The discussion begins with a fundamental observation: artificial intelligence is no longer a future prospect, but an established reality in artistic and professional production. The panel will therefore address practical issues concerning the role of creators, the protection of intellectual property rights, the use of emerging technologies, and the responsibilities involved in creative decision-making. At the heart of the discussion lies the relationship between technological innovation and human creativity, at a time when generative tools are reshaping established practices, professional skills, and production models.

The aim of the event is to shift the focus from abstract predictions to the real-world implications of artificial intelligence, while reaffirming the essential role of people, artistic choices, and professional responsibility in every creative process.

Event Information

December 11, 2026 – 2:30 PM
Triennale Milano – Ground Floor, Spazio Cuore
Free admission with registration

Official Event Page – Triennale Milano

SLAM – International Film Music Festival

The prestigious Tonkünstler-Orchester Niederösterreich performed the nominated pieces live. The ceremony also included speeches from ACOM President Peter Legat, ECSA President Helienne Lindvall, Member of the European Parliament Hannes Heide, and composer Siegfried Friedrich (ACOM).


The ceremony honoured composers of original music for audiovisual works in three categories: “Best Original Film Score”, “Best Score for a Feature Documentary” and “Best Original Music for a Drama Series”.

During the ceremony, the winner of a special additional category was honoured: Patrick Doyle (United Kingdom) was presented with an Outstanding Contribution Award in recognition of his long and distinguished career both as a uniquely gifted film composer and as a committed advocate for the community of film composers.          

The event opened with the screening of a video created in just four hours by director Andrea Traina using artificial intelligence. With a touch of irony, the video portrayed the reactions of various film industry professionals to the impact of this technology.

The discussion was informed by the presentation of a previously unpublished survey conducted by SWG, commissioned by WGI in collaboration with ANAC, 100autori, and AIDAC. Carried out between July 21 and August 4, 2025, the survey involved 363 industry professionals — 51% screenwriters, 17% dubbing and adaptation writers, and 32% directors. Professor Alfredo Valeri presented the findings, which, for the first time, provide a clear picture of how AI is being used in the Italian audiovisual industry.

Among the most significant findings, the survey revealed that one in two creators already uses artificial intelligence tools, although usage patterns vary according to professional roles. Screenwriters tend to favor free, general-purpose AI tools, while directors gravitate toward specialized, dedicated software. The approach remains largely experimental, driven by a learning-by-doing mindset, with only two out of ten professionals qualifying as genuinely proficient users.

The survey also highlighted a generally positive attitude toward AI, accompanied by a strong demand for clear regulations and safeguards. Creators are particularly concerned about the risk of creative homogenization, the loss of originality, and the impact on traditional jobs, especially those of adaptation writers, film editors, composers, and visual effects specialists.

Throughout the panel, speakers emphasized the need for a clear regulatory framework and a permanent forum for dialogue among institutions, professional associations, and industry practitioners. The aim is to ensure fair compensation, transparency, and the ethical use of artificial intelligence.

ACMF Masterclass open to the public and Concert by the Pessoa String Quartet with Rossano Baldini on the piano in the legendary Forum Studios in Rome

Speakers will include Pasquale Catalano, Fabrizio Fornaci, Riccardo Giagni, Stefano Mainetti, Alessandro Molinari, Pivio, Stefano Reali, Kristian Sensini and Giuliano Taviani. Ample space will be dedicated to the production mechanisms that have been radically changing the scene since the pandemic period. Problems and dynamics related to the conception, creation and marketing of applied music in the new contemporary panorama will be illustrated.

The concert is dedicated to the composer, conductor and pianist Leandro Piccioni (1959-2023), a very close collaborator of Ennio Morricone, and will open with the performance of his song “Il punto di Rugiada”, theme of the film of the same name directed by Marco Risi. Also planned is a double tribute to Ryūichi Sakamoto.

Works by composers Paolo Buonvino, Tommy Caputo, Pasquale Catalano, Fabrizio Fornaci, Antonio Fresa, Massimiliano Lazzaretti, Stefano Mainetti, Alessandro Molinari, Ennio Morricone, Leandro Piccioni, Nicola Piovani, Andrea Piras, Pivio & Aldo De Scalzi with Claudio Pacini will be performed, Gianluca Podio, Stefano Reali, Giacomo Rendine, Francesco Ruggiero, Giuseppe Sasso, Dino Scuderi, Kristian Sensini and Lorenzo Tomio.

