Music Professionals


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Highlights
W.G. Snuffy Walden on the most important thing a composer can bring to a television show
Quincy Jones on composing the theme for Sanford & Son
Earle Hagen on writing the theme to The Andy Griffith Show
Vic Mizzy on how he figures out when to put music into a scene
G.E. Smith on his duties as music director on Saturday Night Live
Alf Clausen on the business aspect of composing for television 
Who talked about this profession

Lee Adams

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Lee Adams on his style and process as a lyricist
Lee Adams on how he works with a composer
Lee Adams on advice to an aspiring lyricist
Lee Adams and Charles Strouse on their collaborative process
Lee Adams and Charles Strouse on their collaborative process
Lee Adams and Charles Strouse on what makes for the best Broadway musical and how they work together
Lee Adams and Charles Strouse on what makes for the best Broadway musical and how they work together
Lee Adams and Charles Strouse on advice to aspiring musical collaborators
Lee Adams and Charles Strouse on advice to aspiring musical collaborators

Buddy Baker

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Buddy Baker on his harmony system of arranging music
Buddy Baker on the process of composing for film and television
Buddy Baker on the Disney sound
Buddy Baker on writing music for television and film and budgets for each
Buddy Baker on becoming Musical Director of WED Enterprises (WED - Walt Elias Disney)
Buddy Baker on the "Buddy Baker" style of music

Cliff Barrows

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Cliff Barrows on becoming permanent music director for Reverend Billy Graham 
Cliff Barrows on his biggest challenge as a music director
Cliff Barrows on how he selects music

Anne Beatts

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Anne Beatts on the legacy of Square Pegs, and how revolutionary the use of music was for TV of the day

Alf Clausen

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Alf Clausen on the challenges of underscoring a scene with dialogue 
Alf Clausen on doing research for a music composition 
Alf Clausen on where he composes and his process for composing
Alf Clausen on the role of music in a television production and the most important thing to remember when composing a theme song for a television show
Alf Clausen on the business aspect of composing for television 
Alf Clausen on his favorite types of music and composers and his own style
Alf Clausen on advice to an aspiring television composer

Bill Conti

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Bill Conti on wanting to write dramatic music
Bill Conti on being asked to conduct and be music director for The Academy Awards
Bill Conti on differences between composing for film and television
Bill Conti on how composing for second and third installments of miniseries, (or for sequels) differs from composing for the first
Bill Conti on the best advice he ever received about composing
Bill Conti on advice to aspiring composers

Alexander Courage

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Alexander Courage on the differences between composing, arranging, and orchestrating music
Alexander Courage on the process of orchestrating for television 
Alexander Courage on how orchestrating for television is different from scoring for film
Alexander Courage on the cavalier attitude toward scoring for television in the 1960s
Alexander Courage on fun times he had writing music - for "The Sun Also Rises" and writing for Fred Astaire in "Funny Face"
Alexander Courage on advice to aspiring film and TV composers

John Debney

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John Debney on conducting his music
John Debney on composing for different genres
John Debney on what music does for a television show or movie
John Debney on using an orchestrator, and on visiting sets
John Debney on rituals he has when composing
John Debney on the differences between composing for animation, for television, and for features
John Debney on using choirs in his work
John Debney on the business aspect of composing for films
John Debney on his style
John Debney on advice to an aspiring film and television composer

Milton Delugg

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Milton Delugg on the rules regarding live music on television and how Dick Clark eventually changed them

Ian Fraser

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Ian Fraser on his musical influences
Ian Fraser on advice to young musicians starting out in television

Herschel Burke Gilbert

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Herschel Burke Gilbert on composing for features produced by Levy-Gardner-Laven, and on them going into television with The Rifleman
Herschel Burke Gilbert on the differences between composing for film and composing for television
Herschel Burke Gilbert on his style, and on his preservation efforts

Jerry Goldsmith

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Jerry Goldsmith on the craft of composing music for live television broadcasts and on the process of composing for television
Jerry Goldsmith on the process of composing for television
Jerry Goldsmith on composing for Dr. Kildare and other shows and his process of composing for television
Jerry Goldsmith on the difference between composing for features and composing for television
Jerry Goldsmith on advice to aspiring composers

Skitch Henderson

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Lyle "Skitch" Henderson on hiring musicians for NBC, and on hiring Doc Severinsen
Lyle "Skitch" Henderson on dealing with sound on television as opposed to a live performance
Lyle "Skitch" Henderson on his musical style

Barry Manilow

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Barry Manilow on his early fascination with orchestration
Barry Manilow on becoming comfortable on stage as a performer, and on taking acting lessons from Nina Foch
Barry Manilow on his songwriting and recording process
Barry Manilow on performing live
Barry Manilow on dealing with the business end of the music industry
Barry Manilow on advice to aspiring musicians

Mitch Miller

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Mitch Miller on his conducting style on television
Mitch Miller on his conducting style
Mitch Miller on his advice to an aspiring music professional

Vic Mizzy

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Vic Mizzy on wanting to be a composer when he was a kid
Vic Mizzy on how he figures out when to put music into a scene
Vic Mizzy on the role of music in a TV show
Vic Mizzy on how the business of film scoring has changed over the years
Vic Mizzy on how technology has affected scoring
Vic Mizzy on advice to an aspiring composer
Vic Mizzy on his style
Vic Mizzy on his musical style
Vic Mizzy on his conducting style

Tony Mottola

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Tony Mottola on advice to an aspiring musician

Mike Post

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Mike Post on the process of scoring a television episode
Mike Post on what he's proudest of in his music career
Mike Post on how the business of television scoring has changed since the '70s
Mike Post on advice to aspiring television or film composers and how he'd like to be remembered

G.E. Smith

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G.E. Smith on his duties as music director on Saturday Night Live
G.E. Smith on assembling the band for Saturday Night Live and the sound of the band during his tenure
G.E. Smith on how it felt playing in the studio on Saturday Night Live and his early performances on the show
G.E. Smith on creating musical arrangements for Saturday Night Live
G.E. Smith on advice to aspiring musicians

Mark Snow

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Mark Snow on how he learned to score for television and mistakes he made when he was first starting out
Mark Snow on the process of composing for TV movies versus episodic television
Mark Snow on how synthesizers affected his writing process and the business of music composition
Mark Snow on the rhythm of The X-Files theme
Mark Snow on who owns the rights to The X-Files theme song
Mark Snow on underscoring dialogue on TV shows
Mark Snow on using music to build mood on TV shows, particularly The X-Files
Mark Snow on composing for The X-Files spin-offs Millennium and The Lone Gunmen
Mark Snow on the "Mark Snow style" of music
Mark Snow on advice to aspiring television composers

Charles Strouse

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Lee Adams and Charles Strouse on their collaborative process
Lee Adams and Charles Strouse on their collaborative process
Lee Adams and Charles Strouse on what makes for the best Broadway musical and how they work together
Lee Adams and Charles Strouse on what makes for the best Broadway musical and how they work together
Lee Adams and Charles Strouse on advice to aspiring musical collaborators
Lee Adams and Charles Strouse on advice to aspiring musical collaborators
About

This category consists of composers, lyricists, music directors, and musicians.