ideas based on sources such as imagination or sounds in the environment. 27-2041.04	0.00361.6
Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos. 27-2041.04	0.00361.6
Transcribe musical compositions and melodic lines to adapt them to a particular group, or to create a particular musical style. 27-2041.01	0.00341.5
Experiment with different sounds, and types and pieces of music, using synthesizers and computers as necessary to test and evaluate ideas. 27-2041.04	0.00331.4
Study original pieces of music to become familiar with them prior to making any changes. 27-2041.04	0.00331.4
Consider such factors as ensemble size and abilities, availability of scores, and the need for musical variety, to select music to be performed. 27-2041.01	0.00311.3
Transcribe ideas for musical compositions into musical notation, using instruments, pen and paper, or computers. 27-2041.04	0.00311.3
Write music for commercial mediums, including advertising jingles or film soundtracks. 27-2041.04	0.00301.3
Ver 6 tareas más ▾Ver menos ▴
Not observed on any surface — 24 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
Direct groups at rehearsals and live or recorded performances to achieve desired effects such as tonal and harmonic balance dynamics, rhythm, and tempo.	—0
Plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists.	—0
Study scores to learn the music in detail, and to develop interpretations.	—0
Position members within groups to obtain balance among instrumental or vocal sections.	—0
Confer with clergy to select music for church services.	—0
Audition and select performers for musical presentations.	—0
Meet with soloists and concertmasters to discuss and prepare for performances.	—0
Assign and review staff work in such areas as scoring, arranging, and copying music, and vocal coaching.	—0
Plan and implement fundraising and promotional activities.	—0
Coordinate and organize tours, or hire touring companies to arrange concert dates, venues, accommodations, and transportation for longer tours.	—0
Collaborate with music librarians to ensure availability of scores.	—0
Conduct guest soloists in addition to ensemble members.	—0
Meet with composers to discuss interpretations of their work.	—0
Engage services of composers to write scores.	—0
Use computers and synthesizers to compose, orchestrate, and arrange music.	—0
Guide musicians during rehearsals, performances, or recording sessions.	—0
Score compositions so that they are consistent with instrumental and vocal capabilities such as ranges and keys, using knowledge of music theory.	—0
Confer with producers and directors to define the nature and placement of film or television music.	—0
Fill in details of orchestral sketches, such as adding vocal parts to scores.	—0
Transpose music from one voice or instrument to another to accommodate particular musicians.	—0
Accept commissions to create music for special occasions.	—0
Collaborate with other colleagues, such as copyists, to complete final scores.	—0
Copy parts from scores for individual performers.	—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 (O*NET 27.2)	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
Arrange music composed by others, changing the music to achieve desired effects. O*NET Task ID 22564	1.0
Transcribe musical compositions and melodic lines to adapt them to a particular group, or to create a particular musical style. O*NET Task ID 22567	1.0
Create original musical forms, or write within circumscribed musical forms such as sonatas, symphonies, or operas. O*NET Task ID 22568	1.0
Collaborate with other colleagues, such as copyists, to complete final scores. O*NET Task ID 22569	1.0
Copy parts from scores for individual performers. O*NET Task ID 22570	1.0
Direct groups at rehearsals and live or recorded performances to achieve desired effects such as tonal and harmonic balance dynamics, rhythm, and tempo. O*NET Task ID 22545	0.5
Consider such factors as ensemble size and abilities, availability of scores, and the need for musical variety, to select music to be performed. O*NET Task ID 22548	0.5
Experiment with different sounds, and types and pieces of music, using synthesizers and computers as necessary to test and evaluate ideas. O*NET Task ID 22550	0.5
Plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists. O*NET Task ID 22553	0.5
Position members within groups to obtain balance among instrumental or vocal sections. O*NET Task ID 22555	0.5
Perform administrative tasks such as applying for grants, developing budgets, negotiating contracts, and designing and printing programs and other promotional materials. O*NET Task ID 22556	0.5
Confer with producers and directors to define the nature and placement of film or television music. O*NET Task ID 22557	0.5
Assign and review staff work in such areas as scoring, arranging, and copying music, and vocal coaching. O*NET Task ID 22565	0.5
Study films or scripts to determine how musical scores can be used to create desired effects or moods. O*NET Task ID 22566	0.5
Coordinate and organize tours, or hire touring companies to arrange concert dates, venues, accommodations, and transportation for longer tours. O*NET Task ID 22571	0.5
Produce recordings of music. O*NET Task ID 22572	0.5
Stay abreast of the latest trends in music and music technology. O*NET Task ID 22573	0.5
Ver 17 tareas más ▾Ver menos ▴
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