The volume deals in depth with sound in the audiovisual sector in its technical and expressive aspects, mainly for films and documentaries. Simone Corelli, Stefano Mainetti and Gilberto Martinelli, well-known professionals in the sector, tackle both the production and post-production sides, up to listening to the audience, also dealing with film music. The essay published by Lambda is embellished with a detailed chronology on the scientific and technological progress related to sound, and with original graphics and photographs. It is a work for experts but also for film enthusiasts and students. The preface is by Claudio Strinati.

La colonna sonora di “Grido per un nuovo Rinascimento” manifestazione organizzata con il patrocinio del Ministero dei Beni Culturali, per sollecitare un maggior impegno nel sostenere arte, cultura e spettacolo italiano, da parte delle istituzioni preposte, è stata un avventura eccezionale, letteralmente fuori dal comune, ha dichiarato Stefano Mainetti: “Ho composto parti originali ed orchestrato brani del mio repertorio sinfonico, lavorando fianco a fianco con grandi artisti che mi hanno motivato e spronato con la loro creatività. Il percorso mi ha ricordato da vicino il melodramma Italiano, dove diverse forme d’arte concorrono per produrre un risultato superiore alla somma delle parti. Musicisti, danzatori, attori, visual artists e tutte le categorie dei lavoratori dello spettacolo, in poco più di mezz’ora abbiamo cercato di dare voce, un “Grido”, al comparto dello spettacolo italiano. Una kermesse unica nel suo genere, con la speranza di comunicare a tutti e senza polemiche, le nostre necessità, la nostra passione e la nostra urgenza.”

“E’ un incarico che ho accettato con grande piacere e che mi onora” – ha dichiarato a caldo Mainetti – “sia per il prestigio che il Conservatorio di Santa Cecilia si è guadagnato in Italia e nel mondo, sia per gli illustri Maestri che mi hanno preceduto, nel rispetto dei quali proseguirò l’insegnamento di quest’arte che è sempre stata una mia grande passione”.

Inoltre, sempre Martedì 1° ottobre, ore 11.00 nell’Auditorium ICBS –  ci sarà la Presentazione del concerto ”Un ponte verso il sacro” e il Workshop “Rendering Revolution” di Stefano Mainetti – Istituto Centrale per i Beni Sonori e Audiovisivi – Palazzo Mattei di Giove, via Caetani 32, Roma

The Masterclass will be divided into two parts. The first part will focus on a research thesis that Mainetti developed some time ago entitled “From melody to sound design – evolution of applied music”. The second part will revive the experience of Rendering Revolution, a project of “non-linear music” presented last year at the MAXXI National Museum of Arts of the XXI Century, which was also the subject of the recent online magazine ColonneSonore.net.

«All the plastic arts, painting, sculpture and architecture need space to be realized. Music by its nature is different, it needs time, a beginning and an end. So I wondered if there could be a music system that used space as an added dimension even in music “. With these words Stefano Mainetti, composer and orchestra conductor, illustrated his innovative project: Rendering Revolution.

Il progredire tecnologico, l’uso e le modalità di distribuzione in rete, i nuovi sistemi di organizzazione delle produzioni e distribuzioni cinematografiche, la velocizzazione dei processi di realizzazione, l’impoverimento degli investimenti sono i fattori che creano condizioni insostenibili per dei sani principi creativi che vogliano coniugare tradizione e modernità espressiva.

Nasce quindi il desiderio di recuperare maestria e saggezza liberandosi di meccanismi produttivi estemporanei e nocivi per l’arte della composizione della musica da film. Rimodulando la tradizione, proponendo pianificazioni e programmazione di tempi e spazi certi che nel proteggere le varie fasi, dalla creatività alla realizzazione e alla distribuzione,possano portare in luce l’autorevolezza dei nostri compositori.

Per i suddetti motivi sembra urgente fondare l’ASSOCIAZIONE COMPOSITORI DI MUSICA PER FILM, un’associazione che possa rappresentare e tutelare i propri associati nella loro vita professionale, incentivando regole eque e trasparenti, dalla creazione alla realizzazione, alla gestione del diritto d’autore, promuovendo la diffusione della cultura e della creatività musicale. Ambendo quindi ad assumere il ruolo di importante punto di riferimento per tutti i compositori italiani di musica da film e musica applicata.
Pertanto, il 28 Aprile 2017, nasce ufficialmente il movimento per la difesa e il diritto della musica per film e della musica applicata.

