Create musical compositions, arrangements or scores
Most of the output can be produced by software today.
Producing the draft is the single thing current models are best at, and it needs no integration at all: a prompt and a couple of reference documents are enough. A person still edits it and takes responsibility for what goes out.
| How automatable | Mostly automatable |
|---|---|
| Kind of work | Drafting and content production |
| Jobs that do it | 2 occupations |
| Tool categories that apply | Generalist agents, Builders |
| O*NET activity | Thinking Creatively (4.A.2.b.2) |
What this looks like on the job
Not our paraphrase. These are real task statements recorded against this activity, spread across the 2 occupations that perform it.
- Apply elements of music theory to create musical and tonal structures, including harmonies and melodies.
- Transpose music to alternate keys, or to fit individual styles or purposes.
- Determine voices, instruments, harmonic structures, rhythms, tempos, and tone balances required to achieve the effects desired in a musical composition.
- Compose songs or create vocal arrangements.
- Experiment with different sounds, and types and pieces of music, using synthesizers and computers as necessary to test and evaluate ideas.
- Arrange and edit music to fit style and purpose.
- Transcribe ideas for musical compositions into musical notation, using instruments, pen and paper, or computers.
- Write musical scores for orchestras, bands, choral groups, or individual instrumentalists or vocalists, using knowledge of music theory and of instrumental and vocal capabilities.
- Fill in details of orchestral sketches, such as adding vocal parts to scores.
- Explore and develop musical ideas based on sources such as imagination or sounds in the environment.
- Write music for commercial mediums, including advertising jingles or film soundtracks.
- Transpose music from one voice or instrument to another to accommodate particular musicians.
- Rewrite original musical scores in different musical styles by changing rhythms, harmonies, or tempos.
- Arrange music composed by others, changing the music to achieve desired effects.
- Transcribe musical compositions and melodic lines to adapt them to a particular group, or to create a particular musical style.
- Create original musical forms, or write within circumscribed musical forms such as sonatas, symphonies, or operas.
- Copy parts from scores for individual performers.
What we would actually use
One recommendation rather than a shortlist, because a shortlist is just your problem handed back. This is what we would buy for drafting and content production, and what it costs.
Drafting needs no tools, no integration and no platform. One $20 assistant and two reference documents beat any agent builder here, and every extra thing in this stack is cost with nothing behind it.
Chosen for the cheapest thing that does the job, not the best funded. Nothing on this site is sponsored, and the full landscape is there when you want to disagree with us.
The rest of the category
Context, not alternatives to weigh up. We name the layer rather than promise a named product does your specific task.
Generalist agents
Matched from the kind of work, not from vendor marketing. Check any of them can reach the system your records actually live in — that connection, not the model, is where these projects stall.
How people actually do it
No workflow names this activity yet, but these automate the same kind of work, with the prompts to paste and what to keep for yourself.
Who does this work
2 occupations in the O*NET database perform this activity. Each one has a full breakdown of its other tasks.
Work that goes with it
O*NET groups these under “Create artistic designs or performances”. In practice they tend to be done by the same person, in the same sitting.
Method. The activity, its taxonomy placement and the occupations that perform it come straight from the public-domain O*NET 30.3 database. The automatability band is ours: we map each of O*NET’s 41 generalized work activities to how much of its output current software can produce, assuming a person still reviews and owns the result. It is a coarse three-way judgment on purpose. A precise-looking percentage here would be invented.