Pulse College (Dublin, Ireland) delivers an innovative 1-year MA in Scoring for Film & Visual Media, a one of it’s kind for Ireland
Bennett Lincoff’s comments to the US Copyright office on a new system of music licensing
A composer solves the “Maze” to fully test his music in a post-apocalyptic world of the YA franchise’s epic sequel “The Scorch Trials”
Sciencing the score out of “The Martian”
A Brazilian composer often in the musical company of drug runners takes on the Colombian cocaine saga of Pablo Escobar for Netflix’s “Narcos”
Mark Northam looks at college film scoring programs and how realistic they are about the business
Every once in a while, some clever people come up with a solution to an issue that the DAW developers simply have not addressed
Peter Alexander reviews Vienna Symphonic Library’s New MIRx
Film music journalist Daniel Schweiger interviews CLIFF MARTINEZ and JEFF RUSSO, the composers who’ve helped make THE KNICK and FARGO two of televisions best dramas as they return for their second seasons.
Ron Hess discusses how you’ll never achieve the Holy Grail of a perfect sight reading if your notation doesn’t tell each musician at a glance how it’s supposed to sound
2015 festival coverage with Best Cinematography and Directing award-winning CARTEL LAND filmmaker Matthew Heineman and his creative process with his two composers.
‘THE CREEP BEHIND THE CAMERA’ is the top soundtrack to own for September, 2015
Mark Holden discusses the financial benefits to composers of joining overseas royalty societies
Far From The Madding Crowd tops the March 2015 Top-20 film music radio airplay chart