Photo by Joshua Rawson-Harris @ Unsplash

A REPORT COMMISSIONED BY

AI AND MUSIC

MARKET DEVELOPMENT OF AI IN THE MUSIC SECTOR
AND IMPACT ON MUSIC AUTHORS AND CREATORS IN GERMANY AND FRANCEPICTURE: MIDJOURNEYCONDUCTED BY

GOLDMEDIA

The rapid development of generative Artificial Intelligence (AI) is confronting the music sector
and the entire cultural and creative industries, which employ more than 7.6 million people inEurope and generate a turnover of more than EUR 640 billion per year, with major challenges
and fundamental transformations. This can open up new opportunities, but also bring
uncertainties and risks.
Music, texts, images and videos created by human authors are the source material for generative
AI systems. At the same time, the content generated by the AI in this way enters into directcompetition with the original human-made works. The stakes are therefore double as high forcreative professionals. They face a challenge from two sides, on the input side and on the output
side, which can quickly become a threat to their economic livelihood if the right regulatory
conditions are not in place.

Dr. Tobias Holzmüller
CEO at GEMA

The emergence of a fair, virtuous and sustainable market for generative AI will only succeed
within a reliable legal framework that empowers human creators and protects their intellectual
property rights. Transparency is a basic prerequisite for setting this development in motion and it
is encouraging that the EU is taking first steps in this direction with the AI Act.
This report is the first major analysis to take a comprehensive look at the interplay between
music and AI, the economic dimension and trends in this fast-growing market, as well as theattitudes of creative professionals. In addition to numerous expert interviews conducted byGoldmedia, over 15,000 members of GEMA and SACEM took part in the survey for this study. The
high level of participation alone shows how much creative professionals are concerned about thechallenges posed by AI. It is important to make their voices heard in this debate and place themat the heart of the discussion.

Cécile Rap-Veber
CEO at SACEM
GOLDMEDIA

Photos: © Sebastian Lindner / Jean-Baptiste Millot

The economic potential of generative AI is enormous, in music and beyond. We hope that Franceand Germany, two major economies with vibrant creative sectors, and united in the pursuit ofcultural diversity and technological ambition, will join forces to ensure that generative AI will
become an opportunity for everyone involved – including human creators. We are convincedthat the report prepared by Goldmedia can support this process by providing an empirical basis
to enable an informed debate on one of the central technologies of our time.
2

CONTENTS
Key Facts
Part 1: The Market for AI and Music
Part 2: AI in the Music Creation Process
Part 3: Challenges
Fields of Action
Appendix

6
12
24
58
114
120

3
PICTURE: MIDJOURNEYABOUT THE STUDY
On behalf of GEMA and SACEM, Goldmedia conducted this study on the use of artificial intelligencein the music sector between July 2023 and January 2024.
STUDY METHODOLOGY:STUDY FOCUS:

Goldmedia conducted an extensive secondary data
analysis on the opportunities and challenges ofartificial intelligence in the field of music and otheraspects of creation.

The main focus of this study is on the impact andimplications of generative AI (gen AI) in the music sector.
However, the range of applications of AI in music isbroad and the creation of complete pieces of music isonly the tip of the possible fields of application.

A key part of the study was an online survey of GEMA
and SACEM members conducted between 30 Octoberand 20 November 2023.
A total of n=15,073 people who work full-time or parttime as authors or for music publishers took part.
Many respondents also work as performing artists,
producers or for music labels.
In addition, 16 expert interviews were conducted withartists, scientists, AI software providers, streaming
services and other parties of the music sector. Theinterviews were conducted by (video) telephone andpartly in writing.
GOLDMEDIA

Thus, the study also looks at applications that relate to
the editing and post-processing of music as well as
supporting aspects of AI such as marketing, promotion
and distribution.
Furthermore, many questions and topics in this study not
only include the creation of music in the narrower sense,
but creative processes in general.
ABOUT GEMA AND SACEM
GEMA and SACEM are Collective Management Organisations (CMOs) based in Germany and France
representing authors, composers and music publishers
and, in the case of SACEM, also dubbing and subtitling
authors as well as writer-directors.

4

OVERVIEW

PART 1PART 2

PART 3The Market for AI in MusicAI in the Music
Creation Process

Challenges

The first part of the study
provides an overview on thehistory and milestones of AI andmusic and its technicalbackground as well as AI models
and music applications.

The second part shows opportunities and use cases as well as
the use and assessment of AI
among music creators according
to the survey conducted for thisstudy in three sub-chapters:

It also delivers figures for AI
investments, market volume andforecasts.

1. Creative Aspects of Music
2. Recording, Editing, Mixing,
Mastering

The third part identifies the main
challenges in the context of AI
and music in four sub-parts:
1. Copyright, Credit and Consent
2. Remuneration and Economic
Implications
3. Personal Rights

4. AI and Music Streaming

3. Supporting Aspects of Music
such as Marketing, Promotion
and Distribution.

GOLDMEDIA

5KEY FACTSPICTURE: MIDJOURNEYAI AND MUSIC: MARKET DEVELOPMENT
Since November 2022 and the advent of OpenAI‘s ChatGPT,
generative AI and its rapid spread to the public has led to an
exceptionally fast-paced AI boom. Around US$50 billion will havebeen invested in AI technologies in Europe alone (thereof $16bn inGermany and $12bn in France).1
This development has also strongly influenced the music sector
with large investments in AI applications in all fields of music, fromcreation to marketing.

GLOBAL GENERATIVE AI MARKET VOLUME AND
SHARE OF GENERATIVE AI IN MUSIC, 2023

The share of music applications is estimated at $300m in
2023.2 This corresponds to 8% of the total market for
generative AI with already $3.7bn in revenue in 20233. The
market for AI music solutions is expected to increase morethan tenfold by 2028, with an average annual growth rate ofaround 60%4 to over $3bn for music AI alone.
This means that in only a few years the market will reach a sizethat corresponds to 28% of global music copyright collectionsin 2022.5
FORECAST: MARKET VOLUME OF GENERATIVEAI IN MUSIC IN US$, 2023 -2028$3.7bn~$3.1bnMusic~8%~$300m2023
GOLDMEDIA

Source: 1 according to OECD; Goldmedia analysis based on 2 Market.us and 3,4 S&P Global Market Intelligence; 5 according to CISAC.

2028
7

AN AI-GENERATED GAP OF UP TO 27% FOR MUSIC CREATORS’ REVENUES
WHILE THERE IS NO REMUNERATION FOR HUMAN-MADE INPUT TO DATE
Traditional revenue streams are under severe pressure
from generative AI for many music creators. It can beassumed that by 2028, 27% of music creators’
revenues will be at risk due to generative AI. This
corresponds to an estimated potential damage of€950m in 2028 alone and a cumulative total damage
for the period 2023-2028 of around €2.7bn.
An increasingly predatory competition is to be expected
for creators, especially in areas where AI is particularly
likely to replace existing human-made music.
MUSIC CREATORS’ REVENUESAT RISK DUE TO GENERATIVE AI ∑€2.7bn(2023-2028)
2023-2028

71%
of music authors andcreators in France andGermany surveyed are
afraid that the use of AI
for music could lead tomusic creators no longer
being able to make aliving from their work.

27%

Despite the fact that copyrighted works areused as training data for generative-AI models
and therefore form the fundamental basis forthe origin and development of the market,
authors and creators do not participate in theimmense growth prospects.
So far, there is no remuneration system thatcloses the AI-generated financial gap for
creators.
REMUNERATION NOT YET GIVENFOR COPYRIGHTED WORKS USED AS
TRAINING DATA FOR GENERATIVE -AI
2023-2028 (SCHEMATIC)≈ €950m(in 2028)

Global revenues of generative AI in music
Remuneration for creators not yet given(schematic)

Potential damage
caused by generative AI
Music creators'
revenues in DE/FR
2022
GOLDMEDIA

2023

2024

2025

2026

2027

2028

2022

2023

2024

Source: Goldmedia survey on behalf of GEMA and SACEM October/November 2023, n=14,795 (DE: 5,689, FR: 9,106);Basis: GEMA and SACEM members. Goldmedia analysis based on internal data by GEMA and SACEM and from expert interviews.

2025

2026

2027

2028
8

USE AND ASSESSMENT OF AI IN MUSICBY MUSIC AUTHORS AND CREATORS IN FRANCE AND GERMANY
The use of AI is already a reality for many music authors andcreators surveyed for this study:

35%
51%

of the 15k GEMA/SACEM surveyed forthis study have used AI technologies
of some kind in their work withmusic and creation in general.
This figure is even bigger for thoseunder the age of 35.

AI-Refusers
19%

15k

GEMA and
SACEM
members
surveyed

Don't Knows7%

GOLDMEDIA

Electronic music
Urban/rap
Advertising music
Music library
Audiovisual industry

43%

47%
46%

54%
53%
52%

agree that AI can open up new forms of creativity.

AI USE AMONG GEMA AND SACEM MEMBERS, 2023

Rather Nots
26%

The proportion of AI use among music creators surveyed
differs significantly depending on the genres or categories
in which they create music. TOP 5 CATEGORIES, 2023

AI-Users
35%
Potential
AI-Users
13%63%

believe that AI will most likely be adopted
in composition, text writing and thecreative process, followed by recording,
editing, mixing and mastering (58%) andthe creation of promo content (55%).

Despite the already significant proportion of use, the creators
surveyed are generally very sceptical when it comes to AI inmusic and creation in general.

64%of the respondents believe that therisks of AI use outweigh its potential
opportunities. Only 11% believe thatthe opportunities outweigh the risks.

Source: Goldmedia survey on behalf of GEMA and SACEM October/November 2023, n=15,073 (DE: 5,696, FR: 9,377); Basis: GEMA and SACEM members.

9

LEGAL AND POLITICAL DEMANDSOF MUSIC AUTHORS AND CREATORS IN FRANCE AND GERMANY
There is currently much debate as to whether thegenerative AI systems offered by tech companies forcommercial purposes may use copyrighted input in
Europe and under which conditions the use of copyprotected input is permitted.
The attitude of GEMA and SACEM members surveyed forthis study in this context is obvious:
The overwhelming majority of the music authors andcreators demand credit and transparency, consent
and remuneration when their work is used in thecontext of generative AI in music. According to them,
the use of copyrighted works must follow clear rules.

AT T E N T I O N

93%
GOLDMEDIAC R E D I T A N D T R A N S PA R E N C Y

95%
89%

of the 15k GEMA/SACEM members
demand that AI providers should be
obliged to disclose when they use
copyrighted works as training data.
request that AI-generated music
tracks and other types of works
should be identified as such.

CONSENT90%

claim that copyright holders must
be asked for permission before
their works are used as input for AI
systems.

R E M U N E R AT I O Ndemand that policymakers should
pay more attention to thechallenges related to AI andcopyright.

90%

call for copyright holders to benefit
financially when their works areused as input in AI training data
sets (e.g. through a license
agreement).

Source: Goldmedia survey on behalf of GEMA and SACEM October/November 2023, n= 15,073 (DE: 5,696, FR: 9,377); Basis: GEMA and SACEM members.

10

“AI is an opportunity for creators but as
always, it is our responsibility, us Europeans todefine the ethic and economical framework inwhich intellectual property has to be respected.
Regulations are access to freedom and not thereverse. It’s because we invented the rules of
the road that we can travel safely.”xxxx

Jean-Michel Jarre
Electronic music pioneer and former CISAC president

GOLDMEDIA

Photo: © François Rousseau / EDDA

11

PART 1: THE MARKETFOR AI AND MUSIC
Overview
Market Volume and Development

P I C T Visuals
U R E : Mon
I D JUnsplash
OURNEY
Photo by Jabber

MILESTONES IN
AI AND MUSIC

1995
Release of the firstcloud system(BSCW Cloud)1997
Developmentof the ”DeepBlue” chesscomputer

As early as 1936, Alan Turing proved that a ”calculatingmachine” could carry out cognitive processes. This laid
the foundation for the development of artificial intelligence. The term was first used in 1956. In 1966, the firstchatbot was developed, and in 1986 the first digitalcomputer voice was created. With the rapid progress ofdigitalisation from the 1990s onwards, developments inthe field of AI are accelerating.
Ab 2010
AI tools are successfully being
used in the music sector. The firstcomputer-generated pieces ofmusic (Lamus Computer) andalbums (by the ”Emily Howell”
program) are created

MILESTONES IN AI
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009

MILESTONES IN MUSIC
1997
CD sales reach
their peak

GOLDMEDIA

1999
Market launch of
Napster

2001
Marketlaunch of
iTunes2006
Marketlaunch of
Spotify2016
Google isdeveloping the
AI music
production tool
”Magenta”

2017
The use of AI enables
the creation of
deepfakes (realisticlooking video andaudio recordings)

2022
Lensa‘s ”magic avatars” uses AI tocreate portraits of uploaded selfies invarious styles and settings.
OpenAI makes ChatGPT-3 and image
generator DALL· E freely available tothe public.

2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023

2012
Sony develops”Flow Machines”, atool for automatedmusic composition

Source: Goldmedia analysis, Logos/Screenshots: Company information.

More recently, with the launch of the first musicstreaming platforms, AI has also found its way into themusic sector via automated playlists andrecommendations. The breakthrough of generative AI
and its rapid spread to the public took place in November
2022, when ChatGPT was made freely available by
OpenAI for the first time. Since then, numerous
generative AI applications have also been created andpublished in the field of music.

2018
The AI music
generator”Boomy” isreleased

2019
OpenAI releases”MuseNet”, a deepneural network thatcan be used to create
music compositions

2023
Numerous AI tools andapplications in the fieldof music emerge, e.g.
Meta‘s ”MusicGen”.
Google launches its AI
model ”Gemini”.
13THE MUSIC AIECOSYSTEM

The release of ChatGPT in November 2022 triggered an ”AI boom”, which is reflectedin the large number of AI-specific start-ups and investments in AI by establishedcompanies. There are now also innumerable AI companies in the field of music
creation, production and other areas of the music sector. The overview below gives animpression of this diversity, with new start-ups being added to the list every day.

OVERVIE W OF AI COMPANIES IN THE AUDIO SECTOR, 2023
COMPOSITION/SONGWRITING

AUDIO TRANSCRIPTIONEDITING OF AUDIO SOURCES

AUDIOSYNTHESISMIXING/MASTERING_TEXTINGBRAIN./RAP

VOICE AND SPEECH SYNTHESISSOUND AND SAMPLE SEARCHGOLDMEDIA

Source: Goldmedia analysis based on Edwards & McGlynn (2023); Logos/Screenshots: Company information.

PRODUCTION (OTHER)

14

FROM REACTIVE TO GENERATIVE ARTIFICIAL INTELLIGENCEARTIFICIAL INTELLIGENCE
REACTIVEAI

MACHINE LEARNING
DEEP LEARNING
GENERATIVE AI

The field of AI encompasses information technology methods that
normally require human intellect. In contrast to traditional information
systems, their strength lies in the processing of unstructured data (i.e.
continuous text, images and music) and in their cognitive potential i.e., precisely in the human-like approach.1
The key to understanding AI lies in the transfer of a process that is
actually a human process to technology – learning. The learning
process is either rule-based or experience-based.
In the rule-based approach (also known as reactive or analytical AI),
rigid rules and regulations are defined rules that are consistently
applied by the machine to the data to be processed. However, thisapproach can quickly reach its limits, as countless rules would have tobe defined for the various cases. One example of reactive AI is thechess program ”Deep Blue”, which defeated the world champion Garri
Kasparov in 1997.
GOLDMEDIA

In contrast, the experience-based approach works the other way
around, by creating and training a model based on exam-ples2
particularly in the form of big data.3

Machine learning (ML) is based on the fundamental idea thatmachines learn through experience and thus continuously improve their performance.4 Based on data covering a specificsubject area that the machine receives for learning, patterns arerecognised, classified and transferred into a model that themachine can use to work with other data after training.
Deep learning (DL) is an advanced ML method. Artificial neuralnetworks (ANN) are used to learn in depth and in a human-likemanner.5 The machine replicates neurons and their networking in
the brain based on the human model. An input is processed inseveral stages, in so-called layers, until the machine achieves thedesired output. This means that even very complex tasks can besolved. Deep learning is responsible for successes in speech, text,
image and video processing.6
As the term suggests, generative AI is about not only recognisingand classifying data, but also generating it. To this end,
algorithms based on artificial intelligence are trained with hugedatasets in order to recognize patterns. Generative models thenattempt to imitate these patterns and create them themselves
without being given explicit rules. The AI itself recognises which
solution is most suitable for a problem.

Source: Goldmedia analysis, 1 IBM; 2,4 IBM; 3 Kersting & Meyer (2018), 5 Kreutzer & Sirrenberg (2019); 6 Bomke (2023).

15

FOUNDATION MODELS ANDMUSIC APPLICATIONSOVERVIE W AND ESTIMATED MARKET SHARES OF
GENERATIVE AI MODELS AND PL ATFORMS, IN %, 2023
OpenAI
Microsoft
AWS
GoogleAnthrophic
AI21labs
CohereAleph Alpha
Hugging Face
Alibaba
IBM
Baidu
Rest

2.3
2.0
1.7
1.3
1.0
0.8
0.7
0.5

8.0
7.0

30.0

39.0

Foundation models are not designed for one specific task but
are built to understand and interact with data in a human-likemanner. They can be customised to perform a wide variety oftasks, demonstrating their versatility and efficiency inapplications designed, for example, for creating music.

Basis:~$3bn 2023

5.6

SELECTED GENERATIVE AI COMPANIES, THEIRMODELS AND MUSIC APPLICATIONS, DECEMBER 2023

COMPANY

MODEL

Foundation models are large-scale machine learning models
pre-trained on extensive datasets. These models are trained tolearn general-purpose representations across various types ofdata, including text, images, video and audio. Their key
strengths lie in their size, pre-training, self-supervised learning,
generalisability and adaptability.

MUSIC APP.

OpenAI, as the fastest rising technical service ever, is considered
the technical and quality leader. While it has the biggest share of
the foundational models and platforms market in 2023 (39%),
Microsoft as a shareholder in OpenAI has to be seen as by far
the largest player in the market for generative AI with a
combined market share of 69%. Amazon and Google follow with
8 and 7%. Both of these companies also invested large amounts
into Anthropic, whose current market share is 2.3%.
There are numerous companies creating foundation models
which are then used for AI music applications. Examples include
MuseNet by OpenAI, MusicGen by Meta, the tools MusicLM by
Google and Stable Audio by Stability AI. While some still havethe status of research project, others are open access or, like
Stable Audio, already have a business model and a stock pricing.

GOLDMEDIA

Source: Goldmedia analysis based on DeLucia (2023) and IOT Analytics (2023); Logos/Screenshots: Company information

16

PART 1: THE MARKETFOR AI AND MUSIC
Overview
Market Volume and Development

P I C T Visuals
U R E : Mon
I D JUnsplash
OURNEY
Photo by Jabber

INVESTMENTS IN AI
IN GERMANY ANDFRANCE

Investments in artificial intelligence have picked up considerably, especially since2020. There are different estimates for the market volume. According to the OECD,around US$50 billion will have been invested in AI technologies in Europe alone(thereof $16bn in Germany and $12bn in France).

DEVELOPMENT OF INVESTMENTS IN AI IN GERMANY ANDFRANCE 2012 -2023* IN US$ MILLION AND TOTAL NUMBER
No. ofof inv.
inv.
No.
FranceFranceNo. ofofinv.
inv.
No.
Germany
Germany

US$
US$
FranceFranceUS$
US$
Germany
Germany

18,000200

16,000

180
160
140

12,000120

10,000

100
8,000

80

6,000

60

4,000

Numberof investments
investment
Number ofInvestments in million US$

14,000

40

2,000

20

0

0
2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023*

GOLDMEDIA

Source: Goldmedia analysis based on OECD.AI (2023).

18

INVESTMENTS IN
MUSIC-RELATED
GEN AI COMPANIESInvestment in artificial intelligence is growing worldwide to enable innovation andprogress in this field. Investors are providing many millions to finance the further
development of AI music companies.

S ELECTED IN VES TMENTS INTO MU S IC -RELATED GENERATIVE A I CO MP A N IES , 2018-2023

COMPANY

GOLDMEDIA

TYPE OF SERVICEINVESTMENTYEAR

INVESTMENT COMPANY

AI music composition tool

US$9.1m

2018

TechNexus Venture Collaborative,
Horizon Ventures, Two Sigma
VenturesAI-powered music mastering service

US$26.0m

2019

Sony Innovation Fund, Warner Music
Group, Plus Eight Eighty Equity Group

Creation of soundtracks

US$2.2m

2020

NetEase, Kima Ventures

Creation of personalised playlists tailored to thelistener

US$14.4m

2022

Octopus Ventures, Warner Music
Group, IDEO, 4 Good Ventures

Recognises and isolates different components inaudio material

US$2.7m

2023

Indicator Ventures, Precursor
Ventures, Side Door Ventures

Digitised sheet music, conversion of audio files
into sheet music

US$10.5m

2023

DvH Ventures, EIC Fund, Rudolf Fuchs
Family Office

Streaming platform for AI-generated music; toolfor creating and distributing your own AI works

US$20.0m

2023

Regal Investments

Automated creation of videos with synthetic
avatars and voices based on prompts

US$90.0m

2023

Accel, NVIDIA, Kleiner Perkins, GV,
FIrstMark Capital, MMC

Automated creation and editing of images andvideos based on prompts

US$141.0m

2023

Google, NVIDIA, Salesforce

Source: Goldmedia analysis based on company information.