Todas las tareas de O*NET 31.0 (30)

Todas las tareas de O*NET 31.0 de esta ocupación (en inglés, tal como se publicaron; tipo de tarea principal o complementaria). Los valores de exposición no figuran en esta lista; están en la tabla de arriba, junto a cada tarea con la redacción de la versión de O*NET que usó cada fuente.

Tarea (O*NET 31.0)	Tipo
Use gestures to shape the music being played, communicating desired tempo, phrasing, tone, color, pitch, volume, and other performance aspects.	Principal
Direct groups at rehearsals and live or recorded performances to achieve desired effects such as tonal and harmonic balance dynamics, rhythm, and tempo.	Principal
Study scores to learn the music in detail, and to develop interpretations.	Principal
Apply elements of music theory to create musical and tonal structures, including harmonies and melodies.	Principal
Consider such factors as ensemble size and abilities, availability of scores, and the need for musical variety, to select music to be performed.	Principal
Determine voices, instruments, harmonic structures, rhythms, tempos, and tone balances required to achieve the effects desired in a musical composition.	Principal
Experiment with different sounds, and types and pieces of music, using synthesizers and computers as necessary to test and evaluate ideas.	Principal
Transcribe ideas for musical compositions into musical notation, using instruments, pen and paper, or computers.	Principal
Audition and select performers for musical presentations.	Principal
Plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists.	Principal
Write musical scores for orchestras, bands, choral groups, or individual instrumentalists or vocalists, using knowledge of music theory and of instrumental and vocal capabilities.	Principal
Position members within groups to obtain balance among instrumental or vocal sections.	Principal
Perform administrative tasks such as applying for grants, developing budgets, negotiating contracts, and designing and printing programs and other promotional materials.	Principal
Confer with producers and directors to define the nature and placement of film or television music.	Principal
Meet with soloists and concertmasters to discuss and prepare for performances.	Principal
Fill in details of orchestral sketches, such as adding vocal parts to scores.	Principal
Explore and develop musical ideas based on sources such as imagination or sounds in the environment.	Principal
Write music for commercial mediums, including advertising jingles or film soundtracks.	Principal
Transpose music from one voice or instrument to another to accommodate particular musicians.	Principal
Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos.	Principal
Arrange music composed by others, changing the music to achieve desired effects.	Principal
Assign and review staff work in such areas as scoring, arranging, and copying music, and vocal coaching.	Principal
Study films or scripts to determine how musical scores can be used to create desired effects or moods.	Principal
Transcribe musical compositions and melodic lines to adapt them to a particular group, or to create a particular musical style.	Principal
Create original musical forms, or write within circumscribed musical forms such as sonatas, symphonies, or operas.	Principal
Collaborate with other colleagues, such as copyists, to complete final scores.	Principal
Copy parts from scores for individual performers.	Principal
Coordinate and organize tours, or hire touring companies to arrange concert dates, venues, accommodations, and transportation for longer tours.	Complementaria
Produce recordings of music.	—
Stay abreast of the latest trends in music and music technology.	—

Perspectivas de empleo (BLS)

Empleo, 2025: 51K
Empleo proyectado, 2035: 52K
Variación (2025–35): +1,2%
Salario anual mediano, 2025: $73.710
Formación habitual para acceder: Bachelor's degree

mínimo $30.890rango del salario mediano de 825 ocupaciones detalladas, BLS EP 2025–35máximo $559.030

Fuente: U.S. Bureau of Labor Statistics, Employment Projections 2025–35 — Employment by detailed occupation, 2025 and projected 2035

Vínculos con la clasificación coreana (KSCO)

Vínculos de la versión vigente de Korea Occupation Direct Crosswalk v1.1, elaborado por AI Changing Work. Los valores de relación se leen desde la ocupación O*NET-SOC.

