The longstanding debate between “humanism” and “computationalism” persists in the field of music AI.Latour's Principle of Symmetry,which advocates placing human subjects and non-human objects on an equal footing,has led researchers to recognize that the human-machine relationship transcends a simple subject-object dichotomy.While traditional musical aesthetics often employs the dualistic framework of “autonomy-heteronomy” to conceptualize algorithms in music AI,this study adopts a “humanism-computationalism” continuum as an analytical lens to examine the philosophical stances of different practitioners.Through participatory observation and in-depth interviews conducted in the Department of AI Music and Music Information Technology at the Central Conservatory of Music,this research investigates the positionality of music AI practitioners and its transformation over time.The study identifies two critical points at which Actor-Network Theory (ANT) manifests its interpretation power in music AI: changes in the terminology used by practitioners to describe AI,and their awareness of user adaptivity.These points align with the concepts of “translation” and “quasi-object” proposed by the Paris School,indicating that Latour’s Principle of Symmetry holds methodological potential within the realm of music AI.