19

MARKET SIZE OF
GENERATIVE AI MODELS

There is a great variety of evaluations of the global market volume forgenerative AI. The range for the estimated volume in the year 2023 goesfrom $3.7bn up to $44.9bn. Same goes for the forecasts up to the year of2033, or the highest estimated market volume of $405bn in the year 2032.

GLOBAL GENERATIVE AI MARKET VOLUME ESTIMATIONS, IN BN US$, 2023 -2033
450
400
Bloomberg
Bloomberg

350

Statista
Statista

300

MarketMarketResearch
ResearchFuture
Future250

Precedence
PrecedenceResearch
Research
imarc
imarcgroup
group

200

GlobalGlobalMarket
MarketInsights
Insights

150

Marketsand
andMarkets
Markets
Markets
FutureMarket
MarketInsights
Inisghts
Future100

S&PGlobal
GlobalMarket
MarketIntelligenceIntelligence
S&P

50
0

2023
GOLDMEDIA

2024

2025

2026

2027

2028

2029

2030

2031

2032

2033

Source: Goldmedia analysis based on Bloomberg, Statista, Market Research Future, Precedence Research, imarc group, Global Market Insights, Markets and Markets, FutureMarket Insights, S&P Global Market Intelligence.

20

CASE: OPENAI‘S REVENUEDEVELOPMENT INDICATESRISING DEMAND FOR AI
OPENAI‘S VALUATION AND YEARLY REVENUE IN
US$, 2022/2023*
Revenue

Valuation$90bn$1,300m$1.300m

The rate at which demand for generative AI and thus sales
volumes are increasing is rising sharply: since the release of
ChatGPT, OpenAI has become a closely watched barometer ofdemand for generative AI.
In September 2023, OpenAI has been generating revenue at avolume of $1.3 billion a year according to CEO Sam Altman. Thisimplies the company is generating more than $100 million permonth, up 30% from summer 2023, when the Microsoft-backed
start-up generated revenue at a $1 billion-a-year pace and about$80 million per month.
The revenue pace, largely from subscriptions to its conversational
chatbot, represents remarkable growth since the company
launched a paid version of ChatGPT in February. In 2022, thecompany‘s revenue was just $28 million, meaning that therevenue for 2023 has risen by a factor of around 50.
Between 2022 and September 2023, OpenAI’s valuation has risen
from $20 billion to $80-90bn.

$29bn
$20bn
$28m
2022
GOLDMEDIA$200m
01/2023*

09/2023*

Source: Goldmedia analysis based on Efrati (2023) and Bay Area Times (2023); *Numbers for 2023 are estimated.

21

MARKET VOLUMEFOR GENERATIVEAI IN MUSICAs described above, there are numerous estimates for the volume of the generative AI
market. The following estimates are based on the market volume derived from abottom-up analysis of a total of 260 companies providing generative-AI software
products1 and an estimate of the market volume in the media and entertainment2
as well as the music sector3.
In aggregate, forecasted revenues for generative-AI technology offerings are
expected to exceed $3.7bn by 2023.

Meanwhile, the market for generative AI in the media and entertainment sector isestimated at around $1.5bn which is 40% of the total market, while revenues forgenerative AI in music are estimated at approximately $300m which is 20% of
the media and entertainment sector and 8% of the total market.
GLOBAL GENERATIVE AI MARKET VOLUME AND SHARE OF
GENERATIVE AI IN MUSIC, 2023

GOLDMEDIA$3.7bn$1.5bn$300m

Total GenAI

Total Media andEntertainment

Music

Source: Goldmedia analysis based on 1 S&P Global Market Intelligence (2023); 2 Market Research Future; 3 Market.Us & Globe Newswire (2023).

Other GenAI

22

MARKET FORECAST
FOR AI IN MUSIC

GLO BA L GEN ERA TIVE AI MARKETVO LU ME A N D S HARE OF
GEN ERA TIVE A I IN MU S IC, 2023

$3.7bn

GLOBAL GENERATIVE A I
COMP OU ND ANNU AL GRO WTH RA TE
2023 -28 BY MARKET S EGMEN T

Code Generators~8%

GOLDMEDIA

The market for generative AI in music is set to increase more than tenfold by
2028 to over $3bn. The average annual growth rate from 2023 to 2028 is estimatedat 60%.1~$3.1bn

72.9%

Image

65.8%

Video

61.2%

Music/Audio

59.8%

Structured Data

59.0%

Foundation Models

56.8%

Text

49.9%

Source: Goldmedia analysis based on 1 S&P Global Market Intelligence (2023)

GLO BA L MA RK ET VO LU ME O FGEN ERA TIVE A I IN MU S IC 2023 -28~$300m
2023

2028
23

PART 2: AI IN THE MUSIC
CREATION PROCESS
Overview
AI and the Creative Aspects of MusicAI in Recording, Editing, Mixing, Mastering
AI in the Supporting Aspects of MusicAI in Dubbing and Subtitling

P I C T U Rccd20
E : M I on
DJO
URNEY
Photo by 愚木混株
Unsplash

AI IN THE MUSIC-MAKING PROCESSDESCRIPTIVE AI
GENERATIVE AI

The range of AI tools for use in the music industry is diverse and vast. AI can beapplied to every step of the creative process, from composition to distribution andmarketing of music. The AI used ranges from simple, descriptive tools to generativeAI applications. Many of the applications do not only serve one purpose but can beapplied in various steps of the process. In this chapter, the use and assessment ofAI among music creators according to the survey conducted for this study will
be shown in three sub-chapters along with use cases and other research results.

CREATIVE ASPECTS: COMPOSITION/TEXTING/ARRANGEMENTSOUND SEARCHSAMPLE SEARCH

RECORDING/EDITING/MIXING/MASTERINGSUPPORTING ASPECTS

VOICE/SPEECH SYNTHESIS& CLONING

AUTOMATEDRECOMMENDATIONS/PLAYLIST CREATIONIDEATION
AUDIO TO SHEETCREATION OF LYRICSINSTRUMENTAL/
SOUND SYNTHESISDYNAMIC EDITINGSECTIONINGEDITING/MANIPULATIONOF SOUNDSOUND CORRECTION/
CLEANING

USER DATA ANALYSIS/PEER GROUP DISTRIBUTIONMIXING(BALANCE, EQUALIZATION,
EFFECTS, DYNAMICS)COMPLETE COMPOSITIONMASTERING(EQUALIZATION,COMPRESSION,
ENHANCEMENT,SATURATION)GOLDMEDIA

Source: Goldmedia analysis based on Edwards & McGlynn (2023).

MUSIC PROMOTION/
TREND PREDICITION

25

USE OF AI AMONGMUSIC AUTHORSAND CREATORSSURVEYEDThe use of AI is already a reality for many music authors and creators.1 Of the 15kquestioned GEMA/SACEM members surveyed for this study, 35% have used AI
technologies in their work with music and creation in general, while the majority ofmembers (64%) has not. Out of these, 13% are potential AI users, 26% who would
rather not use AI in the future and 19% who refuse to use AI now or ever. The younger
the members are, the more likely they are to have used AI technologies in their work.

”Have you used AI technologies in your work with music and creation in general /can you imagine using AI in the future?”
AI-Refusers
19%

15k
Rather Nots
26%

GEMA and
SACEM
members
surveyed

Don't Knows7%

AI-Users
35%

49%

48%

64%

53%

60%
74%

No answer
No
No
Yes
Yes

Potential
AI-Users
13%

51%
35%

51%

46%

39%
25%

Total Younger 25-34 35-44 45-54 55 years
than 25 years
years
years or older
years
Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer. 1 A study conducted by TuneCore has shown that 27% of the surveyed 1,558 artists from more than 20 countries have used AI previously intheir work, see TuneCore (2023), p. 7; a study conducted by the Finnish performance rights organisation ”TEOSTO” shows that only 21% of 717 partaking artists have used AI
GOLDMEDIA
in their music creation process.

26

EXPECTEDADOPTION OF AI BY
AREAS OF CREATION

63% of the music authors and creators surveyed believe that AI will most likely be
adopted in the area of composition, text writing and the creative process.
The larger share also believes the adoption of AI to be likely in more technical areas of
the creation process, such as recording, editing, mixing and mastering (58%) as wellas the creation of promo content (55%). Only 8% believe that AI in the music businesswill generally be limited.

”In your opinion, in what areas of creation will AI be most likely adopted?”
63%

Composition, Text writing, Creative process

58%

Recording, Editing, Mixing, Mastering

55%

Creation of promo content
Marketing activities

49%

Engaging fans, Expanding the fanbase

48%

44%

Complete song creation

41%

Distribution

GOLDMEDIA

AI in the music business will generally be limited

8%

Other

8%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,769; Basis: GEMA and SACEM members. Rounding differences possible.

27

USE OF AI BYAPPLICATION AREA

Even though its adoption is highly anticipated, AI has so far only been used by 11% of
GEMA and SACEM members surveyed in connection with their creative activity withmusic. The value here is highest in the 25-34 age group at 20%. Across all age groups,
the use of AI is slightly higher in the field of production, editing, mixing, mastering(15% overall). This figure is highest among those under 25 at 21%. When it comes tosupporting aspects such as marketing, promotion and distribution, 10% have alreadyused that in total, with the value highest in the 25-34 age group at 20%.

”Have you used AI technologies in your work with music and creation in general?”Yes, in my creative
activity with music

51%

Yes, in atleast one way
35%

21%
16%

15%
11%

10%

12%

Yes, in production,
editing, mixing, mastering

Yes, in marketing, promotion, art work,social media, administration, distribution

51%

46%

16%
12%

39%
25%

20% 20% 20%

19%

Yes, in other aspects

18%
14%

17%

16% 16%
12%

11%

14%

11%
8%

8%
5%

Total
GOLDMEDIA

Younger than 25 years

25-34 years

35-44 years

45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

55 years or older
28

“AI is a theme that me and my colleagues, in terms of
songwriting as well as at the producer level, have been
extremely preoccupied with lately. There are pros andcons. In one corner are the savings on time and money
and, in other corners, ChatGPT or apps for phonetics andalternative rhymes are often used by writers to gather
inspiration for texts. The same goes for tools for mixing
and mastering and/or producing demo-vocals.
So far, I haven’t personally been using AI in songwriting at
all, because I don’t think any AI can ever capture andreplace the creative process, the uniqueness, individuality
and human connection with [all] their emotions andstories – in the studio and ultimately also between artists
and the audience at live performances.“

Karo Schrader
Songwriter

GOLDMEDIA

Photo: © Balbina

29

PART 2: AI IN THE MUSIC
CREATION PROCESS
Overview
AI and the Creative Aspects of MusicAI in Recording, Editing, Mixing, Mastering
AI in the Supporting Aspects of MusicAI in Dubbing and Subtitling

P I C T U Rccd20
E : M I on
DJO
URNEY
Photo by 愚木混株
UnsplashWHAT IS POSSIBLE
WITH GENERATIVE AI
IN MUSIC CREATION?

The promise of AI music generation models, and tools that are based onthese models, is nothing less than ”transforming the future of music
creation” (Google DeepMind)1.
Platforms like Boomy or text-to-music-generators like MusicGen from
Meta promise that people can ”create original songs in seconds, even ifyou‘ve never made music before” (Boomy2) or that small business owners
can add ”a soundtrack to their latest Instagram post with ease”.
(Meta/MusicGen3). Text-to-song-generators like Suno even combine textto-music with text generation and voice cloning to build ”a future whereanyone can make great music. Whether you‘re a shower singer or acharting artist, we break barriers between you and the song you dream ofmaking. No instrument needed, just imagination. From your mind tomusic” (Suno4).

One major argument for AI-facilitated music is that it may help people
shrink what can be called ”the gap”. ”The gap is the difference between theidea that‘s in our heads that‘s obviously perfect and amazing versus what
you can realistically create” (Cleo Abrams5).
More and more GenAI models and tools and apps are emerging,allowing musicians as well as non-musicians to test their ideas andbring them to life. There are voices that assess this development insuch a way that AI-generated music might lead to a democratizationof content creation.6

GOLDMEDIA

Source: 1 Google DeepMind (2023); 2 Boomy; 3 Meta (2023); 4 Suno AI ; 5 Abrams (2023); 6 see e.g. Marr (2023).

31

”What I like about AI is that it‘s acollaboration, it‘s a co-creation
with AI.”DeLaurentis
Musician, producer, composer, author and performer

xxxx

GOLDMEDIA

Photo: © Dominique Gau

32

NEW FORMS OF
CREATIVITY
THROUGH AI?

While a major promise of generative-AI tools is that virtually anyone can now create
music, regardless of their abilities, the question arises as to what these tools and theassociated developments mean for professional music makers. Artists may use
generative-AI tools to generate music in an instant by describing the general idea
behind their piece and its mood to see it ”materialise in front of their eyes”1.
A significant proportion of music professionals see creative potential in AI.
When asked if AI can open up new forms of creativity, 43% of questioned
members agree.

”AI can open up new forms of creativity.”
29%
Disagree
16%
Fully
agree

43%
Agree

14%
Fully
disagree15%
Somewhatdisagree27%
Somewhatagree

26%
Neither agree
nor disagree

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,702; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (3%). 1 Miquido (2023).

33

CASE: TEXT-TO-MUSIC GENERATION(META MUSICGEN)

In August 2023, Meta open-sourced AudioCraft (for research
purposes only) – their ”simple framework that generates highquality, realistic audio and music from text-based user inputs after
training on raw audio signals as opposed to MIDI or piano rolls.”1
AudioCraft consists of three models: one of these is MusicGen,
which was trained with ”Meta-owned and specifically licensed
music”. It generates music from text-based user inputs – the”prompts” that are used to instruct AI models like OpenAI’s
ChatGPT to generate a specific text or perform a particular task.
Users can generate music from text prompts in Meta‘s MusicGen
by selecting from a range of genre presets and then customising
outputs with various parameters like tempo, instrumentation andmood; or, alternatively, by conditioning models with their own
music files, which can be auto-completed or used to generate
new compositions in a similar style.
With AudioGen, Meta showed that it can train AI models toperform the task of text-to-audio generation. Given a textual
description of an acoustic scene, the model can generate theenvironmental sound corresponding to the description withrealistic recording conditions and complex scene context.

GOLDMEDIA

Source: Goldmedia Analysis based on 1 Meta (2023); Weiß (2023).

34

EXPECTED ADOPTION OFAI IN MUSIC CREATIONWith the help of text-to-music-generators like
Meta‘s MusicGen or Stable Audio by Stability AI,
musicians can turn words, images, and otherreferences into music and change the pieces‘ styleand genre. AI‘s adoption in composition, text
writing and the creative process in general as wellas, to a lesser extent, in complete song creation
with music generators is viewed with deep
suspicion by the respondents surveyed.
On the other hand, the technical but also themusical and emotional abilities of AI in relation
to music are viewed very sceptically. Results oftext-to-speech are treated as ”not to be production ready” and their “understanding” ofmusical forms as limited. Generative AI would
always deliver something “averaged“.
Furthermore, these models can currently only
generate a comparatively short section (e.g. 30
or 60 seconds).1

GOLDMEDIA”In what areas of creation will AI be most likely adopted?”
63%

Composition, Text writing, Creative process
Recording, Editing, Mixing, Mastering

58%

Creation of promo content

55%

Marketing activities

49%

Engaging fans, Expanding the fanbase

48%

Complete song creation

44%

Distribution

41%

AI in the music business will generally be limited

8%

Other

8%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,769; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (3%). 1 Goldmedia expert interviews.

35”As music or sound creators, we need to understandwhat we're dealing with in AI! We must notanthropomorphize AI by attributing humancharacteristics like creativity or the ability to learn.
What AI does is identify patterns within a massive
amount of data and then apply them in some form.
The outcomes are stereotypes, clichés - essentially,
the lowest common denominator.
This is easily retrieved. That's what generative AI
does best.”
Yevgeni ”Jeff” Birkhoff
Music & sound designer and AI and music expert

GOLDMEDIA

Photo: © Alita Holzhauer

36

DRIVING INSPIRATION
AND IDEATION

AI can also help artists overcome creative blocks such as the dreaded ‘blank
page syndrome‘ and push their boundaries. It does not replace the creatives,
but rather adds a new angle to the creative process they can engage in.1
Music generators can help them broaden their horizons and ”are like abreath of fresh air when the deadlines are approaching and the audience iswaiting for another release”.2”AI technology can support thehuman creative process.”

28%
Disagree

38%
Agree

16%
Fully
agree

21%
Somewhat
agree

14%
Fully
disagree14%
Somewhatdisagree”There‘s a song that we wrote a chorus for in 2003 and we never finishedbecause I couldn‘t think of anything for the verses, […] But now with AI
you could give it the bits you‘ve written, press the button and have it fill inthe blanks. You might then rewrite it, but it could nonetheless be a tool.”(Neil Tennant, Pet Shop Boys, TheGuardian.com, 16 May 2023)
When asked, whether AI technology can support the human creative process,the answers of the questioned GEMA and SACEM members are quite balanced.
While 38% agree with this statement, almost as many (31%) neither agree nor
disagree. A further 28% disagree with the statement that AI can support thehuman creative process.
THE HUMAN-AI FEEDBA CK LO O P 3

AI ITERATES

32%
Neither agree
nor disagree

The human artist picks out
elements they like fromthe AI-generated options
and incorporates theminto the artwork, alongwith their own ideas.

AI IDEATESThe AI model proposes somepossibilities for what the artist
could do next. The proposals
are built of separable components – they are not all-ornothing.

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,770; Basis: GEMA and SACEM members. Rounding differences possible.
1
G O L D M E D I A Difference to 100% = No answer (3%). IFPI‘s global report also shows that 79% of over 43,000 music fans feel that human creativity remains essential to the creation of music, 37
2
3
see IFPI (2023). Miquido (2023); Brandt (2023).

“You have to separate: there's functional music ('elevator
music'), but certainly also other, more sophisticated musicthat in future will be made by machines – and whose
marginal costs will in fact be somewhere in the region of zero.
And everything, on top of that, which will constitute someform of collaboration between person and machine.
But here it’s also not a simple matter of black and white. I
don’t compose at all, but I write and I’m constantly aware of,say, ChatGPT as particularly fascinating when it’s a kind of
sparring partner that I can brainstorm with late at night andwhich can mentally catapult me in less than a minute in a
direction that maybe I would’ve only have come to hours
later otherwise.
And the absolute crème de la crème of music creators canalso become better through using AI, and they’ll be just as
raised up as the amateurs below, who don’t know anything.”

Peter Kabel
Prof. at the Department Design at HAW Hamburg and founder of Cogniwerk
GOLDMEDIA

Photo: © Peter Kabel

38

AI USE IN CREATIVEACTIVITY IS STILLRELATIVELY LOW BUT
SEEN CRITICALLY
11%

AI-Users

in creative
activities
with music

FREQUENCY OF AI USE IN
CREATIVE ACTIVIT Y WITH
MUSIC, TOTAL IN %7%

Always oralmost always

Even though its adoption is highly anticipated, AI has so far only been used by 11%
of GEMA and SACEM members surveyed in connection with their creative
activity with music. Moreover, only about one third of these use AI technologies
often or always and only a fraction say that these contribute significantly to theircreative process. On the other hand, 78% of those who have already used AI, assume
that they will do so again or continue to do so in the future. However, use in this area
is still relatively low and is also rated very critically overall. Only 10% assess the useof AI in the creative aspects of the music sector to be positive.

AVERAGE AI CONTRIBUTION
TO WORK WITH MUSIC,TOTAL IN %75-100%50-74%
25-49%INTENTION TO CONTINUE
WORKING WITH AI,
TOTAL IN %

2% 4%
8%

Total

No, definitely not
No, probably not

27% Quite often
1-24%

44%

ASSESSMENT OF AI USE
IN CREATIVE ASPECTS OF
THE MUSIC SECTOR, IN %Yes, definitely

Youngerthan 35

4%

14%

39%

56%

51%
Noanswer
answerNo
Negative
Negative

42% Quite rarely

39%
Yes, maybe
Less than 1%

22% I have only tried it once

GOLDMEDIA

40%

31%

10%

33%

Both
Bothpositive
positiveandandnegative
negative
Positive
Positive

14%

Total
Source:Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; 1,672; 1,671; 1,671; 14,489; Basis: GEMA and SACEM members (Users of AI technologies increative activities with music). Rounding differences possible. Difference to 100% = No answer.