Código KSCO	Nombre KSCO	Relación	Estado
29443	국악 작곡 및 편곡가	Esta ocupación es más amplia	confirmado
29451	지휘자	Esta ocupación es más amplia	confirmado
29452	작곡가 및 편곡가	Esta ocupación es más amplia	confirmado

Definiciones de relación y estado(kr-direct v1.1)

Descripción ocupacional de la OIT

AI Changing Work vincula a esta ocupación los grupos primarios de la ISCO-08 que figuran abajo aplicando, tal como se publicaron, las tablas de correspondencia de la Oficina de Estadísticas Laborales de EE. UU. (BLS) (SOC 2018 a SOC 2010, SOC 2010 a ISCO-08), sin selección caso por caso; cada vínculo puede ser total o parcial.

ISCO-08 2652Musicians, Singers and Composers
Músicos, cantantes y compositores

Ver original

La definición, las tareas y los ejemplos que siguen son la descripción que hace la OIT de ese grupo primario, no de esta ocupación.

Musicians, singers and composers write, arrange, conduct and perform musical compositions.

Tareas

(a) creating melodic, harmonic and rhythmic structures to express ideas and emotions in musical form;
(b) translating ideas and concepts into standard musical signs and symbols for reproduction and performance;
(c) adapting or arranging music for particular instrumental or vocal groups, instruments or occasions;
(d) conducting instrumental or vocal groups;
(e) selecting music for performances and assigning instrumental parts to musicians;
(f) playing one or more musical instruments as a soloist or as a member of an orchestra or a musical group;
(g) singing as soloists or members of vocal groups or other bands;
(h) practising and rehearsing to maintain a high standard of performance.

Ocupaciones de ejemplo

Band leader · Composer · Instrumentalist · Music conductor · Night club musician · Night club singer · Orchestrator · Singer · Street musician · Street singer

Sources: ILO ISCO-08 — details: Credits

Vocabulario ocupacional ESCO

Cada entrada de abajo está emparejada con esta ocupación en el ESCO-O*NET Crosswalk publicado (versión 1, 2022). Los tipos de correspondencia son los de esa tabla; la redacción es de AI Changing Work.

arreglistaESCO 2652.1.1Esta ocupación es más amplia
Los arreglistas crean arreglos de música después de su creación por el compositor. Interpretan, adaptan o reescriben una composición para otros instrumentos o voces, o para otro estilo. Los coordinadores de música son expertos en instrumentos y técnicas de organización, armonía, polifonía y composición.
compositor/compositoraESCO 2652.1Esta ocupación es más amplia
Los compositores crean nuevas piezas de música en una variedad de estilos. Por lo general, toman nota de la música mediante la notación musical. Los compositores pueden trabajar de forma independiente o como parte de un grupo o un conjunto. Muchos crean elementos para apoyar el cine, la televisión, los juegos o las actuaciones en directo.
director de coro/directora de coroESCO 2652.3.1.1Esta ocupación es más amplia
Los directores de coro gestionan diversos aspectos de las actuaciones vocales, y a veces instrumentales, de grupos musicales, como coros, conjuntos o grupos musicales.
director musical/directora musicalESCO 2652.2Esta ocupación es más amplia
Los directores musicales dirigen grupos musicales como las orquestas y las bandas en actuaciones en directo o en sesiones de grabación. Organizan la música y la composición, coordinan los músicos y graban los resultados. Los directores de música trabajan en diversos lugares, como la industria cinematográfica, vídeos musicales, emisoras de radio, conjuntos musicales o escuelas.
letristaESCO 2641.4.1Esta ocupación es más amplia
Los letristas interpretan el estilo de una obra musical y escriben las palabras que acompañan a la melodía. Trabajan conjuntamente con el compositor de música.
productor/productora musicalESCO 2654.2.1Esta ocupación es más amplia
Los productores musicales son responsables de la adquisición de música. Están a la escucha de las canciones y determinan si son suficientes para su publicación. Los productores musicales supervisan la producción de los registros. Gestionan los aspectos técnicos del registro y la edición.

Fuente: European Commission, DG EMPL — ESCO API 2026-08-08 (bridge v1.2.1)

Licencia: CC BY 4.0 (EU Reuse Notice)

Ver original

ESCO reuse terms and the modification notice are in Credits.

