Thousands of Australian musicians believe Artificial Intelligence will destroy their ability to make a living, according to large-scale research.
A survey of more than 4200 songwriters and composers from Australia and New Zealand found 82 per cent are concerned the technology will mean they can no longer support themselves by making music.
The survey commissioned by music rights body APRA AMCOS is believed to be the largest yet conducted in the region looking at how the industry is dealing with AI.
"Music is fundamental to how we express ourselves, and how we connect with each other," said Jimmy Barnes in the research released on Monday.
"If we let something 'artificial' take it over - no matter how 'intelligent' that machine is supposed to be - then we will lose part of what it means to be human."
Other big name artists including Bernard Fanning, Peter Garrett, Tina Arena and Clare Bowditch echoed this sentiment, calling for stronger regulation to stop copyright infringement.
"The use of already copyrighted music to train AI to then go on to compose is a major factor for me. I can't see how it is legal or moral," Fanning said.
However, the technology could help grow audiences on streaming platforms and help with songwriting, artists Dami Im and Sophie Payten (aka Gordi) said.
"It can be a great tool to assist in generating new musical ideas," Im said.
More than half (54 per cent) of respondents agreed the technology could help the creative process, with 38 per cent are already using AI in their work.
But two thirds (65 per cent) said the risks of the technology outweighed the opportunities.
The researchers estimated that almost a quarter of the overall income for music creators (worth about $519 million) will be at risk due to generative AI within the next three years.
The musicians were almost unanimous in calling for rules forcing AI companies to disclose when copyrighted music is used to train data.
Award-winning composer and former Go Betweens band member Amanda Brown is currently composing music on strings and piano for a documentary premiering at Adelaide Film Festival.
While AI could do this work, it can never replace the nuances and connections of human-made music, she told AAP.
Brown worries she could be the last of a dying breed of screen composers, as low budget projects opt for AI-generated music.
"It will be really catastrophic for early career and emerging composers, because that's their bread and butter," she said.
Aboriginal and Torres Strait Islander musicians voiced additional concerns, with 89 per cent feeling AI could lead to cultural appropriation, and two-thirds saying the technology makes it harder to protect their cultural rights.
"The rise of AI technology poses significant threats to the cultural and economic wellbeing of all Indigenous communities," said National Aboriginal and Torres Strait Islander Music Office director Leah Flanagan.
No major AI company has asked for permission or paid for the data used to train its platforms, APRA AMCOS says.
It wants policymakers to move faster to protect copyright owners, by implementing European Union-style transparency rules forcing tech companies to disclose what they use to train AI.
"The writing's on the wall about the importance to creators and copyright holders, this is not just having a tantrum, this a life and death moment for our creativity," APRA chair Jenny Morris said.
The survey of APRA AMCOS members was conducted by Berlin-based researchers Goldmedia GmbH.