39

PART 2: AI IN THE MUSIC
CREATION PROCESS
Overview
AI and the Creative Aspects of MusicAI in Recording, Editing, Mixing, Mastering
AI in the Supporting Aspects of MusicAI in Dubbing and Subtitling

P I C T U Rccd20
E : M I on
DJO
URNEY
Photo by 愚木混株
Unsplash

AI IN MUSIC PRODUCTION HAS
BECOME A STANDARD PRACTICE
Using AI in music recording and production has become a standardpractice in many cases. However, it has to be said that ”in this context,
a lot of things are now known as AI, which have been around formany years and are actually based on algorithms”1. Artists can now
automate the parts of the recording process that were once manual, likemixing. As a result, they gain more time to focus on the actual creative
process instead of finessing the technicalities of their record.
AI tools increase productivity in some cases by substantially automating
repetitive or time-consuming tasks. ”As a natural outcome, thissuggests faster project timelines, the need for fewer workers anddownsized costs.”2

GOLDMEDIA

Source: Miquido (2023); 1 Goldmedia expert interview; 2 LALAL.AI (2023); Screenshots: Dittomusic.com, landr.com

41

VOICE CLONING HAS BECOME ONE OF THE
MOST POPULAR APPLICATIONS OF AI IN MUSIC
YouTube and other platforms are currently
flooded with thousands of AI deepfake coversongs, in which familiar songs are underlaid
with well-known voices and instrumentations
and suddenly Johnny Cash interprets ”Barbie
Girl” or Frank Sinatra ”Gangsta‘s Paradise”.
Generators such as Cover.AI create interpretations with AI generated voices in no timeat all.

Apart from these fully automated cover generators, vocal editing tools are also used for new
songs. In May 2023, the band Breezer released
musical instruments recorded by the band withan AI voice of Oasis frontman Liam Gallagher
under the name ”AISIS - The Lost Tapes/Vol. 1”.
According to the makers, the AI was only used
to imitate the sound of Gallagher‘s voice. The
vocal track was recorded by a singer beforehand, so the modulations also come from a real
person. The voice was created using So-VitsSVC, an AI tool for vocal processing.

GOLDMEDIA

Source: Költzsch (2023); Screenshots: Covers.AI; YouTube; Pelley (2023).

42

”There‘s something that I madeas a joke, and it worked so good I
could not believe it! People wentnuts”
David Guetta
xxxx

GOLDMEDIA

Photo: David Guetta, 3rd February 2023 on X

Musician
3 February 2023 on X about playing a song during one of his sets that used AI
technology to add the voice of Eminem

43

CASE: ”LAST BEATLES-SONG”
BY AI AUDIO SEPARATIONWith the help of an AI tool, the voice of John Lennon was separated from acassette demo from 1978 and the song ”Now and Then” was then producedin the traditional way and released in November 2023.
”… when we came to make what will be the last Beatles‘ record, it was a demothat John had [and] we were able to take John‘s voice and get it pure throughthis AI. […] We had John‘s voice and a piano and he [Peter Jackson] could
separate them with AI. They tell the machine, ‘That‘s the voice. This is a guitar.
Lose the guitar‘. […] Then we can mix the record, as you would normally do.
So it gives you some sort of leeway.”
Paul McCartney, in an interview with BBC Radio 4, on 13 June 2023
The long mythologised John Lennon demo was first worked on in February
1995 by Paul, George and Ringo as part of The Beatles Anthology projectbut it remained unfinished, partly because of the then insurmountable
technological challenges involved in working with the vocals John had
recorded on cassette tape in the 1970s. For years it looked like the song
would never be completed. But in 2022 there was a stroke of serendipity. A
software system developed by Peter Jackson and his team, used throughout
the production of the documentary series Get Back, finally opened the way
for the uncoupling of John‘s vocal from his piano part.1

GOLDMEDIA

Source: Savage (2023); 1 The Beatles (YouTube Channel) (2023); Screenshots: The Beatles (YouTube Channel) (2023).

44

AI USE IN
PRODUCTION IS STILLRELATIVELY LOW BUT
SEEN MORE
OPTIMISTICALLY
15%

AI-Users

In production,
editing,mixing,mastering

Even though only 15% of the surveyed GEMA and SACEM members have so far used
AI in connection with the production, editing, mixing and mastering of music, this stillaccounts for the highest AI use compared with its use in the areas of creativity (10%)
and in supporting aspects (11%). Overall, the use of AI in this area is also rated
positively by at least 29% of surveyed creators.
Furthermore, recording, editing, mixing and mastering is considered to be one of themost likely areas where AI will be adopted in the future (58% of respondents).

”In your opinion, in what areas of creation will AI be most likely adopted?”
63%

Composition, Text writing, Creative process
Recording, Editing, Mixing, Mastering

58%

Creation of promo content

55%

Marketing activities

49%

Engaging fans, Expanding the fanbase

48%
44%

Complete song creation

Total

32%

34%

Youngerthan 35

28%

34%

AI in the music business will generally be limited

8%

Other

8%

Noanswer
answerNo
Negative
Negative
Both
Bothpositive
positiveandandnegative
negative

41%

Distribution

GOLDMEDIAASSESSMENT OF AI USE IN
PRODUCTION (ETC.), IN %Positive
Positive
29%

35%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; 14,769; 14,671; Basis: GEMA and SACEM members (Users of AI technologies in production, editing,mixing and mastering). Rounding differences possible. Difference to 100% = No answer. In a study conducted by Pirate (n= 1,141), 25% of musicians surveyed had already 45
experimented with AI tools for music production, see Pirate (2023).

PART 2: AI IN THE MUSIC
CREATION PROCESS
Overview
AI and the Creative Aspects of MusicAI in Recording, Editing, Mixing, Mastering
AI in the Supporting Aspects of MusicAI in Dubbing and Subtitling

P I C T U Rccd20
E : M I on
DJO
URNEY
Photo by 愚木混株
Unsplash”In your opinion, in what areas of creation will
AI be most likely adopted?”
Composition, Text writing, Creative process

63%

Recording, Editing, Mixing, Mastering

58%

Creation of promo content

55%

Marketing activities

49%

Engaging fans, Expanding the fanbase

48%

Complete song creation

44%

Distribution

41%

AI in the music business will generally be limited

8%

Other

8%

PROMOTION AND MARKETING
Beyond the use of AI in the field of music creation and in the context ofmusic production, there are numerous other areas of application in which
AI can in principle provide support.
Promotion and marketing are areas where AI can streamline processes in
the music sector. AI-powered tools can automate and optimise
promotional campaigns, allowing artists to reach more potential fans in amore efficient way. With the help of AI, artwork concepts can also becreated quickly and cost-effectively for smaller bands and artists.
About half of the surveyed GEMA and SACEM members believe that
AI will most likely be adopted for the creation of promo content(55%) and for marketing activities (49%).
AI-driven algorithms can analyse data to identify target audiences, create
tailored content and messaging, and schedule social media posts for
optimal reach. AI-driven music promotion can save time and resources,
promising to allow artists to focus more on their creative work.
AI-based tools can also analyse social media data to identify fans andpotential fans, make ads and promotions more effective and create
marketing content. This can be useful for artists and record labels, allowing
them to reach more people and engage with audiences more effectively.
48% of the surveyed GEMA and SACEM members believe AI adoption
for the purpose of engaging fans and expanding the fanbase to bevery likely.

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; Basis: GEMA and SACEM members;
Rolling Stone Culture Council & Dynamic Growth Powerful Networking (2023); Screenshot: There‘s an AI for that.

47

”Artificial intelligence will transform all aspects ofmusic creation, distribution and monetization – avision we share at LANDR. By explaining the benefits ofAI, we find that users are much more inclined to use it.
An often underestimated but exciting aspect concerns
the promotion of a song, especially its cover art.
Artificial intelligence offers the possibility of designing
such visuals – based on the lyrics, the rhythms or a
combination of factors decided by the artist. In thisway, AI can be used to tailor and visually enrich eachalbum in a distinctive and innovative way.”

Frédérick Ranger,
VP Marketing & Communications, LANDR, Montreal (CA)GOLDMEDIA

Photo: © LANDR

48

”In your opinion, in what areas of creation will
AI be most likely adopted?”
Composition, Text writing, Creative process

63%

Recording, Editing, Mixing, Mastering

58%

Creation of promo content

55%

Marketing activities

49%

Engaging fans, Expanding the fanbase

48%

Complete song creation

44%

Distribution

41%

AI in the music business will generally be limited

8%

Other

8%

GOLDMEDIA

THE IMPACT OF AI ON MUSIC
DISTRIBUTION
One of the most significant impacts of AI in music distribution isthe automation of various tasks that were previously timeconsuming and labour-intensive.
For instance, AI-powered algorithms can now analyse vast
amounts of data to identify trends and patterns in music
consumption, enabling distributors to make more informed
decisions about which artists and tracks to promote. This not only
saves time and resources but also ensures that the right music
reaches the right audience.
AI-powered platforms like Boomy also allow artists to distribute
their music directly to the streaming platforms in an automatedmanner. The importance of AI in music distribution is also
highlighted by the fact that 41% of the surveyed GEMA andSACEM members think that AI will most likely be adopted in
the area of distribution.

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; Basis: GEMA and SACEM members;Frąckiewicz (2023); Screenshot: YouTube

49

USING AI FOR FORECASTING THE
HIT POTENTIAL OF SONGSAI can also be used to draw conclusions about the success prospects of new
songs. The Canadian company Hitlab uses its ”Music Digital Nuance Analysis(DNA)” tool to break down music tracks into 83 different attributes andcompares these with the sound patterns of popular hits. ”The human brain is
wired in a certain way, to appreciate certain sound patterns classified asmusical attributes. Each genre of music has songs that have succeeded andfailed in the past” (Hitlab1).
A historical database of all music genres with millions of songs is analysed
for this purpose in order to identify those common characteristics.
The main goal of the tool is to support A&R professionals. ”With our AI,
instead of having to listen to 1,000 songs or more a year, I can [analyse]
100,000, which will be [cut] down to maybe 100 – making sure I get thecream of the crop.”2
There is also AI-based software for bookers to predict attendance forconcerts and events.

GOLDMEDIA

Source: Deloitte (2021); 1 Hitlab; 2 Stassen (2020); Screenshots: Hitlab; Future Demand50

AI USE INSUPPORTING ASPECTSIS STILL RELATIVELYLOW BUT SEEN MORE
OPTIMISTICALLY
10%

AI-Users

in supporting
aspects*

FREQUENCY OF AI USE INSUPPORTING ASPECTS,
TOTAL IN %Always or
17% almost always

Despite a still low usage rate of only 10%, the music creators surveyed arecomparatively open to the use of AI in supporting aspects of the music sector(like marketing, promotion, artwork, social media and distribution) with a total of
35% assessing it positively, while only 25% rate it negatively. More than half of
the users work with AI technologies in supporting aspects often or always (54%).
Furthermore, most of those who have already used AI in supporting aspects assume
that they will do so again or continue to do so in the future (84%).
INTENTION TO CONTINUE
WORKING WITH AI,
TOTAL IN %No, definitely not

ASSESSMENT OF AI USE
IN SUPPORTINGASPECTS*, IN %Total

Yes, definitelyNo, probably not

1%
11%37% Quite often

34%

25%

Youngerthan 35

20%

31%
33%

Negative
Negative

50%
34% Quite rarely

Noanswer
answerNo

Both
Bothpositive
positiveandandnegative
negative

Yes, maybe
46%

Positive
Positive

35%

10% I have only tried it once
GOLDMEDIA

Total
Source: Goldmedia survey
on behalf of GEMA and SACEM 2023, n=14,795; 1,525; 1,552; 14,653; Basis: GEMA and SACEM members (Users of AI technologies in supporting
actvities). Rounding differences possible. Difference to 100% = No answer. *marketing/promotion/art work/social media/administration/distribution.

51

PART 2: AI IN THE MUSIC
CREATION PROCESS
Overview
AI and the Creative Aspects of MusicAI in Recording, Editing, Mixing, Mastering
AI in the Supporting Aspects of MusicAI in Dubbing and Subtitling

P I C T U Rccd20
E : M I on
DJO
URNEY
Photo by 愚木混株
Unsplash

AI IN DUBBING AND
SUBTITLING
Dubbing and subtitling play an important role in ensuring that
language is no barrier to understanding and enjoying diverse
forms of entertainment and information. Whether this relates
movies, documentaries or YouTube videos, dubbing andsubtitling bridge linguistic gaps and allow people from all over
the world to connect with content.
With advances in technology, AI is becoming increasingly
important in the dubbing and subtitling process and can act asa useful tool but also as a challenge for professionals in this
sector. AI in dubbing and subtitling can, on the one hand,
support the work of authors and help with lengthy, tedious work
as for e.g. the translation process, which isn‘t in the center of theauthors work anyways. This allows faster working processes andmore time for creative work. On the other hand, there is thedanger of mistakes in AI‘s dubbing and subtitling work as wellas their lack of emotionally and contextually accurate work. This
could be counteracted by supervision of the AI‘s products
through dubbing and subtitling authors, to help with fine tuning
and the emotional dimensions.
The following section will provide an overview of AI in thecreation process and also include insights from the survey of
dubbing and subtitling authors represented by SACEM (n=255).
GOLDMEDIA

Source: Goldmedia based on expert interview; Screenshots: Fast Company (2023); Amberscript (2023).

53

”Which types of productions would
you say you are (mainly) working on?”Films, TV movies

82%

TV series

82%

Documentaries

42%

Anime

25%

TV shows

7%

Other

4%

Video games

2%

Advertisements

0%

TYPES OF PRODUCTION
AND OTHER ACTIVITIESFilms and TV movies as well as TV series are the types of
production which most of the dubbing and subtitling authors
are mainly working on (82% each). At 42%, close to half of thequestioned authors are mainly working on documentaries.
With 58% the majority of authors do not carry out otheractivities besides dubbing and subtitling, making it their main
source of income. About a quarter of the authors carry out workin translation alongside their activities in dubbing and subtitling.

”Do you carry out any other activities
outside of dubbing and subtitling?”
No other activities

58%

Translator

GOLDMEDIA

25%

Other artistic or technical activities

10%

Other professional activity(ies)related to audiovisual production

8%

Performer, voice actor/actress5%

Screenwriter4%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; 252; Basis: dubbing/subtitling authors in France. Rounding differences possible.

54

AI ADOPTION IN DUBBINGAND SUBTITLING”In your opinion, in what areas ofcreation will AI be most likely
adopted?”
In automated subtitles generation

80%

In the translation process76%

In lip syncing

73%

In voice recognition

58%

In the adaptation process
The adoption of AI in dubbing andsubtitling will generally be limited

Other

GOLDMEDIA

There are already multiple AI tools that supplement or replace
the work of dubbing and subtitling authors.

41%

11%

4%

In the field of subtitling, AI is already common practice for thestudios. 80% of questioned SACEM dubbing and subtitling
authors would also evaluate AI to be most likely adopted forautomated subtitle generation and the translation process(76%).
In dubbing, the application of AI technology is more complex.
However, there are companies like the leading AI-based
audiovisual dubbing and language localisation company
Deepdub, that claims to revolutionize the market with ”dubbingthat stays true to the human-created original”1. In 2023,
Deepdub achieved certification from the Motion Picture
Association‘s Trusted Partner Network (TPN) and is now”certified to work with pre-release theatrical content, paving theway for the widespread adoption of AI-powered audiovisualdubbing in movies and television.”2
Majority of SACEM dubbing and subtitling authors (73%) also
believe that AI is most likely to be adopted in lip syncing and invoice recognition (58%). Only 11% believe that the adoption of
AI in dubbing and subtitling will generally be limited.

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
1 Deepdub; 2 PR Newswire (2023); Heumann (2023).

55

ASSESSMENT OF
AI USE IN DUBBINGAND SUBTITLING

18%

AI-Users

In dubbing
and subtitling”How would you assess the use of AI in the translation and adaptation process in…
…dubbing and subtitling…vocal recognition and lip syncing

25%
Both positive
and negative
67%
Very
negative

87%
Negative

16%
Somewhat
negative…support activities*
14%
Positive

5%
Positive*

11%
Both positive
and negative

20%
Somewhat
negative

GOLDMEDIA

Only 18% of the questioned SACEM dubbing and subtitling authors have used AI intheir work and creation in general previously.
In dubbing and subtitling, AI use is assessed entirely negative, while in support
activities it is evaluated more positively. The clear rejection of AI in their core businessis rooted in the fear that authors will lose their status and will be seen as simple
proofreaders or supervisors of AI without creative input.

14%
Somewhat
positive49%
Very
negative

24%
Both positive
and negative

15%
Somewhat
negative

65%
Negative21%
Very
negative

37%
Negative

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; 253; 251; 251; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer. *commercial prospecting, administrative or legal management and other support activities.

56

“In the area of subtitling, Artificial Intelligence is already causing
immense harm, because many labs are using subtitles generated by
Artificial Intelligence which the author then reads and corrects.
Things are evolving more slowly in the field of synchronisation, as thetechnology is notably more complex. It’s not enough just to convey thesense correctly – the dialogue has to be flowing and in sync.
Nonetheless, several programmes are already being synchronised with
AI-generated texts. At the moment it’s a side effect, especially for
programmes for which the producers don’t have the necessary budget
and the necessary time for classic synchronisation, but it doesn’t stop
there and the solution will probably continue to evolve.
What’s certain, however, is that so far there’s no AI-generated subtitlingor synchronisation coming out without the intervention of an author inpost-editing the generated text; it always requires an author’s
individual signature to give it a human and sensitive dimension.”

Vanessa BertranDubbing artist

GOLDMEDIA

Photo: © Mareine Herro57

PART 3: CHALLENGES
Overview
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

OPPORTUNITIESAND RISKS OF AI

Despite the various fields of applications and potentials of AI in music, about
two-thirds (64%) of the music authors think that the risks of AI use outweigh its
possible opportunities. Only 11% believe that the opportunities outweigh the risks,
while about a quarter of the surveyed members (25%) think risks and opportunities ofAI are roughly in balance. Among the age groups, the older the questioned members
were, the more they assessed the risks of AI as outweighing the opportunities.

”All in all, do you think the opportunities outweigh the risks when it comes to AI
in music and creation in general or do the risks outweigh the opportunities?”
The opportunities
outweigh the risks
11%

55%

57%

59%

63%

68%
The
Therisks
risks outweighoutweigh thethe opportunities
opportunities

25%

About
Aboutthethesame
same
30%

28%

64%
About the same
The risks outweighthe opportunities

GOLDMEDIA

26%

25%

23%

15%

15%

14%

12%

9%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=13,151; Basis: GEMA and SACEM members. Rounding differences possible.

The
The opportunities
opportunities outweighoutweigh
the risks the risks

59

”AI is already here and there are real opportunities
for creators who will seize it and give rise to newmusical genres, new production and distribution
techniques, and new ways of connecting with theiraudiences...

xxxx

But with these opportunities also come crucial
ethical, social and economic questions that we mustcollectively answer to ensure that AI acts responsiblyand ethically on our works and that they are
remunerated for their use by the training bases, thatit leaves no one behind and benefits all creators.”
Christine Lidon
Author and President of SACEM board

GOLDMEDIA

Photo: © Jean-Baptiste Millot

60

“It's actually not complicated at all: works created byhuman authors are being used en masse by AI
providers to generate new content, which thenenters into competition with the original works.
There should be no question that copyright
regulations must apply here to ensure that the rightsof creators are respected.
Otherwise, there will simply no longer be any nonbinary-based creativity that can innovatively feed
the system in the near future.”
Dr. Ralf Weigand
Composer and producer, Chairman of the GEMA Supervisory Board

GOLDMEDIA

Photo: © Florian Jaenicke

61

PART 3: CHALLENGES
Overview
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

COPYRIGHT IN THE
CONTEXT OF GEN AI
HAS AN INPUT AND
AN OUTPUT DIMENSION

Generative AI has three levels: input, processing and output. The input consists of two
steps: scraping and training. Data of all kinds is first collected and stored so that theAI can be trained with it in the next step. This process is called scraping, whereby
collected works and performances are stored in a database in order to be madeavailable for training. In training, models are learned from the previously storedcontent, based on machine learning/deep learning. The output of generative-AI
systems is based on the training that has taken place.

GENERATIVE AI: SCHEMATIC PROCESSINPUTPROCESSINGOUTPUT

1. SCRAPING▪ The training results in a calculated AI
model in which the scraping data is
not available as copies.

▪ The processing results in the output,
which describes the products
produced by generative AI. These
products can take the form of texts,(moving) images and audio material.

▪ Selection and acquisition of the datawith which the AI learns and works.
▪ Storage of the data in a database to
make it accessible for training.

▪ During processing, the parameters(weights) derived from the scraping
database are used instead.

2. TRAINING▪ New content is generated based on
the parameters and patterns learnt.

▪ Using scraped data and algorithms,
the AI learns to identify patterns andrelationships in a dataset of humangenerated content.
▪ Based on this, the AI can predict
probabilities (of character, pixel, wordor sound sequences).
GOLDMEDIA

Source: Goldmedia based on Initiative Urheberrecht (2023).

▪ The exact way in which the parameters
are categorised in the model cannot
currently be clearly described from atechnical perspective.

