A heartfelt OpEd by the director of the music documentary, “16 Bars,” on the challenges, solutions, and revelations of producing in a prison.
In this article, we explore how the score music to Groundhog Day uses theme and variation to reflect elements of repetition, cycling, and resolution.
What exactly is “mickeymousing,” and how do we know whether it’s a good or bad addition to your musical score? Let’s find out.
The Office Theme music couldn’t be more indicative of Michael Scott’s character persona, it functions almost as a leitmotif for three reasons, here’s how.
We break down the small yet significant harmonic effect that makes the climactic scene in The Truman Show break down all of our emotional barriers.
Meet your new soundfly Mentor, Rafael Torres, whose list of TV/film scoring and music production credits will make your jaw drop!
We look at Ligeti’s famous composition in order to decide how much, or how little, the use of music’s foundational parameters really matter in composing.
A little complaining could go a long way to help us get our summer blockbuster mega-hits back. That’s why we called cultural whiner Jon Chattman in.
In this edition of “Talking Points,” composers and electronic artists Ryuichi Sakamoto and Alva Noto discuss the nature of collaboration and improvisation.
We break down a handful of composer Jonny Greenwood’s go-to techniques in examples from his scores to Phantom Thread and There Will Be Blood.