21st Century Composing: Scoring Music For Film And Video Games
Curiosity Weekly
Warner Bros. Discovery
4.6 • 963 Ratings
🗓️ 3 October 2017
⏱️ 47 minutes
🧾️ Download transcript
Summary
Not all music is created equally. You may love the soundtrack of your favorite film, television show, or video game just as much as you enjoy Beethoven's 9th, but you may not know how deliberately the score from your favorite form of entertainment was composed. Elliot Callighan, independent composer and sound designer, joins the Curiosity Podcast to reveal how musicians in the 21st century write for media that didn't even exist when most of history's greatest composers were alive.
Elliot Calligan is a classically trained violinist and pianist, metal guitarist and electronic music enthusiast, a Soundpost Co-Chair for the Chicago Symphony Orchestra Overture Council, and an adjunct faculty member in the Film & Game programs at DePaul University. His work has been featured in campaigns for United Airlines, The Chicago Advertising Federation, GMC, The Godrej Group, Chevrolet Motors, The Goodman Theatre as well as many independent films and games.
Additional resources discussed:
- Ramova Music, Elliot's web site
- Native Instruments Komplete 11 Software Suite
- Spectrasonics Omnisphere 2
- Newzoo Global Games Market Report
- MPAA Theatrical Market Statistics 2016 Report
- High Score: How Video Games are Offering New Opportunities to Composers, Producers and Orchestras
- National Endowment for the Arts Research Report #58, January 2015
- Musical chord preference: cultural or universal? Data from a native Amazonian society
- Your culture—not your biology—shapes your musical taste
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Transcript
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| 0:00.0 | I'm curious, how does a person get into composing a musical score for a film or video game or other media |
| 0:06.0 | versus rating for a symphony orchestra? |
| 0:08.5 | The vast majority of game music is completely done on a computer by a person with sample libraries and tools that knows |
| 0:15.2 | how to use them. Technically you don't ever have to leave your computer to write music for |
| 0:21.0 | media in general. You just have to be obsessed and passionate a buff about it to just make it happen. Hi, I'm Cody Goth. |
| 0:35.0 | And I'm Ashley Hamer from Curiosity.com. |
| 0:38.0 | Today we're going to learn how music is made for film, games, and other media. |
| 0:41.0 | Every week we explore what we don't know because curiosity makes |
| 0:44.7 | you smarter. This is the Curiosity Podcast. Chances are that every day you're exposed to music from film or television or video games. |
| 0:56.0 | Today I want to get into where movie and game soundtracks come from and what goes into writing for them. |
| 1:01.0 | Elliot Kelligan is an independent composer and sound |
| 1:04.2 | designer and not only will he talk about what he does but you'll also hear some |
| 1:07.8 | samples. Yes we have music this week to make it really clear why a composer controls a lot more than just the audio |
| 1:14.7 | when it comes to your favorite media and hey if you're interested in composing music |
| 1:18.8 | for media I'll give you a couple pointers on where to get started. |
| 1:21.7 | You can follow along with an interactive transcript of this episode on Greta.com. |
| 1:26.0 | That's G-R-E-T-T-T-A. |
| 1:29.0 | Visit Greta.com slash curiosity |
| 1:31.0 | to share your favorite clips with your friends while you listen. |
| 1:34.0 | I'm here with a composer and sound designer who has released a number of albums under the |
| 1:39.5 | electronic moniker Ramova as well as a faculty member at the Paul University in Chicago. |
| 1:44.4 | What do you teach? |
... |
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