▪ In many cases, the output product is
not identical to the original. In the
copyright debate, it is therefore
disputed whether reproductions within
the meaning of copyright law still exist
after the training has been completed.
▪ With current models it is very likelythat an AI model will also directly
reproduce training material inexcerpts.
63

ARE GENERATIVE-AI MODELS ALLOWED TO USE
COPYRIGHTED INPUT?
Copyright usually serves to protect against the copying ofartistic works like music. From an economic point of view,
copyright law should strike a balance between the benefits(creating an incentive to create a work) and the costs ofcopyright protection.1 For this reason, European copyright law
defines specific exceptions to copyright protection.2
There is currently much debate as to whether the generative-AI
systems offered by private tech companies for commercial purposes may use copyrighted input based on these exceptions in
Europe and under which conditions the use of copy-protected
input is permitted.

CREDITCONSENT &TRANSPARENCY
REMUNERATION

The attitude of copyright holders in this context is clear.
The use of copyrighted input must follow clear rules
regarding transparency, consent and remuneration.

GOLDMEDIA

Source: 1 Scheufen (2023); 2 In German these exceptions are described as permissibility for text and data mining (“Schrankenlösungen“, § 44b UrhG)
The law systems in the English-speaking world tend to apply the more flexible fair use doctrine to the benefits and costs of protection on a case-by-case basis.

64

“The use of AI raises the question of
power: who is serving whom, and underwhat conditions?
As creators of culture, we shouldn’t
allow others to make decisions affecting
us on our behalf.“
Dr. Charlotte Seither
ComposerGOLDMEDIA

Photo: © Marko Bussmann, 2023

65

AI ACT: EU COUNCIL AND PARLIAMENT STRIKEA DEAL ON THE FIRST RULES FOR AI IN THE WORLDAs part of its digital strategy, the EU wants to regulate AI to ensure better conditions for thedevelopment and use of the technology.
In April 2021, the European Commission proposed the first EU regulatory framework for AI in its EU
Artificial Intelligence Act. In December 2022, the Council of the EU adopted its common position
and, in June 2023, the European Parliament approved its version of a draft EU AI act and made theway clear for the trilogue.
After talks with EU countries in the Council on the final form of the law, the EU Parliament
reached a provisional agreement with the Council on the AI act on 9 December 2023. The
agreed text will now have to be formally adopted by both Parliament and Council to become
EU law.

Parliament‘s priority is to make sure that AI systems used in the EU are safe, transparent, traceable,
non-discriminatory and environmentally friendly. AI systems should be overseen by people, rather
than by automation, to prevent harmful outcomes. Parliament also wants to establish a technologyneutral, uniform definition for AI that could be applied to future AI systems.
The new rules establish obligations for providers and users depending on the level of risk from
artificial intelligence. They also include specific rules for generative AI that have not been addressed
explicitly in the previous drafts.
Generative-AI would have to comply with transparency requirements:▪ Disclosing that the content was generated by AI▪ Designing the model to prevent it from generating illegal content
GOLDMEDIA

Source: European Parliament (2023).

▪ Publishing summaries of copyrighted data used for training66

“Artificial intelligences could, through the promoting of research
projects in which creatives also participate, open pathways to agreater cultural diversity and to ethically supportable andcreative types of use (transparency as an input) – as opposed toan AI that’s being developed only for the purposes of optimisingproduction costs and which leads to an impoverishing of content.
The guarantees of data transparency that have acquired legal
force in the AI Act are a real step forward. Now there remains thequestion of remuneration. I’m a believer in dialogue between
legal experts, scientists and creatives, to come up with newconceptions that do justice to artificial intelligences, rather thanbeing based on the idea of the uniqueness of a piece of art, whichis the case today.

From this viewpoint, the key concern lies in building up reallywell-referenced databases.“

Benoit Carré
Composer and producer (label 'Bruit Rose')
GOLDMEDIA

Photo: © Elodie Daguin

67

CONSENT FOR THE USE OFCOPYRIGHTED CONTENT”Copyright holders must be asked for
permission when their works are used
as input for AI systems.”
5%
Disagree*10%
Somewhatagree

4%Neither agree
nor disagree

At the heart of the issue of whether generative AI may use
copyrighted content as input for training is the question of theconsent of the copyright holder.
A clear majority (90%) of the questioned music authors andcreators agree that copyright holders must be asked for
permission before their works are used as input for AI
systems. Only about 5% disagree to some extent.
In principle, there are different measures for deciding against
use and implementing this. Authors who do not wish theirworks to be used for AI training purposes can opt out. In such acase, the rights holder explicitly decides to exclude the use of
their works for AI training purposes.
The organising of an opt-out regulation could be implemented
and controlled via the collecting societies, e.g. through acollective opt-out.1
There are also opinions that prefer an opt-in to an opt-out ”inthe spirit of copyright law” in order to preserve the author‘spersonal right to decide.2

80%
Fully
agree

90%
Agree
GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,774; Basis: GEMA and SACEM members. Rounding differences possible. *Fully disagree = 2%;
Somewhat disagree = 3%. Difference to 100% = No answer (2%); 1 Scheufen (2023); 2 Initiative Urheberrecht (2023).

68

xxxx

“We need to be able to identify thecomponents of an artistic work better.
One should start off in a completely
radical way with the principle – without
qualification – that if you don’t giveconsent, then no agreement exists,
whereas generally the opposite is thecase – that consent is, as it were,assumed a priori. That’s a mistake.“Frank MadlenerManaging Director of Ircam-Centre Pompidou

GOLDMEDIA

Photo: © Philippe Barbosa

69

TRANSPARENCY OF TRAININGDATA TAKEN FOR AI INPUT

Consent for the rights holder presupposes the need fortransparency obligations for AI developers.
After all, a rights holder would first have to be informed that
their work is being used as the training data for a generative AI
in order to opt out.

”AI providers should be obliged todisclose when they use copyrighted
works as ‘training data‘.”One of the key demands of music authors is therefore to ensuretransparency about the type and scope of training data thathas been used by AI providers as input for the developmentof their generative AI models.

2%
Disagree*

95% of the questioned GEMA/SACEM members agree that
AI providers should be obliged to disclose when they use
copyrighted works as ‘training data‘.

2%
Neither agree
nor disagree9%Somewhat
agree

85%
Fully
agree

GOLDMEDIA

95%
Agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,710; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 1%; Somewhat disagree = 1%. Difference to 100% = No answer (1%).

70

FOUNDATION MODELS SHOW LACK OF TRANSPARENCY
In October 2023, the Center for Research on Foundation
Models at Stanford University released the Foundation
Model Transparency Index.
It was designed around 100 transparency indicators, which
codify transparency for foundation models, the resources
required to build them, and their use in the AI supply chain.
Ten leading developers were scored against these indicators.
The main finding of this scoring was that no major
foundation model developer is close to providing
adequate transparency, revealing a fundamental lack oftransparency in the AI industry.
The top-scoring model scores only 54 out of 100. The
mean score is just 37%. Yet 82 of the indicators are
satisfied by at least one developer, meaning thatdevelopers can significantly improve transparency byadopting best practices from their competitors.
Two of the three open foundation model developers1 receive
the two highest scores. Both allow their model weights to be
downloaded. Stability AI, the third open foundation model
developer, is a close fourth, behind OpenAI.

GOLDMEDIA

Source: CRFM (2023); 1 While the release strategies of AI are not binary (either open or closed), for the analysis models were labelled open whose weights are broadly
downloadable as open.

71

xxxx

”Faced with the unprecedented
disruption caused by AI, we needto make it transparent andvirtuous if we are to have any
chance of seizing all theopportunities it offers.”
Patrick Sigwalt
Composer and President of SACEM‘s strategic advice on innovation committee

GOLDMEDIA

Photo: © Christine Ledroit-Perrin

72

IDENTIFICATION OFAI OUTPUT

Identification of AI-generated music is another important demand of music creatorsin the context of transparency when it comes to the output of generative AI.
Out of all questioned GEMA/SACEM members, 89% agree that AI-generated music
tracks and other types of works should be identified as such.

”AI-generated music tracks and other types of works should be identified as such.”
4%
Disagree*

5%
Neither agree
nor disagree9%Somewhat
agree

79%
Fully
agree

89%
Agree

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,740; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 2%; Somewhat disagree = 3%. Difference to 100% = No answer (2%).

73.

LABELING OF AI-GENERATED MUSIC
Transparency at the output level of music generated by or with the aid of AI
primarily means clear and comprehensible labelling to prevent
disinformation and to protect the interests of copyright holders as well as togive them due credit.
The ISCC standard1 developed with EU funding could be helpful for thispurpose, especially as it is decentralised and non-proprietary. This would belinked to the prohibition of deleting such a label; similarly, the separation ofa metadata record potentially linked to the file (or its content) from the file(or its content) should also be prohibited – similar to the prohibition of
circumventing copy protection measures.
Various companies work on solutions to detect whether a track had been
entirely or partially made by AI.
For example, Believe has confirmed the launch of a proprietary ”AI detection
algorithm”, with its tool ”AI Radar”. According to the company, it can detect
AI-made master recordings with a 98% success rate, and deepfakes with
about 93% accuracy – what the company describes as an ”excellent
detection rate”.2 According to Deezer, the company has systems that leavesonic traces (‘audio fingerprinting’) and which are increasingly resistant toalterations like speeding up, slowing down, pitch changes and so on. In
addition Deezer is in the process of setting up new tools specifically torecognise the use of voice cloning and generative AI.3

GOLDMEDIA

Source: Initiative Urheberrecht (2023); 1 ISSC (2023); 2 Tencer (2023); 3 Goldmedia expert interview; Screenshots: ISCC, MBW.

74

“There’s no doubt that AI will be deployed more
and more for creative processes. Composers in
the audiovisual sector – be it film, television,
radio, advertising or online formats – areparticularly worried that their livelihoods will
come under massive pressure from AI.

So it’s therefore vital, for composers’ and authors’
livelihoods, that we find a solution that identifies,
retrospectively as well, original rights holders in
an AI production.
Together with GEMA we should be creating akind of ‘nano-fingerprinting’ that could make thispossible.“
Helmut Zerlett
Film composer, producer and musician

GOLDMEDIA

Photo: © Helmut Zerlett

75

PART 3: CHALLENGES
Overview
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

WILL HUMAN-MADE
MUSIC BE REPLACED?

Artists worldwide are increasingly concerned that their work is being
replaced by AI. In May 2023, the 11,500 members of the Writers Guild of
America went on strike for five months. Among other topics, writers wereincreasingly concerned that producers will use artificial intelligence to write
scripts or at least fill in the blanks on unfinished screenplays. The guild
characterised the issues behind the labour dispute as ”an existential crisis.”1”Music made by humans isincreasingly being replaced by
AI music.”

26%
Agree

7%
Fully
agree
19%
Somewhatagree

38%
Disagree12%
Fully
disagree26%
SomewhatdisagreeOf the surveyed music authors and creators for this report, 26% agree
that music made by humans is increasingly being replaced by AI
music, while a majority of 38% do not think that. The younger themembers are, the less likely they are to think that AI music will replace
human-made music.
Although this is already a significant proportion, other professional groups
in the music sector are apparently even more concerned. A poll on the
Bedroom Producers Blog asked 1,533 producers how they feel about AI
and its expanding influence in the creative arts. While overall, 87% of thosesurveyed believe the technology will replace the existing tools of music
production, 73% of surveyed producers think that AI music generators
could replace human music producers in the future, at least to someextent.2

A study conducted by TuneCore3 shows similar figures, where 77% of thesurveyed artists are afraid of being replaced by AI-generated music.
23%
Neither agree
nor disagree

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,760; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (13%). 1 The Associated Press (2023); 2 Zlatic (2023); 3 TuneCore (2023).

77

THERE ARE VARIOUS VULNERABLE SECTORS IN THE MUSIC BUSINESS
Sync, Lo-Fi and other rather generic music
Companies or businesses looking for more generic music to soundtrack theirassets or commercials may already be satisfied with AI-generated music in the
future. Generic Lo-Fi music, which is listed in DSP (digital streaming platform)
playlists for concentration or meditation, for example, could also be a genrethat can be replaced comparatively easily by AI-generated tracks.
Amateur texting
Lyrics generators such as ChatGPT can already be used to generate ideas formusic or song lyrics based on previous data. However, it is unlikely that these
forms of AI can match the experience and value of professional songwriters –at least in the short term.
While it is hard to say how and to what extent
artificial intelligence will impact the music industry as
a whole, there are some sectors that are expectedalso by experts interviewed for this report to be more
vulnerable than others. ”Generally speaking, the moregeneric a subset of the music industry is, the more
likely it is to be assisted or partially replaced by AI
generation.”1

GOLDMEDIA

Source: 1 Brunotts (2023).

Video production
Video production is expensive, especially for independent artists. We may see
more and more artists turning to AI-powered videos to reduce the cost of
creating music videos and marketing materials.

Session players
Digital recreations of a wide variety of instruments are becoming moreadvanced, which could lead to fewer jobs for session players.
Automated technology in mixing/mastering
AI-assisted mixing and mastering is already standard in many places and canreplace manual work in this area. Specialists in this area will have to expand
their skillset accordingly.
78

GENERIC MUSIC
CATEGORIES ARE
PRIMARILY
AFFECTED

When it comes to the question of which music categories and genres areprimarily supported by AI, a clear picture emerged from the expert
interviews conducted., that the more generic the music, the more likely it is
to be replaced by AI.
For this reason, categories such as production music will increasingly nolonger be created by hand, but with the aid of AI. The market forbackground music, e.g. for TV or social media, is also likely already in theprocess of being supplied by AI-generated music on a larger scale,meaning that a substitution of human-made music is already taking place
here.
Relatively generic Lo-Fi music also plays a significant, albeit not clearly
quantifiable, role on streaming platforms, in playlists for concentration,wellness or falling asleep, for example. In a further development, othermusic styles that have a comparatively high proportion of automation andartificiality are likely to be more strongly influenced by AI, e.g. elements ofelectronic music or hip hop, where voices that have been distorted by
autotune have already played a role for some time.

GOLDMEDIA

Screenshots: Spotify, Artlist.io

79

AI USE BY
MUSIC GENRES

The proportion of AI use among the music creators surveyed for this study differs significantly
depending on the genres or categories in which they create music. 55% of respondents whomake electronic music have used AI, followed by urban/rap with 53%, advertising music with
52%, music library (background and stock music) with 48% and music for the audiovisualindustry with 47%. The genres/categories in which professional musicians already frequently
use AI are also the music genres that are most at risk. AI lowers the barriers for nonprofessionals to market entry and greatly increases the number of available tracks.

”Have you used AI technologies in your work with music? And which
genre(s)/categories would you say the works in your repertoire (mainly) belong to?
Yes
Yes
Electronic music

54%

45%

Urban/Rap

53%

46%

Advertising

52%

47%

Music library

47%

52%

Audiovisual industry

46%

53%

Pop

40%

59%

Rock/Metal
Symphonic/Contemporary/
Electroacoustic
Jazz/Blues/improv. music

38%

61%

33%

66%

Other

32%

66%

Traditional/world music
Chanson*
GOLDMEDIA

No
No

36%

30%
23%

63%

69%
75%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,309; *SACEM members only (n=8,873); Basis: GEMA and SACEM members.
Rounding differences possible. Difference to 100% = No answer.

80

CASE: STOCK MUSIC
MARKET REVENUESAT RISKMusicians who produce their music mainly for the stock music market (music libraries) arehighly challenged by AI. The barriers to market entry for new human composers are greatly
lowered by AI, ”flooding” established stock music platforms with AI-generated music andhence reducing the share of revenues. AI tools or AI platforms, which generate and offer
automated stock music, could jeopardize the business models of established companies.
The increasing popularity of audio and video streaming is driving the global stock music
market growth: it was valued at US$1.3 billion in 2022 and expected to reach US$2.0 billion
by 2028.1 While AI will not slow down that growth, it can however be expected thatrevenues are going to be redistributed – to the detriment of ”traditional” human music
composers.
GLOBAL FORECAS T: S TO CK MU S IC MA RK ET 1 A N D A I MU S IC MA RK ET 2 ,2023-28, IN U S $STOCK MUSIC MARKETAI MUSIC MARKET

3.1bn
2.0bn
1.3bn

0.3bn
2022
GOLDMEDIA

2023

2024

Source: Goldmedia analysis based on 1 Research and Markets (2023); 2 S&P Global Market Intelligence (2023).

2025

2026

2027

2028
81

“There are already fields of application, for example
in TV documentaries where only a musical‘carpeting’ is needed to create a specific mood –whether that’s a sad, serious, exciting or positive
one. AI already works really well in these cases.
In this situation, a lot of career starters in not very
lucrative positions are already losing their jobs.

xxxx

In branches where financial resources are limited
and where the artistic and sound-related demands
aren’t all that high, AI is expected to play asignificant role quite quickly.“Michael Beckmann
Musician, film composer and music consultant

GOLDMEDIA

Photo: © Martin Steffen82

REVENUES OF MUSIC
CREATORS AT RISK

Based on the surveyed GEMA/SACEM members and the statements from the interviews
conducted, as well as data about the earnings distribution of GEMA/SACEM, it is possible
to estimate the share of revenues that are most at risk for creators in Germany and France.
These relate primarily to areas in which generic music plays a major role, such as
production music in TV or social media and background music in commercial venues. Other
income areas are also affected, but to a lesser extent.
It can be assumed that by 2028, up to 27% of music creators’ revenues are at risk ofbeing impacted by generative AI. This corresponds to an estimated potential damageof €950m in 2028 alone and a cumulative total damage for the period 2023-2028 ofaround €2.7bn for music creators in Germany and France.
ESTIMATED DAMAGE CAUSED BY GENERATIVE AI AND REVENUES OF
MUSIC CREATORS IN GERMANY AND FRANCE, 1 2022-2028
Music creators' revenues in DE/FR (no gen AI scenario)
Potential damage caused by generative AI
Music creators' revenues in DE/FR

€4bn

€3bn

Damage caused
by generative
AI in 2028:

27% ofrevenues

€2bn

€1bn

€0bn

2023
GOLDMEDIA

Source: Goldmedia analysis

2024

2025

2026

2027

2028
83

METHODOLOGY OFDAMAGE CALCULATIONGOLDMEDIA▪

Each category of music copyright revenues (e.g. for streaming,social media, radio, TV, live music, background music in commercial
venues) was assessed for the potential risk of being replaced bygenerative AI.

▪

To achieve this, it was estimated which share of revenue of eachcategory of rights is likely to be substituted by generative AI during
the period until 2028, based on expert interviews, research results
and GEMA/SACEM data for 2022.

▪

A forecast for music creators’ revenue in DE/FR in a no gen AI
scenario was calculated. The forecast assumes a year-on-year
growth that corresponds to the average growth in DE/FR from 2017
to 2022.

▪

The sum of the shares that are assumed to get replaced bygenerative AI corresponds to a total share of 27% of total revenuesof music authors in Germany and France in 2028.

▪

Remaining music creators’ revenues were then calculated bysubstracting the potential revenues lost to generative AI from therevenues forecasted in the no gen AI scenario.

Source: Goldmedia analysis

84

“For now we should differentiate between musicians
who work with AI and those who don’t know how to,or don’t want to, work with AI. Those who work with AI
will be able more quickly to deliver end products andthat’s relevant for many fields, for example when it
comes to music for TV.

xxxx

The next phase will presumably see financial costs
coming down more and more and eventually the musicsupervisor or the director themselves supply theirmusic cues. It’s still of course also an art to being able
to provide prompts really well to get good results, but
it’s going to become ever more straightforward – that
is, AI is getting better at understanding what I want.“

Michael Haves
Theater and film composer

GOLDMEDIA

Photo: © Michael Haves

85

DESPITE AI‘S GREATECONOMIC POTENTIAL,
MUSIC CREATORS HAVEFINANCIAL FEARS

While, of the roughly 15,000 music creators who were questioned for this study, atleast 42% agree that in principle, AI technology in the music industry has great
economic potential, only a few seem to be optimistic about participating.
On the contrary, a remarkably high proportion have existential financial fears,
with 71% feeling afraid that the use of AI in music could lead to music creators
no longer being able to make a living from their work.1”In principle, AI technology in themusic industry has great economic
potential.””The use of AI in music could lead tomusic creators no longer being able to
make a living from their work.”

22%
Disagree

11%
Disagree*
15%
Neither agree
nor disagree

11%
Fully
disagree

42%
Agree

17%
Fully
agree

24%
Somewhatagree

GOLDMEDIA

11%
Somewhatdisagree

25%
Neither agree
nor disagree

41%
Fully
agree

71%
Agree

30%
Somewhatagree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,738/14,730; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (12%, 3%); *Fully disagree = 3%; Somewhat disagree = 8%. 1 A survey conducted by TEOSTO (2023) similarly found widespread fear
among the 717 participating music artists of decreased income from music due to AI, see TEOSTO, p. 12.

