“From my perspective, AI is going to be a tool set that helps us get the music that is in my brain into a system that I can then manipulate.” “I think AI is a concern and we need to be actively involved in the conversation to mold this technology to be what we need it to be,” she says. Jeanine Cowen, professor of practice and chair of the screen scoring program at USC Thornton, likewise sees AI as both a threat and tool for composers. For Sean McMahon, chair of the screen scoring program at Berklee College of Music, AI isn’t “there” yet, and he sees it relegated potentially to generating library music in the near future. A major element of those strikes - artificial intelligence - has also been on the minds of students and faculty working in media scoring and other programs around the country.
The WGA and SAG-AFTRA strikes have led to the delay of some apprenticeship programs at the USC Thornton School of Music over the summer. Even music schools aren’t immune to the impact of Hollywood’s labor disputes.