“A Cuor Leggero”, by Riccardo Sinigallia, end title song of the feature film “Italy in a day” by Gabriele Salvatores, to win the Assomusica Award “Ho visto una canzone”. To award the Prize is the jury composed by: Stefano Mainetti, composer and conductor, author of soundtracks, Saturnino, Italian musician, composer and record producer, from the ’91 bass player of Jovanotti, Salmo, rapper, beat maker and writer , SimonLuca, songwriter, composer, music producer, author and screenwriter, Renato Tortarolo, journalist and critic for the Secolo XIX.Awarded this year for the first time, the recognition promoted by Assomusica, Association of Organizers and Producers live music shows, is one of the collateral prizes of the 72st International Film Festival. To be awarded is the original music piece of particular artistic relevance, chosen from the soundtracks of the films of the 72st “Mostra del Cinema di Venezia”.

Awarded this year for the first time, the recognition promoted by Assomusica, Association of Organizers and Producers live music shows, is one of the collateral prizes of the 72st International Film Festival. To be awarded is the original music piece of particular artistic relevance, chosen from the soundtracks of the films of the 72st “Mostra del Cinema di Venezia”.

The recordings took place between the Vatican and the historic Abbey Road studios in London. The assignment of the Classical Brit Awards is scheduled for May 13th. The Pope will have to contend with the young mezzo-soprano Faryl Smith, a highly sought-after fifteen-year-old in the United Kingdom, and the star who emerged from the British version of X-Factor, Rhidian Roberts, both in nominations for winning the main prize along with Blake and Howard Goodall, the latter winner of last year’s edition.

The Chamber Choir of the Philharmonic Academy of Rome (the Vatican’s choir) made their UK debut, and were joined by the Royal Philharmonic Orchestra, composers Simon Boswell, Stefano Mainetti and Nour Eddine, and singer Yasemin Sannino. The only performer not present was the Holy Father himself. Instead, his voice was heard via recordings. The first part of the concert featured Gregorian chant sung by the choir, conducted by Monsignor Pablo Colino, Emeritus Chapel Master for St. Peter’s Basilica. In the second part, six of the new CD’s eight tracks were performed. Simon Boswell and Stefano Mainetti took turns to conduct the combined forces of choir and orchestra. The works combine Gregorian chant, contemporary music from the Western art music tradition, and Middle-Eastern music. Stefano Mainetti and Simon Boswell’s backgrounds in film music composition come through in the lush string textures and repetition of motives. This sound is contrasted with sparse exchanges between different sections of the choir and orchestra and the Pope. Regina Coeli, composed and conducted by Stefano Mainetti, features the voice of Istanbul-born Yasemin Sannino alongside that of the Pope, who first chants in French and later sings. The introduction of Arab elements in Sannino’s line in this work paved the way perfectly for the following piece, Advocata nostra. The performance was a spectacle, with mood lighting on the stage, candles around the altar, and screens on each side, displaying  the Pope during the sections in which he chanted. Classic FM  spoke to Simon Boswell, Stefano Mainetti and Yasemin Sannino after the concert. They all enjoyed the experience of performing the project live in the wonderful acoustic of Westminster Cathedral. It was the first time that all those involved had come together to perform, since the different forces were put together in the Abbey Road Studio, for the recording.

On January 2, 2000, in St. Peter’s Square in Rome, Pope John Paul II received the symbolic first copy of Abba Pater, a CD that sees Him for the first time as the protagonist. In the presence of Vatican Radio Director Giovanni Borgomeo, producers Don Giulio Neroni and Vincent Messina and composers Leonardo De Amicis and Stefano Mainetti, Sony Classical, in his chairman Peter Gelb, announced the release of the first cd combines original music and contemporary arrangements with Papa Wojtyla’s voice while reciting and singing in five different languages. A Vatican Radio production, the official voice of the Pontifical State, and Audiovisual San Paolo, one of the world’s largest religious publishers. The project was designed to commemorate the Jubilee of the Year 2000 and the twenty-year pontificate of Pope John Paul II. Through the use of contemporary music and classical music, Abbà Pater is a “global” project, intended for all music users. In the project, which took two years of work, Father Borromeo controlled the selection of Papal records from the Radio Vatican archive and gave approval to the original compositions and arrangements by Leonardo De Amicis and Stefano Mainetti. Abba Pater is a kind of universal pilgrimage led by the Pontiff himself, through a variety of languages ​​and expressions to the true discovery of the meaning of the Jubilee of the Year 2000. Abbà Pater contains 11 tracks in which the Pontiff addresses universal themes such as charity, forgiveness and reconciliation, with texts mostly drawn from the Bible. “It is very significant that the Vatican has chosen to combine Pope’s messages with contemporary music to reach as many people as possible,” said Peter Gelb, president of the Sony Classical, “and we are proud having the possibility to distribute this product all over the world”.