86

”I don‘t even know what to think
about AI. I think it‘s a crazy thing
but at the same time I‘m afraid
for my job.”Angèlexxxx

GOLDMEDIA

Photo: Angèle on TikTok, 9 August 2023

Singer-songwriter
On her TikTok account, 9 August 2023, about the fake cover of Gazo‘s hit”Saiyan”, generated by AI with her voice dueting with Heuss L‘enfoiré

87

REMUNERATION OF
COPYRIGHT HOLDERS”Copyright holders must benefit
financially when their works are used as
input for AI systems.”
4%
Disagree*

4%
Neither agree
nor disagree

Given the fact that generative-AI systems are only capable of mimicking
human creativity because human works have been used as training
material1, the next obvious question is, in what form human authors are
remunerated for their services, which ultimately comprise the fuel for theseAI applications.
How and to what extent authors and creators, whose works form the basis
for generative AI in music, can be fairly remunerated is one of the mostpressing questions for music creators, and it is clear that a large majority(90%) of GEMA and SACEM members surveyed in this study call forcommercial involvement when their works are used as input for AI systems.
This question generally covers two dimensions:
1. Compensation for financial losses already caused
2. A fair remuneration for future use

Today

11%
Somewhat
agree

90%
Agree
GOLDMEDIA

79%
Fully
agree

Compensation for
financial losses caused bycopyright infringementby taking andreproducing materials
without permission for AI
training.

A fair remuneration for
future use of works
created by humans fortraining of generativeAI.

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,654; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 1%; Somewhat disagree = 2%. Difference to 100% = No answer (2%).; 1 Senftleben (2023).

88

COMPENSATION FOR COPYRIGHT INFRINGEMENTS ALREADY MADE
A significant proportion of the scraping that has taken place todate has already been done without there being any legal
certainty or claims for compensation. Solutions must be foundfor past uses and fair compensation should be provided.

For determining the extent of the damage that AI has alreadycaused to music creators, the following facts must be taken into
account:
1. The existence of human-made music is absolutely crucial for
generative AI in the context of music and their business models
are based on this. AI cannot produce results resembling humanworks unless it has had the opportunity to analyse humancreations.
2. The damage caused is irreversible. ”Unlearning/forgetting
what has been learned is not possible according to the current
state of technology and statements by leading AI scientists. […]In the US, there is talk indicating that if one of the pending
lawsuits against generative AI providers is successful, their entire
MODEL would have to be deleted and the training process
would have to be restarted.”1

GOLDMEDIA

Source: 1,2,3 Initiative Urheberrecht (2023)

3. Due to the lack of transparency regarding the type and scopeof training data, it is often only possible to prove whether
certain specific works were used for machine learning or tocreate the foundation models via the output, i.e. the products ofthe generative-AI models: ”For example, if a prompt asks for thestyle of a particular artist, and the output is very close to thatstyle ("proximity"), then it can be concluded that the works ofthat artist were used for training.”2
4. Article 4(1) of the CDSM Directive contains a general
exemption of text and data mining (”TDM”). Under this TDM
rule, anyone, including commercial AI system developers andtrainers, may make copies of works or databases for the
purposes of TDM and retain them as long as necessary for the
AI training process. “It is by no means clear that the
reproductions made during scraping for use in massive machinelearning algorithms and the creation of foundation models arecovered by the legal permission for text and data mining.”3

89

“The only income for songwriters, i.e. thelyricists and composers, is the remuneration
for their copyrights. Whether the training of
AIs with the works of these songwriters waslegal must be decided by the courts. One
way or another, it is unacceptable that theuse of the songs remains unremunerated.
We also need transparency and the right tomake decisions about our songs!“
Christopher Annen
Singer-songwriter

GOLDMEDIA

Photo: © Martin Lamberty

90

VARIOUS COPYRIGHT INFRINGEMENT LAWSUITSARE ALREADY TAKING PLACE
Rights holders outside and inside the music business have already taken AI
companies to court: several best-selling authors (with George R. R. Martin
and John Grisham among them) have been suing OpenAI for copyright
infringement since August 2023.1 In December 2023, The New York Timessued OpenAI and Microsoft, accusing the companies of infringing on its
copyrights by using millions of its articles to train AI technologies like the
ChatGPT chatbot.2

One of the first lawsuits in the music sector, filed in October 2023, isUniversal Music Publishing Group, Concord, and Abkco against Anthropic,
an Amazon-backed AI company, and its AI-assistant service Claude. The
three publishers‘ claims for relief include direct copyright infringement,
contributory infringement, vicarious infringement, and removal or
alteration of copyright management information. The plaintiffs are seeking
as much as $150,000 per work infringed.3

GOLDMEDIA

Source: 1 Statement of claim ”Chabon et al. v OpenAI” (2023); 2 Grynbaum and Mac (2023); 3 Millman (2023).

91

TOWARDS A FAIRREMUNERATIONMECHANISM

With regard to the practical implementation of remuneration mechanisms,
there are two different reference points.
On the one hand, it is conceivable to impose an obligation to pay
remuneration at the stage of AI training (input dimension). ”Arguably,
human authors should be compensated for the use of their works in AI
training procedures, since the machine cannot produce results resemblinghuman literary and artistic works unless it has had the opportunity to analyse
human creations.”1

On the other hand, remuneration could focus on the offer of generative-AI
products and services in the marketplace (output dimension). Various
licensing systems are conceivable for implementing the remuneration claimson the output level. While the obvious solution would be a licensing model inthe form of having to distribute a share of their net revenues to the rights
holders, it could also be considered to set up a (statutory) remuneration
scheme instead of (or in combination with) a licensing model.

INPUT

GOLDMEDIA

Source: 1 Senftleben (2023).

PROCESSINGOUTPUT92

“To train their models, the operators of generative-AI systems are
dependent on the use of enormous quantities of copyrightprotected works and services: on the one hand, because thecultural knowledge they represent is indispensable for them and,on the other hand, because the systems suffer damage if they are
not trained with human-generated content, but with AIgenerated content.
The operators will have to make us offers as to how they intend
to involve us in the value creation that takes place, which theywould not be able to achieve without utilising our works andservices. As long as they pay for electricity, water, processors andmanagement salaries, this should be a matter of course.“

Matthias Hornschuh
Film composer

GOLDMEDIA

Photo: © Mario Giordano

93

PART 3: CHALLENGES
Overview
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

DEEPFAKES AND VOICE CLONING HAVE BECOME A TOP
PRIORITY CONCERN IN THE MUSIC INDUSTRY
Generative AI is also a top priority for music labels:”I would put this at the top of the list of industry issues because
we need people to understand what‘s happening right now. We
need to work very hard to define new models so that we canenable generative AI without looking away from what will
essentially be a wholesale theft of intellectual property from theentire creative community,” says Michael Nash, EVP and Chief
Digital Officer, Universal Music Group.
On the one hand, the potential of AI in connection withmarketing and target group identification as well as technicalproduction is emphasised. On the other hand, the musicindustry sees serious dangers, including in the area of voicecloning:”We have serious concerns about the potential for AIsynthesised voice technology to be used at scale to cover songs
and attempt to replace artists,” says Dennis Kooker, President ofSony Music Entertainment.

GOLDMEDIA

Source: IFPI Global Music Report (2023), p. 36.

95

CASE: „HEART ON MY SLEEVE”
On 4 April 2023, ”Heart on My Sleeve” a song written and produced by
TikTok user ghostwriter977, with deepfake AI-generated vocals made tosound like Canadian musicians Drake and The Weeknd, was self-releasedon TikTok, YouTube and various streaming platforms. It reached 15 million
views on TikTok alone and 600,000 streams on Spotify.
On 17 April it was taken down for ”infringing content created withgenerative AI” by Universal Music Group.

UMG told Billboard magazine that the viral postings ”demonstrate why
platforms have a fundamental legal and ethical responsibility to preventthe use of their services in ways that harm artists”.
This viral case sparked public awareness and drew labels’ attention to
the perils of deepfakes and voice cloning. Debates aroundresponsibilities, copyright and artists‘ appreciation have since been amajor concern for the music industry.

GOLDMEDIA

Source: Coscarelli (2023); Snapes (2023).

96

CASE: GRIMESElectronic Pop star Grimes encourages her fans to create AI songs withher voice and announces that she would split the revenue for such a song
50/50. This is more or less the same deal as a collaboration with another”real” artist. She also wrote that everyone should feel free to use their
voice without being penalised, as she has no label and no legal
obligations to anyone. According to her, she likes the idea of merging
with a machine, treating art like open source and deliberately eliminating
copyrights.
With her tool Elf.Tech, users have the option of either uploading audio orrecording directly through the app. They will then receive the output of
the file with the pop star‘s voice instead. Grimes can be listed as a main,
secondary or featured artist in any music made using the software in
exchange for 50% of royalty splits on the master recording.
Elf.Tech offers distribution through its platform, but artists can also selfdistribute or release through a label.

GOLDMEDIA

Source: LeJarde (2023); DIFFUS (2023); Pequeño IV (2023); Spotify.

97

PERSONAL RIGHTS OF
COPYRIGHT HOLDERSAs seen in cases like ”Heart on my Sleeve”, infringement of personal rights by AI
systems poses an issue for music creators. Almost all of the questioned GEMA/SACEM
members (95%) agree that copyright holders must have the possibility to take action
against such infringement of their personal rights by AI systems (e.g. deepfakes orvoice cloning).

”Copyright holders must have the possibility to take action against infringementof their personal rights by AI systems (e.g. deepfakes or voice cloning).”1%
Disagree*

2%
Neither agree
nor disagree

7%
Somewhat
agree

88%
Fully
agree

95%
Agree
GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,724; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 1%; Somewhat disagree = 1%. Difference to 100% = No answer (1%).

98PART 3: CHALLENGES
Overview
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

”At Spotify, we believe that AI has the potential tobring real benefits to the audio industry. AI is not a
new area for us.
Since 2011, our investments in artificial intelligence,and machine learning in particular, have madeSpotify what it is today: a personalised experiencefor every user that drives discovery and connection
through the power of recommendations. These
Spotify recommendations come to life throughinnovative, personalised products like the Spotify
Home feed, Discover Weekly, Blend and Made for
You Mixes.”
Conny Zhang
Head of Music DACH at SPOTIFY

GOLDMEDIA

Photo: © Katja Hentschel100

AI-GENERATED MUSIC ALREADY ACCOUNTSFOR A SIGNIFICANT SHARE OF RECORDED MUSICAI has without doubt accelerated the creation of music, but thatspeed comes at a time when music streaming services are alreadyinundated with content.1

100 MIL.

>100 MIL.

~18 MIL.

According to information on the Boomy website (December 2023),
around 18 million songs have already been created generated on
the platform.2 AI-generation platform Mubert announced in July
2023 that its AI has generated 100 million tracks.3 This is roughly
equal to the entire catalogue available on Spotify, which claims that
listeners can ”discover, manage, and enjoy over 100 million tracks”
on Spotify.4“What we’ve noticed over the past few years is that there’s a yearon-year growth in the number of pieces of music that are being
delivered to us. Maybe there’s a correlation between this growth
and the use of these technologies.“ said Deezer CIO Aurélien Héraultin a Goldmedia interview.

Songs recorded on Songs generated Songs available on
Boomy
by Mubert
Spotify
GOLDMEDIA

Source: 1 Hoover (2023); 2 Boomy; 3 Spotify; 4 Music Business Worldwide

101

DSPS' TREATMENT OF
AI GENERATED SONGS
When Universal Music Group banned the AI-generated song
„Heart On My Sleeve” because of copyright infringement,
Spotify had to take the song, which had already reached 20
million streams, down. In reaction to these events, Spotify’s CEO
Daniel Ek commented on the use of AI in the music world andespecially on Spotify. In his opinion AI is going to be a ”tricky”
challenge the industry will be facing.1 Still, he evaluates the useof AI in some areas to be helpful and has therefore no plans forbanning AI-generated music completely.
This example shows that dealing with AI on streaming platforms
is currently dependent on attitudes within those companies. This
raises further questions about how streaming services should
treat AI-generated music and who should be making suchdecisions.

GOLDMEDIA

Source/Screenshots: Kleinman (2023); Shead (2023).

102

THERE ARE VARIOUS CONCERNS ABOUT
THE LARGE NUMBER OF NEW AI-GENERATED TRACKSGLOBAL NUMBER OF NE W TRACKS UPLOADEDTO DSPS EVERY DAY 2018 -Q2/2023

120,000
104,000
93,00084,00071,000 71,000

Artists and experts interviewed for this study as well as music industry executives have become increasingly concerned about thelarge number of new tracks being uploaded to DSPs and worry thisdeluge of new content could erode the presence of professional
artists.
It is feared that there will be a homogenisation of music, as similar
recommendations are used by the AI models for all generated
tracks. Prejudices and stereotypes in music are perpetuated bypoorly trained AI models, which can lead to a restricting of musicaldiversity.

45,0002018

The number of new tracks that are uploaded reached a new peak in
the first quarter of 2023, with 120,000 titles being uploaded to DSPs
every day. After an upward surge in AI-produced songs in Q1, thefigure has dropped slightly but has still stayed high.

2019

2020

2021

2022

Q1/2023 Q2/2023

Business leaders at some of the DSPs worry that low-quality content
could damage the user experience. ”There‘s a lot of duplicated content, there‘s a lot of content that is not even music… and at a certain
point you get way too much content that is useless for the users. And
it starts creating a bad user experience.”
Deezer CEO Jeronimo Folgueira
during an earnings call on 1 March 2023

GOLDMEDIA

Source: Marconette (2023); Tencer (2023).

103

VISIBILITY ISSUESAND PROMOTION OF
HUMAN-MADEMUSIC

Of the questioned GEMA/SACEM members, 72% agree that due to the increase in AIgenerated work, issues around visibility and discoverability of songs on streaming
platforms are becoming increasingly important. In an era of millions of published AI
songs, the support of human-made music on streaming platforms is also importantto creators. 88% of respondents agree that music made by humans should bepromoted on streaming platforms.

”Due to the increase in AI-generated works, issues ofvisibility and discoverability of songs on streaming
platforms are becoming increasingly important.”
5%
Disagree*”Music made by humans should be promoted on
streaming platforms.”
3%
Disagree*

9%Neither agree
nor disagree

5%Neither agree
nor disagree

14%Somewhat
agree

43%
Fully
agree

GOLDMEDIA

29%
Somewhat
agree

72%
Agree

74%
Fully
agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,725/14,730; Basis: GEMA and SACEM members. Rounding differences possible.
*Left/Right: Fully disagree = 2%/1%; Somewhat disagree = 3%/2%. Difference to 100% = No answer (14%/3%).

88%
Agree

104

“The AI is capable of indexing thousands ofsongs in a day. This enables the development of
new recommendation systems and innovative
music searches. Songs that may have gone
undiscovered can now be found using different
search parameters. This gives unknown songs
and artists the chance to become visible in theabundance of songs. The potential of artificial
intelligence is a great help in this context.“
Agnes Chung
Co-Founder of musicube

GOLDMEDIA

Photo: © musicube

105

AI-DRIVEN RECOMMENDATIONENGINESAll major music streaming platforms have invested heavily in AI
technologies to improve the user experience and secure competitive
advantages.
One of the most important application areas are AI-supported analyses of
the tastes and preferences of listeners and recommendation systems basedon these. AI-driven recommendation engines have become an integral partof the music discovery process.
DATA FLOW FOR THE PERSONALISEDSPOTIFY ”MIX OF THE WEEK”

Already back in 2017, Spotify bought the French AI
start-up Niland and used it to develop the ”Your Mixof the Week” playlist (Discover Weekly), among otherservices.
Three models are used for this:▪ Collaborative filtering: An algorithm first analyses
other playlists created by users that contain thesame tracks that the listener in question plays. It
then checks which other tracks other users haveincluded in the same playlists.
▪ Natural Language Processing (NLP): Relevant text
content (articles, blog posts, etc.) is scanned basedon the metadata of a song. Artists and titles arethen assigned keywords and weighted. Filteringand recommendations are therefore based on
semantic information.
▪ Audio modelling: Convolutional Neural Networks(CNN): While NLP primarily recommends popularsongs, audio models can also identify unknown
songs that are similar to the songs already used interms of sound. CNNs are based on parameterssuch as key, major/minor, beats per minute,volume and much more.

GOLDMEDIA

Source: Hovsepyan et al. (2021).

106

DEMAND FOR
TRANSPARENCYON STREAMING
PLATFORMS

Lack of transparency in streaming services‘ algorithms and in the distribution of musicon streaming platforms poses a problem for many creators. Most of the questioned
GEMA/SACEM members (89%) therefore agree that criteria for creating playlists aswell as music recommendations based on AI/algorithms must become more transparent. Only about 2% disagree with this statement to some extent.

”Criteria for creating playlists as well as music recommendations
based on AI/algorithms must become more transparent.”
2%
Disagree*

4%
Neither agree
nor disagree

22%
Somewhat
agree

67%
Fully
agree

GOLDMEDIA

89%
Agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,722; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 1%; Somewhat disagree = 2%. Difference to 100% = No answer (5%).

107AI-GENERATED MUSICAND STREAMING FRAUD

Fake streams and streaming fraud are a problem that alreadyexisted before the rapid introduction of AI into the music sector.
However, the problem has been significantly exacerbated by AIgenerated tracks.
According to media reports, Spotify has already removed tens of
thousands of AI-generated songs from its website. In May 2023,
this amounted to around 7% of the songs created on the Boomy
platform. With the help of Boomy AI, users can generate songs
very quickly and easily and then publish them on musicstreaming services with the help of the company. Boomy receives
a share of the royalties generated in this way. The reason for theremoval of the songs was the accusation by Universal Music
Group that Boomy was using bots to increase streaming figures.
There are different estimates for the number of fake streams.
France‘s Centre National de Musique (CNM) released the resultsof a study in January 2023 focusing on illegitimate streaming
practices with the conclusion that at least 1-3% of music streams
in France are fraudulent. That is, they are generated, often via
paid-for stream farms, by those ”bad actors” in a bid to siphon
royalty money away from legitimate artists.1 Beatdapp, aCanadian company that specialises in ”finding missing royalties
and identifying streaming fraud”, which has just announced apartnership with Boomy, has suggested that the total share of
streams that are fraudulent is closer to 10%.2

GOLDMEDIA

Source: Johnson (2023); 1 CNM (2023); 2 Stassen (2023); Screenshots: Forbes, YouTube, Boomy.

108

“Artificial Intelligence is about to revolutionise the music industry,
particularly by perfecting the recommendation system with ever moresophisticated, personalised analyses, […] and by the management ofrights and the monetising – thanks to their capacity for very finegrained recognition – the usage of protected source material.
In the meantime, for more than ten years we’ve been using systems
for automatically classifying music, also when it comes toincorporating pieces of music in our database. These systems aren’t
just about supplementing the metadata provided, they’re also
generating new information. This enriched data is then used by othersystems, such as those for recommending music and for detecting
fraudulent use.
We’ve been concentrating our efforts for several months onrecognising the use of generative models and voice cloning. The aimof this initiative is to uncover and continue working on infringementsof copyright, to ensure the integrity and authenticity of our music
portfolios and to be able to quantify how they’re used.”

Aurélien Hérault
Chief Innovation Officer at Deezer

GOLDMEDIA

Photo: © Aurélien Hérault109

PART 3: CHALLENGES
Copyright, Credit and Consent
Remuneration and Economic Implications
Personal Rights
AI and Music Streaming
OutlookP I C TDarius
URE: MJOURNEY
Photo by AntononI DUnsplash

THERE ARE NEW COLLABORATIONS COMING UP
THAT MIGHT INFLUENCE MARKET CONSTELLATIONSThere are various new collaborations between
music and other media companies (e.g. Axel
Springer) and AI tech companies, that might
influence market constellations.
In August 2023, YouTube Music launched a socalled AI Incubator, initially kicking off withartists, songwriters and producers from
Universal Music Group, including Anitta, Björn
Ulvaeus, d4vd, Don Was, Juanes, Louis Bell, Max
Richter, Rodney Jerkins, Rosanne Cash, Ryan
Tedder, Yo Gotti, and the Estate of Frank Sinatra,
amongst others and other partners from themusic industry since then.
In this context, YouTube also publicized theplatform’s three ”fundamental AI musicprinciples [which] are rooted in its commitment
to collaborate with the music industry alongsidebold and responsible innovation in the space”.1

GOLDMEDIA

Source: 1 YouTube (2023); Screenshots: Universal Music Group (2023); OpenAI (2023); TikTok (2023).

111

TECH COMPANIES ARE ALREADY WORKINGON MUSIC GENERATION FROM BRAIN ACTIVITY
The fact that tech companies such as Google are now evenworking on processing brain activity into generative AI
models shows the speed at which development is
progressing. This raises the question of whether regulation
will even come close to keeping up with the rapid market
development.

GOLDMEDIA

Source: Timo Denk on LinkedIn; Denk et al. (2023).

