This feels very much like the way composers are treated on some commercial jobs. Glad to see it is not just the musicians that feel this way. It is an issue that will remain as long as creatives keep taking spots at spec costs to build a real. Creatives need to take a stand and ask to be paid what they are worth. For those that put out quality, that is a real demo fee or payment. For those pretending to be creatives, maybe this is the process they should go through. But either way, your product is judged by what you charge for it so don’t sell yourself short!
Here is an interesting article I found on the all-time best/catchiest jingles – Can’t get it out of your head: best ad jingles
In today’s day and age, where everyone is multi-tasking, good music is even more essential for brand recognition. These jingles have become an essential part of the brand itself. Please let me know what you find the catchiest and best. I personally like the ones without lyrics. The Great Adventure commercial has that really catchy tune which gets me every time.
Interesting article in the New York Times on The Academy (the select training institute for post-graduate musicians run jointly by the Juilliard School, Carnegie Hall and the Weill Music Institute). Has anyone participated in any events like this? If so, please share your experiences and if there is any unique music, please pass it along so we can share it.
We recently came across this article on composing music for film that we found interesting and wanted to share. Please let us know your thoughts and share your tips on composing for others.
Top 10 tips for writing film music
(Note: This article is a response to a recent article in Film Music Magazine. We wanted to share our thoughts and get your thoughts on this subject as well.)
I recently came across an article in Film Music Magazine that caught my interest and wanted to share it with all of you; Scoregate: Composer Says He Composed Music for Stargate SG-1, Denied Cue Sheet Credit. It deals with a dispute between “Stargate SG-1” composer Joel Goldsmith and composer Alex Wilkinson. Wilkinson claims he is being denied cue sheet credit for original music he wrote for the popular series used in over 25 episodes. Goldsmith claims he contributed only as an orchestrator. The issue I would like to focus on is actually not about the dispute itself (they really should have defined their Keep reading more…
Welcome to the music production software, sample library and music technology review section of our blog! Sample libraries and music production software have come a very long way in the last 5 years. Knowing what is available and current is absolutely essential for any composer or artist “realizing” their own work for demos, albums, film or TV. Learning how to use this technology as a tool, rather than a crutch, can be vital both creatively and for practical reasons many composers face when given today’s production budgets. Please follow our monthly posts as we take a critical look at some of todays most advanced and popular sample libraries, music production software, and other music technology. We will let you know how we personally use them in our own applications and projects, as well as share our overall opinions of the product from the composers who are the end users of the technology.
Note: If you have a new product that you would like us to review, please contact us at info@acomposersview.com so we may try it out for review.
We received some great feedback thanking us for providing links to some important books for musicians and composers. We were asked to pass along some ideas on resources for revenue sources for musicians as well. Below are links to some great resources on music licensing, royalties and songwriting that may be of help. We hope to blog about all of these issues soon!
Kohn on Music Licensing, 4th Edition (with CD-ROM)
Music Publishing: The Roadmap to Royalties
Matthew Kajcienski is currently the Chief Creative Officer of DreamArtists Studios and a graduate of The Juilliard School where he studied music composition with Samuel Adler and John Corigliano. Matthew’s music has been performed throughout the US and abroad including concert premieres at Lincoln Center and Carnegie Hall. Matthew’s commercial music can be heard regularly on TV including the themes for ABC’s Good Morning America, 20/20, and for brands such as Siemens, Shredded Wheat, IBM, CISCO, Kodak and others. He currently lives and works on the Upper West Side in Manhattan.
Q: When did you first get into film and television scoring? MK: For as long as I can remember, I have always loved film music and classic scores from the 60’s especially. The first opportunity I had to try my hand at scoring was actually in my first year of college. I fell into scoring a little indie feature with live orchestra and have loved the entire process ever since. After Keep reading more…
Q: When did you first get into film and television scoring? MK: For as long as I can remember, I have always loved film music and classic scores from the 60’s especially. The first opportunity I had to try my hand at scoring was actually in my first year of college. I fell into scoring a little indie feature with live orchestra and have loved the entire process ever since. After Keep reading more…
In following up on my post “How Craigslist killed the composer”, I wanted to tackle an issue regarding composers asking for compensation for their work and time. Many composers who are just getting their career started are so eager for work that they are willing to score a film or commercial for free in hopes to build a stronger reel, or make a connection. While this might help in getting their name out there, this is generally a disservice to other composers to which their livelihood depends on these jobs. Too often, producers and directors are use to acquiring music for free because of this eagerness to break into the business. I have actually met a producer or two who was actually proud of how he could acquire free music – if you can believe it. This is drastically hurting the industry. The art/business of music is no different than any other business; if you do work, you should receive some form of compensation. Even if it is your Keep reading more…
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