This episode focuses on AI, with Tom Collins, who is an associate professor of music engineering technology at the Frost School of Music at the University of Miami.

We discuss how AI tools make music, whether they're a threat to human creatives' jobs, the ways Tom has used AI creatively in his music and the challenges facing copyright.

Tom also tells us about the Music and AI course he teaches, and how he makes sure the assignments are AI proof.

Tom encourages everyone to have a go at using an AI music generator like Suno or Udio, to get first-hand experience of how it works - rather than just listening to hype in the media.

Sarah Henderson is a composer, soprano and cellist preparing to study an MA in composition at the Royal Academy of Music.

Sarah tells Remain Composed about the places she takes inspiration from - ranging from the Bible to a Japanese shopping centre.

Discussing process, Sarah says she enjoys the planning stage and playing around with ideas. She says actually committing notes to the page can feel scary unless she feels her ideas are already well formed.

Sarah recently won Tenebrae's 'Undiscovered Voices' composition competition, which was held to mark their 25th anniversary. Her winning piece, 'Wanderers' was performed by the choir at Wigmore Hall, and will be included on their upcoming album. Sarah tells Remain Composed about the relationship she's been building with the choir.

Philip Stopford is a composer and choral trainer based in Leighton Buzzard. His music has taken him from Truro to New York via Oxford, Canterbury, Belfast and Chester. He gives Remain Composed his thoughts for others looking to build a career in composition.

Philip says 99% of his pieces are settings of sacred texts - and with each work he tries to think about what he wants it to achieve or say. He says that as a composer of church music, he likes to write music which people will actually use in their worship. He says he loves being part of people’s repertoire.

Discussing the limitations on composers, Philip says there are fewer notes than there are balls on a snooker table. But every game of snooker is different, and we haven’t run out of melodies just yet.

Philip tells us the stories behind some of his most well known works like Do Not Be Afraid, which was commissioned for a baptism, and Lully, Lulla, Lullay which was written as a last minute addition to an album.