112

”Between the ”doomers”, who are worried about
the (existential) risk embodied by AI, and the”techno-optimists”, convinced of the absolutenecessity to move forward, there is a way
forward, that of reasonableness.
AI is an opportunity, a promise: let‘s seize it
without denying our values, without giving up on
what makes society. As is so often the case, virtue
lies far from extremes.”
Alexandra Bensamoun
Professor of Law, Paris-Saclay University

GOLDMEDIA

Source: Bensamoun (2023) in: dalloz-actualite.fr; Photo: © Alexandra Bensamoun

113

FIELDS OF ACTIONP I C TCzerwinski
U R E : M I D on
JOU
RNEY
Photo by Pawel
Unsplash

”From an economic point of view, each technologicaladvance has brought productivity gains and its
share of social upheaval. What‘s exciting here is the
speed with which the models can be transformed.
For artists, it makes sense to adopt any new tool thatenables them to stimulate their creativity and pushback certain barriers.

xxxx

More than ever, the creative industries need to get togrips with this issue quickly, both to seize theopportunities and to better anticipate the impacts
and correct the most negative ones.”
Thomas Jamois
Publisher (Wise Music France / Velvetica Music), member of Sacem board andstrategic advice on innovation Committee

GOLDMEDIA

Photo: © Jean-Baptiste Millot

115

POLITICALIMPLICATIONSRELATED TO GEN AI

Of all surveyed music authors, 93% call for policymakers to pay more attention to
the challenges related to AI and copyright!

”Policymakers should pay more attention
to the challenges related to AI and copyright.”
2%
Disagree*

3%
Neither agree
nor disagree10%Somewhat
agree

83%
Fully
agree

93%
Agree
GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,737; Basis: GEMA and SACEM members. Rounding differences possible.
*Fully disagree = 1%; Somewhat disagree = 1%. Difference to 100% = No answer (2%).

116

SEVEN DEMANDS FROMMUSICIANS IN
CONNECTION WITH AI
In July 2023, several international associations
representing mainly authors, performers andcollecting societies from the music sector,1
published an open letter setting out sevenprinciples that should guide legislators in theregulation of generative AI.

GOLDMEDIA

1.

AI systems analyse, scrape and exploit vast amounts of data,typically without authorisation. Creators‘ and performers‘ rights
must be upheld and protected when exploited by AI systems.

2.

Licensing solutions should be available for all potential exploitation of copyright works, performances and data by AI system.

3.

AI systems are enabled to exploit copyrighted works throughlegal exceptions, e.g. for text and data mining. Exceptions fortext and data mining which do not provide for effective optout by rights holders should be avoided.

4.

If the work of authors and performers has been exploited by AI
systems, this should be mentioned by name with appropriate
credits.

5.

Transparency obligations should apply for the use of creative
works and performances by AI systems to ensure fairer AI
practices.

6.

AI companies should be held liable for activities and resultsthat infringe the rights of authors.

7.

AI models are merely a tool. Policymakers must clarify thatfully autonomous works generated by AI cannot enjoy thesame level of protection as works created by humans.

Source: 1 among them AEPO-ARTIS, CISAC, ECSA and IMPF; CISAC (2023).

117

FIELDS OF ACTION FOR GENERATIVE AI IN MUSIC
Development of
remuneration schemes

Encourage licensing
agreements
Ensure that creators
participate economicallywhen their works areused as input for AI

Industry agreements
brokered by authorities
between all parties involved

Entitle creators to obtainrecognition and credit when
their works have been
exploited by AI systems
Promote the visibility anddicoverability of human-createdworks on online platforms
Label AI-generated
works and make sure
this label cannot bedeletedClarify that fully autonomous
works generated by AI cannot
enjoy the same level of protection
as works created by humans
GOLDMEDIA

Source: Goldmedia analysis.

REMUNERATION

Make playlists,
algorithms andrecommendation
systems moretransparent

Compensation for
copyright infringement
already committed

Ask for permission
when works areused as input for AI
systems

Raise awareness of the valueof human-creating music for
the functioning of AI models

TRANSPARENCYAND CREDIT

Strengthen collective
rights management

Oblige AI providers todisclose when they use
copyrighted works as
training data
Clarify liability for rightsinfringing output of AI
systems

CONSENT

Provide the possibility totake action against
infringement of personal
rights by AI systems
Collective
opt-out
Avoid exceptions that permit
AI systems to exploit
copyrighted works

118

“Artificial Intelligence and its tools totally fascinate me and I
know that I’m also very open to persuasion when it comes to thecapabilities of these new technologies, for example in music
production, and also to making use of these. But there have to berules here, clear and definitive! It needs to be self-evident that AI
shouldn’t completely replace creative processes, but only assist or
inspire them. Behind every piece of art, every song, every text
there must always be a person and an artist, otherwise art loses
its value.
Legal principles governing use, remuneration, protection rights
relating to performance and the distribution of earnings from AIgenerated artworks must now be standardised across the wholeworld – and artists whose work is used as training data for an AI
must be compensated and reimbursed from profits.“

Diane Weigmann
Singer-songwriter

GOLDMEDIA

Photo: © Anne de Wolff

119

APPENDIX
Additional Survey Results
Dubbing/Subtitling: Additional Results
List of Sources

P I C TAnower
U R E : MUnsplashIDJOURNEY
Photo by ShabuSURVEY RESPONSESP O P U L AT I O NSAMPLE▪ The population for this survey consists of about
290,000 GEMA and SACEM members. The total
members are made up of:▪ ~200,000 SACEM members▪ ~90,000 GEMA members▪ The final sample consists of 15,073 respondents.
Out of the total respondents there were:▪ 9,377 SACEM members (62%)▪ 5,696 GEMA members (38%)

R E S P O N S E R AT E

DUBBING/SUBTITLING AUTHORS▪ The overall response rate was 5.2%.
▪ For SACEM members the response rate was 4.7%.
▪ For GEMA members the response rate was 6.3%.

▪ Out of the 9,377 SACEM respondents there
were 255 dubbing/subtitling authors (2.7%).

Quelle: Goldmedia Analyse 2020
GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023.

121

MUSIC GENRES

Most works in the repertoire of the questioned GEMA and SACEM members belong
to the genre ”Pop” with 42%. One fourth of the works (25%) belong to the genres”Jazz, Blues and improvised music”. With 22% each, the genres of ”Rock and Metal”
and ”Electronic music” follow in third place. The smallest number of works inrepertoire can be found in the categories „Advertising” and „Music library”.

“Which genre(s)/categories would you say
the works in your repertoire (mainly) belong to?”
Pop

42%

Jazz, Blues, improvised music

25%

Rock, Metal

22%

Electronic music

22%

Music for the audiovisual industry

20%

Chanson20%

Traditional and world music18%

Symphonic, Contemporary classical, Electroacoustic

17%

Other

15%

Urban, Rap

GOLDMEDIA

11%

Advertising

7%

Music library (background and stock music)

6%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,309; Basis: GEMA and SACEM members. Rounding differences possible. No answer = 1%.

122

AGE DISTRIBUTION

With 46%, most of the survey’s participants are older than 55 years. A further 23% arebetween 45 and 54 years old. This makes up a total majority of survey participants
who are older than 45 years (69% in total).
The age groups of members younger than 44 years comprise a total of 29% of survey
participants, out of whom only 3% are younger than 25.

“How old are you?”
46%

23%
16%
10%
3%

Younger than 25 years
GOLDMEDIA

25-34 years

35-44 years

45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,344; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

55 years or older
123

MAIN FOCUS OF
WORK

The majority of GEMA/SACEM members are mainly active as composers (56%).
Another 15% engage in a multifaceted role as authors, composers, and performers.
Authors, excluding composers, represent 10% of respondents, while those who
combine authorship and composition make up 8%. A smaller proportion, 5%, identifiy
specifically as lyricists or text writers. Music publishers, dubbing/subtitling authors,author-directors, and legal successors in these groups collectively make up theremaining percentages, with humorists/chroniclers representing 0.1%.

“In which area are you mainly active?”
56%

Composer

15%

Authors - Composer - Performer

10%

Author8%

Author-composer

5%

Lyricist / Text writer

GOLDMEDIAMusic publisher

2%

Dubbing/Subtitling Author

2%Author-director

1%

Legal successor in one of these groups

1%

Humorist/Chronicler

0%
0,1%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=15,073; Basis: GEMA and SACEM members. Rounding differences possible.

124

OTHER ACTIVITIESAlongside their main area of work GEMA/SACEM members were asked for additional
activities in the creative industries/music sector. The most prevalent additional activity
is performing, with 64% engaging as singers, performing musicians, conductors, DJs,
or beatmakers. Production is the second most common, with 28% identifying as
producers. Label operation and management roles are undertaken by 6% and 5% of
respondents respectively. 12% report having no other activities beyond their primaryrole in the creative industries or music sector.

“Do you carry out any other activities in the creative industries/music sector?”
Performer (singer, performing musician, conductor, DJ, beatmaker)

64%

Producer

28%

Recording studio / sound engineering / music supervisor

23%

Teaching / Coaching

17%

Other professional activity(ies) related to the world of culture

13%

Artistic or technical activities related to the production of live shows

12%

Artistic or technical activities related to audiovisual production.

11%

Music publisher

Other professional activity(ies) not related to culture

6%

Label operator*

6%

Manager5%

No other activities
GOLDMEDIA

8%

12%Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,735; Basis: GEMA and SACEM members. Rounding differences possible.
*Only GEMA members (n=5,672).

125

GEMA/SACEMSENIORITY

42% of GEMA/SACEM members have been part of the collecting societies for morethan 20 years. Seniority status of less than 3 years (19%), 3 to 10 years (19%) and 10
to 20 years (21%) make up about 20% of members each.
The comparison of total numbers when split between GEMA and SACEM members
shows no significant differences.

“What is your seniority at GEMA/SACEM?”
TOTAL
Less than 3 years

More than 20 years

More than 20 years

Less than 3 years
17%

18%

41%

40%
20%

19%

10 to 20 years

GOLDMEDIA

19%

44%

20%

Less than 3 years

More than 20 years

3 to 10 years

19%
10 to 20 years

3 to 10 years

19%

22%

3 to 10 years

10 to 20 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,736 (DE: 5,666, FR: 9,070); Basis: GEMA and SACEM members. Rounding differences possible.

126

SACEM STATUS

The majority of SACEM‘s questioned members have the status ”Member” (73%), while
8% are full members and a further 7% are professional members. The member statusis quite evenly distributed throughout the age groups, with slightly more full
members in the oldest age group.

“What is your SACEM status?”

Full member
8%

Professional
member

7%

73%

GOLDMEDIA

Member

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=9,047; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

127

USE OF AI

Of the questioned GEMA/SACEM members, 35% have used AI technologies in theirwork with music and creation in general, while the majority of members (64%) havenot. Comparing GEMA and SACEM members, 40% of GEMA members and 32% of
SACEM members have used AI in their work before.

”Have you used AI technologies in your work with music and creation in general?”
TOTAL

Yes

Yes

35%

40%

32%
59%

64%
No

GOLDMEDIA

Yes

67%

No

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795 (DE: 5,689, FR: 9,106); Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

No

128

USE OF AI

The use of AI is already a reality for many music authors and creators. Of the 15kquestioned GEMA/SACEM members surveyed for this study, 35% have used AI
technologies in their work with music and creation in general, while the majority ofmembers (64%) have not. The younger the members are, the more likely they are tohave used AI technologies in their work. Of the questioned members younger than35, more than half (51%) have used AI, while in the age group of 55 years and older
only 25% have used AI previously.

TOTAL BY AGE
GROUP”Have you used AI technologies in your work with music and creation in general?”

49%

Yes

48%

53%

60%

35%

74%
No
Noanswer
answer
No
No
Yes
Yes

64%
No

51%

51%

46%

39%
25%

Total
GOLDMEDIA

Younger than
25 years

25-34 years

35-44 years

45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,795; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

55 years or
older
129

FURTHER AI USE IN
CREATIVE ACTIVITY

Those who have previously used AI in their creative activity with music were asked
whether they plan to continue using AI in their activities. Most of them (78%) intend
to keep on using AI in the future while about 18% do not.
The highest intention to use AI in the future comes from members of the age group
25 to 34 years with 82% in total.

”Do you plan to continue using AI in your creative activity with music?”
82%

80%

75%

No, definitely not

75%

Yes, definitely

4%No, probably not

78%

29%

41%

41%

40%

35%

14%
39%

Yes,
Yes,definitely
definitely
Yes,
Yes,maybe
maybe

46%

41%

39%

38%

40%

39%
Yes, maybe

GOLDMEDIA

Youngerthan 25years

25-34 years 35-44 years 45-54 years

55 years orolder

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=1,671; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (4%). A study conducted by Pirate (n=1,141) found that ”among those who hadn't yet, 46% expressed their willingness to consider using AI 130
music tools in the future”, see Pirate (2023).

FUTURE AI USE
OF NON-USERS

Of the roughly two-thirds of music authors surveyed who have not yet used AI, 20%
said they might do so in the future. 71% do not expect to do so, with 30% ruling it
out completely.

”Can you imagine using AI for your work with music in the future?”
20%
Yes
3%
Yes,
definitely

17%
Yes,
maybe

30%
No,
definitely not

71%
No

GOLDMEDIA

40%
No,
probably not

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=9,403; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (9%).

131

AI USE IN CREATIVEACTIVITYGEMA and SACEM members who have already used AI in their creative activity show
varied use from a more occasional to regular integration of AI technologies: 22% ofmembers have only tried AI use once, and a further 42% use it quite rarely. About
27% incorporate AI quite often, and 7% even use it always or almost always.
Notably, those members younger than 25 years show lower frequent use of AI
technologies, while the age groups from 45 years show the highest regular AI use.

”How often do you use AI technologies in your creative activity with music?”
7%

Always or almost always

3%

Quite often

23%

27%

Quite rarely

6%
25%

48%

22%

8%

7%

30%

29%

26%

44%

42%

19%

20%

42%

42%

I have only tried it once

6%

32%
21%

39%

24%

Total

GOLDMEDIA

Younger 25-34 years 35-44 years 45-54 years 55 years or
than 25older
years
Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=1,672; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

132

CONTRIBUTION OFAI IN CREATIVE
WORK

Those respondents, who have used AI in their creative work, were asked how much AI
contributes on average to their work with music and creation in general. Throughout
all age groups, most members estimate the contribution of AI to be less than 1%(40% of members in total) or a maximum of 24% (44% of members in total). In total
about 2% of the members account 75 to 100% of their work with music or other typeof creation as contributed by AI.

”On average, what would you say the creative contributionof AI to your music or other type of creation amounts to?”Less than 1%
Total

GOLDMEDIA

40%

1-24%

25-49%

50-74%

75-100%
44%

8%

4% 2%

Younger than
25 years

43%

49%

3%

1%
3%

25-34 years

42%

48%

5%

2%

35-44 years

41%

45-54 years

38%

55 years or older

39%

43%

46%

41%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=1,671; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

1%
2%

9%

8%

9%

3% 2%

5%

2%
133

AI USE INSUPPORTING ASPECTS

GEMA and SACEM members show varied use of AI technologies in supporting aspectsof the music sector. 10% of members have only tried AI use once, whereas 34% use it
quite rarely. About 37% incorporate AI quite often, and 17% even use it always oralmost always. The age group of members 45 to 54 years old shows the highest
regular AI use while the youngest members show the lowest rate of frequent AI
technology use.

”How often do you use AI technologies in supporting aspects of the music sector(marketing, promotion, art work, social media, administration etc.)?”17%

Always or almost always

10%

Quite often

30%

Quite rarely

34%

12%

11%

33%

31%

34%

41%

20%

16%

10%

37%

7%

35%

37%

34%

I have only tried it once

26%

10%

Total

GOLDMEDIA

Youngerthan 25
years

37%

13%

38%

16%

25-34 years 35-44 years 45-54 years 55 years orolder

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=1,525; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer.

134

FURTHER AI USE INSUPPORTING ASPECTS

Out of those who have used AI in supporting aspects before, 84% plan to continue
using AI in those aspects while about 12% do not. The highest intention to use AI in
the future comes from members of the age group 45 to 54 years with 87% in total.

”Do you plan to continue using AI in supporting aspects
like marketing, promotion, art work, social media, administration etc.?”
81%

84%

84%

87%
80%

No, definitely not
No, probably not

1%

Yes, definitely
32%

34%

33%
29%

40%

11%
34%
Yes,definitely
definitely
Yes,
Yes,
Yes,maybe
maybe

49%

51%

54%
44%

51%

50%
Yes, maybe

GOLDMEDIA

Youngerthan 25years

25-34 years 35-44 years 45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=1,522; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (3%).

55 years or
older
135

OPPORTUNITIESAND RISKS OF AI

In total about 64% of the questioned GEMA/SACEM members think that the risk of AI
use outweighs its possible opportunities. On the other hand, 11% believe that theopportunities outweigh the risks, while about a quarter of the surveyed members(25%) think the risks and opportunities of AI roughly balance out. Between GEMA andSACEM members, GEMA members seem slightly more optimistic when it comes to AI
use, as 30% think that the risks and opportunities are generally balanced (21% for
SACEM).

”All in all, do you think the opportunities outweigh the risks when it comes to AI
in music and creation in general or do the risks outweigh the opportunities?”TOTAL
The opportunities
outweigh the risks

The opportunities
outweigh the risks

The opportunities
outweigh the risks

11%

13%

11%
About the same

About the same

25%
64%

The risks outweighthe opportunities
GOLDMEDIA

21%

About the same

57%

30%
68%

The risks outweighthe opportunities

The risks outweighthe opportunities

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=13,151 (DE: 5,380, FR: 7,771); Basis: GEMA and SACEM members. Rounding differences possible.

136

ASSESSMENT OF AI
USE

10% of the questioned GEMA/SACEM members assess the use of AI in the music
sector and in creation in general to be positive, while 45% assess its use negatively.
Almost as many members (42%) assess the use of AI to be both: positive andnegative. Looking at the age groups, members up to 34 years assess the use of AI
most positively, while members 55 years or older assess its use most negatively.

”How would you assess the use of AI in the music sector and in creation in general?”
45%

44%

8%

NEGATIVE 45%

13%

POSITIVE 10 %
42%

24%

21%

7%

Very
Somewhat
negative negative

GOLDMEDIA

Both
Somewhat
positive
positiveandnegative

3%

3%

Very
positive

No answer

13%

13%

3%

4%

4%

9%

9%

8%

7%

6%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor older

12%

10%
4%

8%
2%
Verypositive
positive
Very
Somewhatpositive
positive
Somewhat

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,771; Basis: GEMA and SACEM members. Rounding differences possible. A study conducted by TuneCore(n=1,558) found that 50% of the surveyed artists are ”aware of and engaged in AI [and] have a positive perception of its benefits and opportunities”,
137
see TuneCore (2023), p. 5; A study conducted by TEOSTO (n=717) shows a somewhat positive assessment towards the use of AI in music in 43% of study participants.

ASSESSMENT OF AI
USE IN CREATIVEASPECTS

In comparison to the use of AI in general, the use of AI in terms of the creative aspect
is assessed more negatively. Out of the questioned GEMA/SACEM members 56%
assess the use negatively while 10% assess the use of AI in creative aspects to bepositive. 31% of the questioned members assess the use of AI for creative aspects
positively as well as negatively. Again, members up to 34 years assess the use of AI
most positively, while members 55 years or older assess its use most negatively.

”How would you assess the use of AI in thecreative aspects of the music sector and in creation in general?”
52%

56%

9%

NEGATIVE 56 %

32%

12%

POSITIVE 10 %

31%

24%
14%
7%

Very
negative

GOLDMEDIA

Somewhat
negative

Both
Somewhat
positive
positiveandnegative

3%

3%

Very
positive

No answer

15%

12%

11%

3%

4%

11%

11%

9%

8%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

3%

3%

8%
2%
6%
55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,489; Basis: GEMA and SACEM members. Rounding differences possible.

Verypositive
positive
Very

Somewhatpositive
positive
Somewhat

138

ASSESSMENT OF AI
USE IN RECORDING

The use of AI in the recording, editing, mixing and mastering of music is assessed
positively by a total of 29% of the questioned GEMA/SACEM members. In the agegroups of people younger than 25 and up to 34 years, the use is viewed positively by
36% or 35%. In total, about 32% of members assess AI in recording etc. negatively,
with a further 34% of the members assessing its use to be both positive and negative.

”How would you assess the use of AI inrecording/editing/mixing/mastering of music?”
36%

26%

24%

NEGATIVE 32 %38%

POSITIVE 29 %
36%
34%

35%

7%
9%

32%
8%

22%
16%

15%

30%

7%

Very
negative

GOLDMEDIA

Somewhat
negative

Both
Somewhat
positive
positiveandnegativeVery
positive

Youngerthan 25
years

8%

26%
5%

Verypositive
positive
Very
Somewhatpositive
positive
Somewhat

25%

23%

22%

21%

25-34
years

35-44
years

45-54
years

55 yearsor older5%

No answer

30%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,671; Basis: GEMA and SACEM members. Rounding differences possible.

139

ASSESSMENT OF AI
USE IN SUPPORTINGASPECTSThe use of AI in supporting aspects of the music sector (e.g. in marketing, promotion,
artwork, distribution etc.) is assessed most positively of all AI uses. A total of 35% of
the questioned GEMA/SACEM members rate AI use in this segment to be positive,
while only 25% rate it negatively. A third of all members assess the use to havepositive as well as negative aspects. In the age groups of people younger than 25 andup to 34 years, the use is viewed positively by almost half of the members (45/46%).