Vínculos con la clasificación francesa (ROME)

Vínculos entre esta ocupación y fichas ROME 4.0, establecidos por AI Changing Work con modelos de IA. Las relaciones se leen desde el lado de esta ocupación. Los vínculos marcados como «provisional» se adoptaron basándose únicamente en los juicios de dos evaluadores de la misma familia de modelos (Claude), o mediante una regla del operador aplicada a esos juicios, por lo que se sustentan en evidencia más débil que los vínculos confirmados.

Código ROME	Denominación ROME (francés)	Relación
L1210	Orchestrateur / Orchestratrice	Esta ocupación es más ampliaprovisional
L1214	Chef / Cheffe d'orchestre	Esta ocupación es más ampliaprovisional
L1319	Directeur / Directrice artistique éditions de musique et phonographique	Esta ocupación es más ampliaprovisional
L1213	Auteur-compositeur-interprète / Auteure-compositrice-interprète	Se solapan, no son igualesprovisional
L1320	Directeur / Directrice de label	Relacionada, no equivalenteprovisional

Source: France Travail — Répertoire Opérationnel des Métiers et des Emplois (ROME 4.0), version 61, last updated 15 June 2026 (https://www.data.gouv.fr/datasets/repertoire-operationnel-des-metiers-et-des-emplois-rome). Licence Ouverte 2.0.

ROME codes and titles are reproduced unchanged; the links to O*NET-SOC occupations are AI Changing Work's own judgment and are not a France Travail correspondence.

(AI Changing Work link release: fr-direct v1)

Vínculos con la clasificación española (CNO-11)

Vínculos entre esta ocupación y ocupaciones CNO-11, establecidos por AI Changing Work con modelos de IA. Las relaciones se leen desde el lado de esta ocupación.

Código CNO-11	Denominación CNO-11 (español)	Relación
2932	Compositores, músicos y cantantes	Esta ocupación es más estrechaprovisional

Source: Instituto Nacional de Estadística (INE), National Classification of Occupations 2011 (CNO-11, Royal Decree 1591/2010) — www.ine.es · Licensed CC BY 4.0. CNO-11 codes and Spanish titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own judgment and are not an INE correspondence.

(AI Changing Work link release: es-direct v1)

Vínculos con la clasificación alemana (KldB)

Vínculos entre esta ocupación y ocupaciones KldB, establecidos por AI Changing Work con modelos de IA. Las relaciones se leen desde el lado de esta ocupación.

Código KldB	Denominación KldB (alemán)	Relación
94134	Dirigenten/Dirigentinnen - hoch komplexe Tätigkeiten	Esta ocupación es más amplia
94144	Komponisten/Komponistinnen - hoch komplexe Tätigkeiten	Esta ocupación es más amplia
94183	Musik-, Gesangs- und Dirigententätigkeiten (sonstige spezifische Tätigkeitsangabe) - komplexe Spezialistentätigkeiten	Relacionada, no equivalente
94184	Musik-, Gesangs- und Dirigententätigkeiten (sonstige spezifische Tätigkeitsangabe) - hoch komplexe Tätigkeiten	Relacionada, no equivalenteprovisional

Source: © Statistik der Bundesagentur für Arbeit — Klassifikation der Berufe 2010 – überarbeitete Fassung 2020, https://statistik.arbeitsagentur.de. KldB codes and titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own mapping (eigene Zuordnung) and are not a Bundesagentur für Arbeit correspondence.

(AI Changing Work link release: de-direct v1)

Vínculos con la clasificación japonesa (JSCO)

Vínculos entre esta ocupación y ocupaciones JSCO, establecidos por AI Changing Work con modelos de IA. Las relaciones se leen desde el lado de esta ocupación.

Código JSCO	Denominación JSCO (japonés)	Relación
231	音楽家	Esta ocupación es más estrechaprovisional

Source: Ministry of Internal Affairs and Communications (MIC), Japan Standard Occupational Classification (Dec. 2009, MIC Notification No. 555). JSCO codes and Japanese titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own judgment and are not a MIC correspondence.

(AI Changing Work link release: jp-direct v1)

Fuentes de datos y licencias de esta página, y avisos de modificación y traducción de AI Changing Work: Créditos y fuentes