Directeurs Musicaux
Arts, Design, Divertissement et MédiasExposition à l'IA
- Source des données: BLSPublié: 2026-08
Élevée· relative
FaibleQuatre bandes relativesTrès élevéeValeur par groupe professionnel
Échelle, base et source
Quatre bandes relatives (Faible / Modérée / Élevée / Très élevée)
831 métiers détaillés du tableau des projections d'emploi du BLS. La valeur est attribuée par code de la National Employment Matrix (NEM), si bien que les métiers partageant un code NEM reçoivent la même bande
- Source des données: AnthropicPublié: 2026-03
0.037
0.000Étendue des valeurs présentées ici0.745Échelle, base et source
- Source des données: ILOPublié: 2025
0.28
0.09Étendue des valeurs présentées ici0.70Valeur par groupe professionnel
Échelle, base et source
Indice d'exposition à l'IA générative, 0–1 tel que publié
Groupe de base CITP-08 — tous les métiers partageant le code reçoivent cette valeur
Calculé par ce site, non publié par l'OIT : sur les 1 012 professions que ce site relie au jeu de données de l'OIT, 73% atteignent ou dépassent cette valeur.
Quelle est la nature de la valeur publiée par cette source
La catégorie BLS est un rang relatif et non un niveau absolu, et ce n'est pas une mesure de première main : elle regroupe en quatre bandes les rangs centiles du métier dans plusieurs études publiées. Ce n'est ni une prévision d'emploi ou de salaire, ni une probabilité d'adoption, et elle ne distingue pas automatisation et augmentation.
Task-level exposure
Tâches exposées uniquement| Task | Claude.aiRaw / share % | APIRaw / share % |
|---|---|---|
Perform administrative tasks such as applying for grants, developing budgets, negotiating contracts, and designing and printing programs and other promotional materials.27-2041 | 0.046639.8 | 0.006370.1 |
Write changes directly into compositions, or use computer software to make changes.27-2041 | 0.018315.6 | 0.002729.9 |
Write music for commercial mediums, including advertising jingles or film soundtracks.27-2041 | 0.00726.2 | —0 |
Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos.27-2041 | 0.00625.3 | —0 |
Study films or scripts to determine how musical scores can be used to create desired effects or moods.27-2041 | 0.00574.9 | —0 |
Apply elements of music theory to create musical and tonal structures, including harmonies and melodies.27-2041 | 0.00463.9 | —0 |
Arrange music composed by others, changing the music to achieve desired effects.27-2041 | 0.00413.5 | —0 |
Confer with producers and directors to define the nature and placement of film or television music.27-2041 | 0.00373.2 | —0 |
Use computers and synthesizers to compose, orchestrate, and arrange music.27-2041 | 0.00302.6 | —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.27-2041 | 0.00292.5 | —0 |
| Not observed on any surface — 23 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 |
Plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists. | —0 | —0 |
Study scores to learn the music in detail, and to develop interpretations. | —0 | —0 |
Position members within groups to obtain balance among instrumental or vocal sections. | —0 | —0 |
Confer with clergy to select music for church services. | —0 | —0 |
Audition and select performers for musical presentations. | —0 | —0 |
Meet with soloists and concertmasters to discuss and prepare for performances. | —0 | —0 |
Assign and review staff work in such areas as scoring, arranging, and copying music, and vocal coaching. | —0 | —0 |
Plan and implement fundraising and promotional activities. | —0 | —0 |
Coordinate and organize tours, or hire touring companies to arrange concert dates, venues, accommodations, and transportation for longer tours. | —0 | —0 |
Collaborate with music librarians to ensure availability of scores. | —0 | —0 |
Conduct guest soloists in addition to ensemble members. | —0 | —0 |
Meet with composers to discuss interpretations of their work. | —0 | —0 |
Engage services of composers to write scores. | —0 | —0 |
Guide musicians during rehearsals, performances, or recording sessions. | —0 | —0 |
Score compositions so that they are consistent with instrumental and vocal capabilities such as ranges and keys, using knowledge of music theory. | —0 | —0 |
Fill in details of orchestral sketches, such as adding vocal parts to scores. | —0 | —0 |
Transpose music from one voice or instrument to another to accommodate particular musicians. | —0 | —0 |
Accept commissions to create music for special occasions. | —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 |
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