”And how would you assess the use of AI in supporting aspects of the music sector(marketing, promotion, artwork, social media, distribution etc.)?”
29%

18%

28%

NEGATIVE 25 %45%

POSITIVE 35 %

46%
12%

33%

45%
14%

38%
34%
11%

27%

9%

30%
5%
Verypositive
positive
Very

13%

34%

12%
8%

Very
Somewhat
negative negative

GOLDMEDIA

Both
Somewhat
positive
positiveandnegativeVery
positive

32%

28%

7%

No answer

Youngerthan 25
years

25-34
years

35-44
years

Somewhatpositive
positive
Somewhat
25%

25%

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,653; Basis: GEMA and SACEM members. Rounding differences possible.

140

ASSESSMENT OF AI
USE BY AGE

The younger the members of GEMA/SACEM are, the more likely they are to assess AI
use in the music sector more positively. The comparison between the average (total)of survey participants and those participants younger than 35 shows the difference inassessment, where the younger members assess AI use more positively in every areaof the music sector.

”How would you assess the use of AI in the music sector and in creation…
…in general…in creative
aspects

35%
45%…in recording/editing/mixing/mastering

32%
56%

28%

…in supporting
aspects*

25%

20%

51%
31%
34%

34%

33%

35%

35%

Youngerthan 35

Total

51%
42%

31%

33%
29%

GOLDMEDIA

10%

13%

10%

14%

Total

Youngerthan 35

Total

Youngerthan 35

Total

46%

Youngerthan 35

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,771; 14,489; 14,671; 14,653; Basis: GEMA and SACEM members. Rounding differences possible.
Difference to 100% = No answer (3%). *marketing, promotion, artwork, social media, distribution etc.

141

USE OF AI:
AI GEMA
MEMBERS

40% of GEMA members have used AI technologies in their work with music andcreation in general, while 59% have not. Out of the members, all age groups up to 44
years show high rates of AI use of about 57 to 62%. Of the members in the age groupof 45 to 54 years almost half (47%) have used AI before. Those members aged 55
years or older show AI use of nearly one-third (29%).

”Have you used AI technologies in your work with music and creation in general?”

40%

Yes

38%

41%

52%
70%

40%

No
Noanswer
answer
No
No

59%
No

60%

62%

57%

Yes
Yes
47%
29%

Total
GOLDMEDIA

Younger than
25 years

25-34 years

35-44 years

45-54 years

55 years orolder

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=5,689; Basis: GEMA members. Rounding differences possible. Difference to 100% = No answer.

142

USE OF AI: GEMAMEMBERS BY AGE

In total, those GEMA members who use or have used AI in their work with music orcreation in general mostly use it in music production (editing/mixing/mastering;19%). In the age group of members 25 years and younger, AI has mostly been used insupporting aspects like marketing, promotion and distribution (32%). AI as acontribution to their creative activity with music is mostly used by members of theage group 25 to 34 years (28%).

”Have you used AI technologies in your work with music and creation in general?”Yes, in my creative activity with music

Yes, in production

Yes, in supporting aspects (e.g. marketing)

62%

60%

Yes, in other aspects

57%
47%

32%

40%

28%
25%

19%
13%

13%

11%

25%
20%

19%

Total
GOLDMEDIA

27% 27%

24%

22%

17%

14%

15%

29%

10%

Younger than 25 years

15%

14% 14%
9%25-34 years

35-44 years

45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=5,689; Basis: SACEM members. Rounding differences possible.

7%

7%55 years or older
143

USE OF AI: SACEM
MEMBERS

31% of SACEM members have used AI technologies in their work with music andcreation in general, while 68% have not. The members within the age group younger
than 25 years show the highest AI usage rate of about 48%. With rising age, AI use of
the questioned SACEM members declines markedly. Of those members aged 55 years
or older, 21% have used AI before.

”Have you used AI technologies in your work with music and creation in general?”

51%

Yes

55%

31%

59%

64%
78%
No
Noanswer
answer
No
No
Yes
Yes

68%
No

48%

43%

39%

35%

21%

Total
GOLDMEDIA

Younger than
25 years

25-34 years

35-44 years

45-54 years

55 years orolder

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=9,106; Basis: SACEM members. Rounding differences possible. Difference to 100% = No answer.

144

USE OF AI: SACEM
MEMBERS BY AGE

Throughout the age groups of the questioned SACEM members, AI technologies aremostly used in music production (editing/mixing/mastering). Only in the age group of
members 35 to 44 years has AI mostly been used in other aspects of work with musicor creation in general (20%). AI as a contribution to their creative activity with music ismostly used by members of the age group 25 years and younger as well as the agegroup of 25 to 34 years (15% each).

”Have you used AI technologies in your work with music and creation in general?”Yes, in my creative activity with music

Yes, in production

46%

Yes, in supporting aspects (e.g. marketing)

45%

32%

40%

Yes, in other aspects

34%

20%
15%
10%

12%

12%

13% 13%15%

17% 17%

15%

15%
12%

22%

16%
11%

9%

14%

13%

13%

9%

8%

8%

8%
3%

Total
GOLDMEDIA

Younger than 25 years

25-34 years

35-44 years

45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=9,106; Basis: SACEM members. Rounding differences possible.

55 years or older
145

COPYRIGHT OF AI
INPUT

The majority of the questioned GEMA/SACEM members (90%) agree that copyrightholders must be asked for permission when their works are used as input for AI
systems. On the other hand, only about 5% of the questioned members disagree tosome extent. High agreement rates to the statement of about 86 to 91% are seen
throughout all age groups.

”Copyright holders must be asked for permission when their works are used as input for AI systems.”
5%

3%

89%

DISAGREE 5%91%

AGREE 90%
80%

86%

72%

89%

88%

90%

91%

77%

77%

80%

83%

Fully
Fullyagree
agree
Somewhatagree
agree
Somewhat2%
Fully
disagreeGOLDMEDIA

3%

4%

10%
2%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

14%

12%

12%

10%

8%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 years orolder

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,774; Basis: GEMA and SACEM members. Rounding differences possible.

146

COMMERCIALINVOLVEMENT OF
COPYRIGHT
HOLDERS

90% of the questioned GEMA/SACEM members agree that copyright holders must be
involved commercially when their works are used as input for AI systems, while intotal only about 4% of the questioned members disagree to some extent. Throughout
all age groups, there are high agreement rates of about 82 to 92%, while theyoungest age group shows the lowest and the oldest age group the highest
agreement rate.

”Copyright holders must be involved commercially when their works are used as input for AI systems.”
5%

3%

89%

DISAGREE 4%93%

AGREE 90%
79%

82%

63%

87%

88%

90%

92%

71%

75%

79%

83%

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

1%
Fully
disagreeGOLDMEDIA

2%

4%

11%
2%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

19%

16%

13%

11%

9%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,654; Basis: GEMA and SACEM members. Rounding differences possible.

147

PERSONAL RIGHTSOF COPYRIGHTHOLDERS

Almost all of the questioned GEMA/SACEM members (95%) agree that copyrightholders must have the possibility to take action against infringement of their personal
rights by AI systems (e.g. deepfakes or voice cloning). Only about 1% of thequestioned members disagree to some extent. Throughout all age groups, there arehigh agreement rates of about 93 to 96%, while the youngest age group shows thelowest and the oldest age group the highest agreement rate.

”Copyright holders must have the possibility to take action against infringementof their personal rights by AI systems (e.g. deepfakes or voice cloning).”
2%

0%

94%

DISAGREE 1%

98%

AGREE 95%
88%

93%

94%

94%

95%

96%

80%

85%

86%

87%

89%

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

1%
Fully
disagreeGOLDMEDIA

1%

2%

7%

1%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

12%

9%

8%

8%

7%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,724; Basis: GEMA and SACEM members. Rounding differences possible.

148HANDLING OFTRAINING DATA

95% of the questioned GEMA/SACEM members agree that AI providers should be
obliged to disclose when they use copyrighted works as ‘training data‘. Only about
2% disagree with this statement. Throughout all age groups, there are highagreement rates of about 92 to 95%, while the youngest age group shows the lowest
and the oldest age groups the highest agreement rates.

”AI providers should be obliged to disclose when they use copyrighted works as ‘training data‘.”
3%

2%

94%

DISAGREE 2%

95%

AGREE 95%
85%

92%

94%

94%

95%

95%

75%

83%

83%

85%

87%

Agree
Fully agree
agree
Fully
Somewhat agree
agree
Somewhat1%
Fully
disagreeGOLDMEDIA

1%

2%

9%
1%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree17%
Youngerthan 25
years

11%

11%

10%

8%

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,710; Basis: GEMA and SACEM members. Rounding differences possible.

149

IDENTIFICATION OF
AI WORKOut of all questioned GEMA/SACEM members, 89% agree that AI-generated music
tracks and other types of works should be identified as such, while 5% neither agree
nor disagree and a further 4% disagree to some extent. Among the age groups, theyoungest age group shows the lowest agreement rate of 82% and the oldest age
group the highest agreement rate of 91%.

”AI-generated music tracks and other types of works should be identified as such.”
4%

5%

88%

DISAGREE 4%89%

AGREE 89%
82%

79%

70%

85%

86%

88%

71%

76%

79%

91%

83%

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

2%
Fully
disagreeGOLDMEDIA

3%

5%

9%
2%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

12%

14%

10%

9%

8%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,740; Basis: GEMA and SACEM members. Rounding differences possible.

150

POLITICALIMPLICATIONSOf all questioned GEMA/SACEM members, 93% agree that policymakers should pay
more attention to the challenges related to AI and copyright. On the other hand, only
about 2% of the questioned members disagree to some extent, while 3% neither
agree nor disagree. All age groups show agreement rates of 92 or 93%.

”Policymakers should pay more attention to the challenges related to AI and copyright.”
2%

2%

93%

DISAGREE 2%92%

AGREE 93%
83%

92%

93%

93%

93%

93%

75%

79%

82%

84%

84%

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

1%
Fully
disagreeGOLDMEDIA

1%

3%

10%
2%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

17%

14%

11%

10%

9%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,737; Basis: GEMA and SACEM members. Rounding differences possible.

151

AI SUPPORT IN
CREATIVE PROCESSES

Asked whether AI technology can support the human creative process, the answers of
the questioned GEMA and SACEM members are quite balanced. While
38% agree with this statement, almost as many (31%) neither agree nor disagree. A
further 28% disagree with the statement that AI can support the human creative
process. Looking at the age distribution, the youngest age groups agree proportionallyhighly with 55 and 53%, while the oldest age group only agrees with a share of 29%.

”AI technology can support the human creative process”
34%

19%

33%

DISAGREE 28%45%

AGREE 38%

55%
27%

31%
14%

14%

21%

GOLDMEDIA

27%

46%
21%

Agree

39%
17%

29%
11%

16%
2%

Fully
disagree53%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

28%

27%

25%

21%

18%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,770; Basis: GEMA and SACEM members. Rounding differences possible.

Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

152

NEW FORMS OF
CREATIVITY
THROUGH AI

The more generalised statement, that AI can open up new forms of creativity, gainedslightly more agreement from GEMA/SACEM members than when asked about AI as
providing support for human creativity. Here, 43% of questioned members agree,
while 29% disagree. The age distribution again shows that the younger the members
are, the more likely they are to agree with the statement.

”AI can open up new forms of creativity.”
30%

26%

42%

DISAGREE 29%

43%

AGREE 43%

58%
26%

26%
14%

15%

GOLDMEDIA

26%

27%

51%
21%

44%
17%

35%
11%

16%

32%

30%

30%

27%

24%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor older3%
Fully
disagree56%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,702; Basis: GEMA and SACEM members. Rounding differences possible.

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

153

AI‘S ECONOMIC
POTENTIAL

42% of the questioned GEMA/SACEM members agree that AI technology in the musicindustry has great economic potential. About one fourth of the members neither
agree not disagree with this statement and afurther 22% disagree to some extent. In
the youngest age group, more than half (53%) think that AI has great economic
potential, while 39% of the members aged 55 years and older agree.

”In principle, AI technology in the music industry has great economic potential.”
23%

19%

39%

DISAGREE 22%46%

AGREE 42%

53%
24%

25%
10%

Fully
disagreeGOLDMEDIA

11%

24%

17%

11%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree28%

Youngerthan 25
years

46%

44%

43%

23%

21%

19%

14%

23%

24%

23%

25%

25-34
years

35-44
years

45-54
years

55 yearsor older39%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,738; Basis: GEMA and SACEM members. Rounding differences possible.

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

154

AI MUSIC VS.
HUMAN-MADE
MUSIC

Only 26% of the questioned GEMA and SACEM members believe that music made byhumans is increasingly being replaced by AI music, while the majority of 38% do notthink that AI music will replace human-made music.
The younger the members are, the less likely they are to think that AI music will
replace human-made music.

”Music made by humans is increasingly being replaced by AI music.”
36%

40%

26%

DISAGREE 38%

25%

AGREE 26%

Agree

26%
12%

Fully
disagreeGOLDMEDIA

23%

19%
7%

13%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

28%

20%

22%

24%

26%

6%

5%

6%

8%

14%

17%

18%

18%

21%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor older7%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,760; Basis: GEMA and SACEM members. Rounding differences possible.

Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

155

AI MUSICCOMPETITION

Even though most of the questioned GEMA and SACEM members do not believe thatmusic made by humans is increasingly being replaced by AI music, 71% of themembers believe that the use of AI in music could lead to music creators no longer
being able to make a living from their work. About 11% disagree and do not believethat AI music could lead to personal financial losses. The older the survey participants
were, the more they believed that AI will threaten their financial situation.

”The use of AI in music could lead to music creators no longer being able to make a living from their work.”
11%

11%

71%

DISAGREE 11%71%

AGREE 71%

59%
41%
38%

30%

3%
Fully
disagreeGOLDMEDIA

8%

62%

36%

67%

37%

71%

42%

76%

44%
Agree
Fully agree
Somewhat agree15%3%Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

21%

26%

30%

29%

32%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,730; Basis: GEMA and SACEM members. Rounding differences possible.

156

VISIBILITY ISSUESTHROUGH AI

Of the questioned GEMA/SACEM members, 72% agree that policymakers should pay
more attention to the challenges related to AI and copyright. On the other hand, only
about 5% of the questioned members disagree to some extent, while 9% neither
agree nor disagree. All age groups show similar agreement rates of 69 to 73%.

”Due to the increase in AI-generated works, issues of visibility and discoverabilityof songs on streaming platforms are becoming increasingly important.”
6%

3%

67%

DISAGREE 5%79%

AGREE 72%

69%

43%

38%

72%

71%

40%

40%

69%

43%

73%

45%

Agree
Fully
Fully agree
agree

29%

Somewhat
Somewhat agree
agree

2%
Fully
disagreeGOLDMEDIA

3%

9%

14%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

31%

31%

31%

27%

28%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,725; Basis: GEMA and SACEM members. Rounding differences possible.

157

DEMAND FOR
TRANSPARENCY

Most of the questioned GEMA/SACEM members (89%) agree that criteria for creating
playlists as well as music recommendations based on AI/algorithms must become
more transparent. Only about 2% disagree with this statement to some extent. Highagreement rates to the statement of about 84 to 91% are seen throughout the agegroups.

”Criteria for creating playlists as well as music recommendations
based on AI/algorithms must become more transparent.”
1%

3%

90%

DISAGREE 2%87%

AGREE 89%
84%

86%

89%

89%

91%

59%

64%

67%

71%

67%
53%

Agree
Fully
Fully agree
agree

22%
1%
Fully
disagreeGOLDMEDIA

2%

4%

Somewhat
Somewhat agree
agree
5%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

30%

28%

25%

22%

20%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,722; Basis: GEMA and SACEM members. Rounding differences possible.

158

PROMOTION OF
HUMAN-MADE
MUSIC

88% of the questioned GEMA/SACEM members agree that music made by humans
should be promoted on streaming platforms. About 5% of the members neither agree
nor disagree with this statement and a further 3% disagree to some extent.
Throughout the age groups, similar rates of agreement from 86 to 90% can be found.

”Music made by humans should be promoted on streaming platforms.”
3%

3%

89%

DISAGREE 3%87%

AGREE 88%
87%

86%

88%

86%

72%

68%

73%

73%

90%

74%

76%

Agree
Fully
Fully agree
agree
Somewhat
Somewhat agree
agree

14%
1%
Fully
disagreeGOLDMEDIA

2%

5%

3%

Somewhat Neither Somewhat Fully agree No answer
disagree agree nor
agree
disagree

15%

18%

15%

13%

13%

Youngerthan 25
years

25-34
years

35-44
years

45-54
years

55 yearsor olderSource: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,730; Basis: GEMA and SACEM members. Rounding differences possible.

159

SOLO OR SUPPORTEDACTIVITIES

18% of the questioned GEMA/SACEM members are working with the support of alabel, publisher, manager or others, while the majority of 78% are working solo. Out of
those 18% working with external partners, most of them are supported in therecording, editing, mixing and mastering process (61%), in distribution (56%) and in
marketing activities (47%).

”As a music creator, are you working solo (selfproducing) or with the support of a label, apublisher, a manager or others?”
I have a label / publisher /manager / others handle
things for me
18%

78%

I am working solo
GOLDMEDIA”You said you are not working solo. In which areas
do you have support from an external partner?”

Recording, Editing, Mixing, Mastering

61%

Distribution

56%
47%

Marketing activities

Creation of promo content

19%

Composition, Text writing, Creative process

17%

Engaging fans, Expanding the fanbase

14%

Other

10%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=14,358 (left), 2,544 (right); Basis: GEMA and SACEM members.
Rounding differences possible. Difference to 100% = No answer (4%).

160

SUPPORT AND
ADOPTION OF AI

The graph shows the comparison between current external AI support and anticipated AI adoption
in various creative areas. At the highest rate, 61% of GEMA/SACEM members currently receive
external support in recording (etc.), while 58% expect AI adoption in this field. 56% of members havesupport in distribution and 41% expect further AI adoption there. Notably, for creating promo
content, there is a gap between 19% current support versus 55% expected AI adoption. The trend issimilar in composition (etc.) where there is 17% external support, with 63% expecting AI adoption.

”In which areas do you have support by an external partner?
And in your opinion, in what areas of creation will AI be most likely adopted?”
In which areas do you have support
from an external partner?

In your opinion, in what areas of creation
will AI be most likely adopted?
61%

Recording, Editing, Mixing, Mastering

58%
56%

Distribution

41%
47%
49%

Marketing activities
19%

Creation of promo content

55%
17%

Composition, Text writing, Creative process

63%
14%

Engaging fans, Expanding the fanbase

Other
GOLDMEDIA

48%
10%
8%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=2,544; 14,769; Basis: GEMA and SACEM members. Rounding differences possible.

161

APPENDIX
Additional Survey Results
Dubbing/Subtitling:
Additional Results
List of Sources

P I C TAnower
U R E : MUnsplashIDJOURNEY
Photo by Shabu

SACEM SENIORITY AND STATUS”What is your age? What is your seniority at SACEM?
And what is your SACEM status?”
Younger than 25 years
25-34 years
55 years or older
1%28%More than 20 years

Less than 3 years

22%

Full member

25%

Professional
member53%

Member

16%

19%

29%

23%
25%

28%

45-54 years

GOLDMEDIA

32%
35-44 years

10 to 20 years

3 to 10 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=254; (left); 215 (right); Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

163

SOLO OR SUPPORTED ACTIVITIES”As an author, are you working solo or with support
from an agency, studio…?”
I have an agency/studio/
others handle things for me”You said you are not working solo. In which areas
do you have support from an external partner?”

Translation, adaptation

56%

10%
Other

31%

Recording, editing

Administrative or legal management
90%

Commercial prospecting

19%

13%

6%

I am working solo

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=246 (left), 16 (right); Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.

164

USE OF AI”Have you used AI technologies in your workwith dubbing and subtitling and creation in general?”

Yes
18%

81%

No

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

165

USE OF AI BY APPLICATION AREA
”Have you used AI technologies in your work with music and creation in general?”Yes, in voice recognition

Yes, in automated subtitles generation

Yes, in commercial prospection or administrative management

Yes, in other aspects

32%

Yes, in atleast one way

26%

23%

18%

17%

8%

0%

6%

7%

7%
5%

4%
3%

3%

2%
1%
Total

GOLDMEDIA

6%
4%
1%

0%

0%

0%

0%

Younger than 25 years

0%0%25-34 years

1%0%35-44 years

1%0%45-54 years

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

0%

55 years or older

166

ADOPTION OF AI”In your opinion, in what areas of creation will AI be most likely adopted?”
In automated subtitles generation

80%

In the translation process76%

In lip syncing

73%

In voice recognition

58%

In the adaptation process

41%

The adoption of AI in dubbing
and subtitling will generally be limited
Other

GOLDMEDIA

11%4%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.

167

ASSESSMENT OF AI USE IN CREATION”How would you assess the use of AI in the music sector and in creation in general?”
NEGATIVE 81%

POSITIVE 0%

60%

21%

Very negative

GOLDMEDIA

Somewhat negative

18%

Both positive and negative0%0%Somewhat positive

Very positive

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

168

FREQUENCY AND PLANNING OF AI
USE IN DUBBING AND SUBTITLING”How often do you use AI technologies in yourdubbing and subtitling process?”

Always or almost always

6%

Quite frequently

20%

Quite rarely46%”Do you plan to continue using AI in yourdubbing and subtitling activity ?”

37%
23%

I have only tried it once

11%

23%
Total

GOLDMEDIA

20%

No,
definitely notNo,probably not

Yes,
maybe

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=35; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Yes,definitely

169

FREQUENCY AND PLANNING OF AI
USE IN SUPPORTING ACTIVITIES”How often do you use AI technologies insupporting aspects of your activity (commercial
prospection, administration etc.)?”Quite often”Do you plan to continue using AI in supporting
aspects like marketing, promotion, art work,social media, administration etc.?”

50%

50%

Quite rarely

50%

50%
0%
Total

GOLDMEDIA

No,
definitely not0%No,
probably not

Yes,
maybe

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=2; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Yes,definitely

170

COPYRIGHT HOLDERS'PERMISSION”Copyright holders must be asked for permission
when their works are used as input for AI systems.”
DISAGREE 2%

AGREE 96%
94%

GOLDMEDIA

1%

1%

2%

2%

Fully disagree

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

171

COPYRIGHT HOLDERS'COMMERCIAL INVOLVEMENT”Copyright holders must benefit commerciallywhen their works are used as input for AI systems.”
DISAGREE 2%

AGREE 97%

91%

GOLDMEDIA

1%

1%

1%

Fully disagree

Somewhat disagree

Neither agree nor disagree

6%
Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

172

COPYRIGHTINFRINGEMENT”Copyright holders must have the possibility to take action against infringementof their personal rights by AI systems (e.g. deepfakes or voice cloning).”
DISAGREE 0%

AGREE 100%
98%

GOLDMEDIA

0%

0%

0%

2%

Fully disagree

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=254; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

173

TRANSPARENCY WITHTRAINING DATA
”AI providers should be obliged to disclose
when they use copyrighted works as ‘training data’.”
DISAGREE 0%

AGREE 100%
97%

GOLDMEDIA

0%

0%

0%

Fully disagree

Somewhat disagree

Neither agree nor disagree3%
Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=252; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

174

IDENTIFICATION OF
AI WORKS”AI-generated works should be identified as such.”
DISAGREE 0%

AGREE 99%
97%

GOLDMEDIA

0%

0%

1%

2%

Fully disagree

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=253; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

175

POLICYMAKERS'OBLIGATION”Policymakers should pay more attention
to the challenges related to AI and copyright.”
DISAGREE 0%

AGREE 99%
97%

GOLDMEDIA

0%

0%

1%

2%

Fully disagree

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=252; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

176

AI SUPPORT IN
CREATIVE PROCESSES”AI technology can support the human creative process.”
DISAGREE 44%

AGREE 17%
36%

28%

16%

13%

4%

Fully disagree

GOLDMEDIA

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

177

AI FOR MORE
CREATIVITY”AI can open up new forms of creativity.”
DISAGREE 49%

AGREE 20%
28%

29%

21%
16%

4%

Fully disagree

GOLDMEDIA

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

178

AI SUPPORT IN
CREATIVE PROCESSES”In principle, AI technology in the creative industry has great economic potential.”
DISAGREE 26%

AGREE 37%
25%
21%
16%

GOLDMEDIA

13%

13%

Fully disagree

Somewhat disagree

Neither agree nor disagree

Somewhat agree

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=255; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

Fully agree

179

POSSIBLE AI USE”Can you imagine using AI for your work with dubbing and subtitling in the future?”
NO 84%YES 5%

44%
40%

5%
0%
No, definitely not

GOLDMEDIA

No, probably not

Yes, maybe

Yes, definitely

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=207; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

180

CONTRIBUTION OF AI IN
CREATIVE WORK
”On average, what would you say the creative
contribution of AI to your dubbing and subtitling amounts to?”
79%

18%

3%
Less than 1%
GOLDMEDIA

1-24%

25-49%

0%0%0%50-74%

75-99%

100%

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=33; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.
Difference to 100% = No answer.

181

OPPORTUNITIESAND RISKS OF AI”All in all, do you think the opportunities outweigh the risks when it comes to AI
in music and creation in general or do the risks outweigh the opportunities?”
The opportunities outweigh the risks
About the same
2%4%

94%
The risks outweigh the opportunities

GOLDMEDIA

Source: Goldmedia survey on behalf of GEMA and SACEM 2023, n=239; Basis: SACEM Dubbing/Subtitling Authors. Rounding differences possible.

182

APPENDIX
Additional Survey Results
Dubbing/Subtitling:
Additional Results
List of Sources

P I C TAnower
U R E : MUnsplashIDJOURNEY
Photo by Shabu

SOURCES▪ Aguiar/Waldfogel (2018): Platforms, Promotion, and Product Discovery: Evidence from Spotify Playlists, in JRC Working Papers on Digital Economy(04/2018), https://econpapers.repec.org/paper/iptdecwpa/2018-04.htm▪ Abrams, C. (2023): AI Music, explained with Grimes and Spotify‘s CEO. Online: https://www.youtube.com/watch?v=Ey75Xw_ikqs▪ AudioSparx: Pricing and Licensing Information. Online: https://www.audiosparx.com/sa/client/options/pricing.cfm▪ Bay Area Times (2023): OpenAI revenue at $1.3B ARR, from $28M in 2022. Online: https://www.bayareatimes.com/p/openai-revenue-13b-arr-28m-2022▪ Bensamoun, Alexandra (2023): To be or not to be…transparent - Pour un principe matriciel de transparence dans l’environnement numérique. Online:
https://www.dalloz-actualite.fr/node/ito-be-or-not-be-transparenti-pour-un-principe-matriciel-de-transparence-dans-l-environnement-n▪ Bloomberg (2023): Generative AI to Become a $1.3 Trillion Market by 2032, Research Finds. Online:

https://www.bloomberg.com/company/press/generative-ai-to-become-a-1-3-trillion-market-by-2032-research-finds/▪ Bomke, L. (2023): Acht KI-Begriffe, die Ihnen auch im Alltag begegnen. Online: https://www.handelsblatt.com/technik/ki/glossar-acht-ki-begriffe-die-ihnenauch-im-alltag-begegnen/29431606.html▪ Brandt, K. (2023): TikTok, Leonardo da Vinci, and the AI-driven Future of Creativity. Online: https://medium.com/source-and-buggy/tiktok-leonardo-davinci-and-the-ai-driven-future-of-creativity-2afc0e8c8213▪ Brunotts, K. (2023): Will AI Replace Musicians? Online: https://blog.bpmmusic.io/news/will-ai-replace-musicians/▪ Center for Research on Foundation Models (CRFM) (2023): The Foundation Model Transparency Index. A comprehensive assessment of the transparency offoundation model developers. Online: https://crfm.stanford.edu/fmti/▪ Centre national de la musique (CNM) (2021): Study: Stream manipulation. Online: https://cnm.fr/wp-content/uploads/2023/01/2023_-CNM-_Manipulationdes-streams_ENG.pdf▪ CISAC (2023): Global Creators and Performers Demand Creative Rights in AI Proliferation. Summary. An Open Letter to policy makers on Artificial
Intelligence. https://www.cisac.org/Newsroom/articles/global-creators-and-performers-demand-creative-rights-ai-proliferation
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SOURCES▪ Copet, J., Kreuk, F., Gat, I., Remez, T., Kant, D., Synnaeve, G., Adi, Y. & Défossez, A. (2023): Simple and Controllable Music Generation. Online:
https://arxiv.org/pdf/2306.05284.pdfCourt of Justice of the European Union (CJEU) (2019): Reports of Cases. C-683/17. Online: https://eurlex.europa.eu/legal-content/en/TXT/?uri=CELEX:62017CJ0683▪ Coscarelli, J. (2023): An A.I. Hit of Fake ‘Drake‘ and ‘The Weeknd‘ Rattles the Music World. Online: https://www.nytimes.com/2023/04/19/arts/music/ai-drakethe-weeknd-fake.html▪ Deloitte. (2021): Sector Briefing | KI in der Musikindustrie – Eine Bestandsaufnahme. Online:
https://www2.deloitte.com/content/dam/Deloitte/de/Documents/about-deloitte/Sector-Briefing-KI-in-der-Musikindustrie.pdf▪ DeLucia, S.-A. (2023): Foundation Models: The Building Blocks of Next-Gen AI. Online: https://arize.com/blog-course/foundation-models-ai/▪ Denk, T. I., Takagi, Y., Matsuyama, T., Agostinelli, A., Nakai, T., Frank, C. & Nishimoto, S. (2023): Brain2Music: Reconstructing Music from Human Brain
Activity. Online: https://google-research.github.io/seanet/brain2music/▪ DIFFUS (2023): Grimes veröffentlicht Statement zu AI-generierten Songs. Online: https://diffusmag.de/p/grimes-veroeffentlicht-statement-zu-aigenerierten-songs/▪ Dredge, S. (2023): Google is now letting people play with its MusicLM AI tool. Online: https://musically.com/2023/05/11/google-is-now-letting-people-playwith-its-musiclm-ai-tool/▪ Edwards, D. & McGlynn, D. (2023): Creative AI for artists: Track 80+ tools. Online: https://www.waterandmusic.com/data/creative-ai-for-artists/▪ Efrati, A. (2023): OpenAI‘s Revenue Crossed $1.3 Billion Annualized Rate, CEO Tells Staff. Online: https://www.theinformation.com/articles/openais-revenuecrossed-1-3-billion-annualized-rate-ceo-tells-staff▪ European Parliament (2023): EU AI Act: first regulation on artificial intelligence. Online:
https://www.europarl.europa.eu/news/en/headlines/society/20230601STO93804/eu-ai-act-first-regulation-on-artificial-intelligence

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SOURCES▪ Frąckiewicz, M. (2023): AI in Music Distribution: Revolutionizing the Business of Sound. Online: https://ts2.pl/en/ai-in-music-distribution-revolutionizing-thebusiness-of-sound/#gsc.tab=0▪ Future Market Insight (2023): Generative AI Market Outlook (2023 to 2033). Online: https://www.futuremarketinsights.com/reports/generative-ai-market▪ GEMA: Privatkopie. ZUKUNFT DER PRIVATKOPIE. Online: https://gema-politik.de/privatkopie/▪ Global Market Insights (2023): Generative AI Market Size. Online: https://www.gminsights.com/industry-analysis/generative-ai-market▪ Goldmedia on behalf of GEMA (2022): Music streaming in Germany. Online: https://www.gema.de/en/news/streaming▪ Google DeepMind (2023): Transforming the future of music creation. Online: https://www.globenewswire.com/en/newsrelease/2023/4/3/2639706/0/en/Generative-AI-in-Music-Market-to-Reach-Valuation-of-USD-2-6-Bn-at-CAGR-of-28-6-by-2032.html▪ Grynbaum; M. M. & Mac, R. (2023): The Times Sues OpenAI and Microsoft Over A.I. Use of Copyrighted Work. Online:
https://www.nytimes.com/2023/12/27/business/media/new-york-times-open-ai-microsoft-lawsuit.html▪ Heumann, P. (2023): Wie eine KI die Arbeit von Synchronsprechern übernimmt. Online: https://www.handelsblatt.com/technik/it-internet/deepdub-wieeine-ki-die-arbeit-von-synchronsprechern-uebernimmt/29252038.html▪ Holland, M. (2023): Menschliche Beteiligung nötig: Kein US-Copyright für KI-generiertes Kunstwerk. Online: https://www.heise.de/news/US-Gericht-KeinCopyright-fuer-KI-generiertes-Kunstwerk-9268699.html▪ Hoover, A. (2023): AI-Generated Music Is About to Flood Streaming Platforms. Online: https://www.wired.com/story/ai-generated-music-streaming-servicescopyright/▪ Hovsepyan, T., Mosinyan, A. Kotolyan, A. (2021): How AI Is Transforming Music Streaming Services. Online: https://plat.ai/blog/how-artificial-intelligence-istransforming-music-streaming-services/▪ IBM (/): Was ist maschinelles lernen? Online: https://www.ibm.com/de-de/topics/machine-learning

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SOURCES▪ IBM (/): What is artificial intelligence?. Online: https://www.ibm.com/topics/artificial-intelligence▪ IFPI (2023): Global Music Report 2023. Online: https://www.ifpi.org/wp-content/uploads/2020/03/Global_Music_Report_2023_State_of_the_Industry.pdf▪ Imarc group (2023): Generative AI Market Report by Offering Type. Online: https://www.imarcgroup.com/generative-ai-market▪ Initiative Urheberrecht (2023): Generative AI: Copyright status and recommendations for action. Online: https://urheber.info/media/pages/diskurs/currentiu-position-paper-on-generative-ai/3c6ba578f8-1697140215/230919_iu_position_ai-act_september2023_en.pdf▪ IOT Analytics (2023): The leading generative AI companies. Online: https://iot-analytics.com/leading-generative-ai-companies/▪ ISCC - Content Codes (2022): A Proposal for a Modern and Open Content-Based Identifie. Online: https://iscc.codes/#motivation▪ Johnson, A. (2023): Spotify Removes ‘Tens Of Thousands‘ Of AI-Generated Songs: Here‘s Why. Online:

https://www.forbes.com/sites/ariannajohnson/2023/05/09/spotify-removes-tens-of-thousands-of-ai-generated-songs-heres-why/?sh=307787104f4a▪ Kersting, K. & Meyer, U. (2018): From Big Data to Big Artificial Intelligence? Algorithmic Challenges and Opportunities of Big Data. Online:
https://link.springer.com/article/10.1007/s13218-017-0523-7▪ Kleinman, Z. (2023): Spotify will not ban AI-made music, says boss. Online: https://www.bbc.com/news/technology-66882414▪ Költzsch, T. (2023): KI-Gallagher beschert Oasis-Fans ein neues Album. Online: https://www.golem.de/news/aisis-ki-gallagher-beschert-oasis-fans-ein-neuesalbum-2304-173809.html▪ Kreutzer, R. & Sirrenberg, M. (2019): Künstliche Intelligenz verstehen. Springer Verlag.
▪ LALAL.AI (2023): Top 10 AI Mixing and Mastering Tools for Musicians. Online: https://www.lalal.ai/blog/best-ai-mixing-mastering-tools▪ LeJarde, A. L. (2023): ‘Feel free to take advantage of my IP!‘: Grimes launches AI music software that generates her voice. Online: https://de.ra.co/news/78932▪ Marconette, J. (2023): Breaking News: Luminate Releases 2023 Midyear Music Report. Online: https://luminatedata.com/blog/breaking-news-luminatereleases-2023-midyear-music-report/

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SOURCES▪ Markets and Markets (2023): Generative AI Market by Offering. Online: https://www.marketsandmarkets.com/Market-Reports/generative-ai-market142870584.html▪ Market Research Future (2023): Generative AI Market. Online: https://www.marketresearchfuture.com/reports/generative-ai-market-11879▪ Market.Us & Globe Newswire (2023): Generative AI in Music Market to Reach Valuation of USD 2.6 Bn at CAGR of 28.6% by 2032. Online:
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SOURCES▪ Sokolov, A. (2023): Large Language Models: US-Autoren verklagen OpenAI wegen Copyright-Verletzung​. Online: https://www.heise.de/news/LargeLanguage-Models-US-Autoren-verklagen-OpenAI-wegen-Copyright-Verletzung-9301736.html▪ S&P Global Market Intelligence/ Patience, N. & Johnston, A. (2023): Generative AI software market to exceed $36bn in aggregate revenues by 2028, with
58% CAGR between 2023 and 2028. Online: https://www.spglobal.com/marketintelligence/en/news-insights/research/generative-ai-software-market-toexceed-36bn-in-aggregate-revenues-by-2028-with-58-cagr-between-2023-and-2028▪ Spotify (2023): SAY WHAT? Spotify Debuts a New AI DJ, Right in Your Pocket. Online: https://newsroom.spotify.com/2023-02-22/spotify-debuts-a-new-aidj-right-in-your-pocket/▪ Stassen, M. (2020): CAN AI-DRIVEN A&R TRANSFORM THE MUSIC BUSINESS? Online: https://www.musicbusinessworldwide.com/can-ai-driven-artransform-the-music-business/▪ Stassen, M. (2023): AI MUSIC STARTUP BOOMY PARTNERS WITH FRAUD DETECTION COMPANY BEATDAPP TO ‘ENSURE THE INTEGRITY‘ OF ITS PLATFORM.
Online: https://www.musicbusinessworldwide.com/ai-music-startup-boomy-partners-with-fraud-detection-company-beatdapp-to-ensure-the-integrity-ofits-platform/▪ Statista Market Insights (2023): Generative AI – Worldwide Market Size. Online: https://www.statista.com/outlook/tmo/artificial-intelligence/generativeai/worldwide#market-size▪ Stieler, W. (2021): Künstliche Intelligenz darf Patente anmelden. Online: https://www.heise.de/hintergrund/Kuenstliche-Intelligenz-darf-Patente-anmelden6154296.html▪ Sunkel, C. (2023): SURVEY FINDS 73% OF MUSIC PRODUCERS BELIEVE ARTIFICIAL INTELLIGENCE WILL REPLACE THEM. Online: https://edm.com/geartech/survey-music-producers-believe-ai-will-replace-them▪ Tencer, D. (2023): BELIEVE HAS DEVELOPED SOFTWARE THAT DETECTS AI-MADE MUSIC WITH 98% ACCURACY. WHAT MIGHT THIS MEAN FOR THE
FUTURE? Online: https://www.musicbusinessworldwide.com/believe-has-developed-its-own-ai-made-music-detector-with-98-accuracy-what-might-thismean-for-the-future1/▪ Tencer, D. (2023): DEEZER IS ‘SUPPORTIVE‘ OF HELPING LABELS BATTLE DELUGE OF AI MUSIC… WHILE ALSO MAKING ITS OWN AI MUSIC FOR ITS ‘ZEN BY
DEEZER‘ APP. Online: https://www.musicbusinessworldwide.com/deezer-is-supportive-of-helping-labels-battle-deluge-of-ai-music-hitting-its-platformwhile-also-making-its-own-ai-music-for-its-zen-by-deezer-app/
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SOURCES▪ TEOSTO (2023): Artificial intelligence in music. Survey report October 2023. Online: https://www.teosto.fi/en/a-third-of-music-authors-are-already-using-ai/▪ THE ASSOCIATED PRESS (2023): What do striking Hollywood writers want? A look at demands. Online: https://apnews.com/article/wga-writers-strikedemands-d403f5b4666f20e2ce3e379bcaef5f2a▪ The Beatles (YouTube Channel) (2023): Now And Then - The Last Beatles Song (Short Film). Online:
https://www.youtube.com/watch?v=APJAQoSCwuA&list=PLeoCcq2T10OL0lPHT-k8RNbmBKH3cRhX9▪ The Beatles (YouTube Channel) (2023): Now And Then (Offical Music Video). Online: https://www.youtube.com/watch?v=Opxhh9Oh3rg▪ TikTok (2023): Warner Music Group & TikTok Announce First-of-its-Kind Expanded Agreement. Online: https://newsroom.tiktok.com/en-us/warner-musicgroup-tiktok-announce-first-of-its-kind-expanded-agreement▪ TuneCore (2023): AI in Music Report. Online: https://www.tunecore.com/ai▪ UNITED STATES DISTRICT COURT (2023): Statement of claim ”Chabon et al v OpenAI”. Online: https://www.heise.de/downloads/18/4/3/0/0/8/7/6/authors-vopenai.pdf▪ Universal music Group (2023): YOUTUBE ANNOUNCES AI MUSIC PRINCIPLES AND LAUNCHES YOUTUBE MUSIC AI INCUBATOR WITH ARTISTS,SONGWRITERS AND PRODUCERS FROM UNIVERSAL MUSIC GROUP. Online: https://www.universalmusic.com/youtube-announces-ai-music-principles-andlaunches-youtube-music-ai-incubator-with-artists-songwriters-and-producers-from-universal-music-group/▪ Weiß, E.-M. (2023): Meta veröffentlicht AudioCraft: Eine Art ChatGPT für Musiker. Online: https://www.heise.de/news/Meta-veroeffentlicht-AudioCraft-EineArt-ChatGPT-fuer-Musiker-9233473.html▪ Wiehle, B. (2023): Beim Musikvideo von Nico Santos hat die KI Regie geführt. Online: https://www.swr3.de/musik/nico-santos-number-1-musikvideo-kichatgpt-102.html▪ Zlatic. T. (2023): AI Music Survey: How 1,500 Music Producers Use AI For Music Production. Online: https://bedroomproducersblog.com/2023/05/30/aimusic-survey/

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A REPORT COMMISSIONED BYCONDUCTED BY

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Prof. Dr. Klaus Goldhammer | Mathias Birkel
Lena Mackuth | Daniel Komma
www.Goldmedia.com

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