Music Professionals

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

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

Milton Delugg on his musical style

Milton Delugg on advice to aspiring television musicians

Ramin Djawadi on learning multiple instruments when he was young and why he liked to play music

Ramin Djawadi on music he liked listening to when he was young, and on being in a band

Ramin Djawadi on being drawn to the instrumental music in TV and movies, and on TV theme songs that he enjoyed growing up

Ramin Djawadi on his favorite classical composers

Ramin Djawadi on his favorite classical composers

Ramin Djawadi on attending Berklee College of Music

Ramin Djawadi on the technology used for film and TV scores in the early 2000s

Ramin Djawadi on his big break -- composing music for a fight scene in Pirates of the Caribbean: The Curse of the Black Pearl

Ramin Djawadi on how he started to compose for television, and on the process for composing for a weekly television show

Ramin Djawadi on decisions about when to use a live orchestra or not and how budgets can impact those decisions

Ramin Djawadi on his thoughts on the use of artificial intelligence in music composition

Ramin Djawadi on how composing for video games differs from composing for film or television

Ramin Djawadi on what he loves about composing

Ramin Djawadi on the role of a composer and the excitement of writing music

Ramin Djawadi on how he deals with creative block

Ramin Djawadi on having synesthesia and how he learned that he has it -- he associates music with colors

Ramin Djawadi on his process for writing music and primarily working alone

Ramin Djawadi on working with music supervisors, editors, and sound mixers

Ramin Djawadi on music clearance for covers

Ramin Djawadi on how he knows when a piece is finished

Ramin Djawadi on enjoying the variety of his work, and on working on multiple projects at once

Ramin Djawadi on being the sole composer on several television series

Ramin Djawadi on the business side of composing -- not retaining rights but receiving royalties

Ramin Djawadi on his greatest challenge as a composer

Ramin Djawadi on his musical style

Ramin Djawadi on playing music for fun, and on his kids playing music

Ramin Djawadi on playing music for fun, and on his kids playing music

Ramin Djawadi on whether or not the genre he works in plays a role in how he works -- on making scary music for the film Slenderman

Ramin Djawadi on how music is used on Game of Thrones

Ramin Djawadi on receiving notes from studio and network executives

Ramin Djawadi on how composing has changed since he first started in the industry

Ramin Djawadi on how opportunities have changed since he first started in the industry and on his mentors

Ramin Djawadi on advice to an aspiring composer

Kevin Eubanks on being promoted from band member to bandleader on The Tonight Show Starring Jay Leno

Ian Fraser on his musical influences

Ian Fraser on advice to young musicians starting out in television

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 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

Earle Hagen on the difference between composing for film and television

Earle Hagen on writing the theme to The Andy Griffith Show

Earle Hagen on composing music for Don Knotts' character on The Andy Griffith Show

Earle Hagen on the terms "click track" and "free timing"

Earle Hagen on being attuned to how things would sound though a small television speaker, and on post production of the music

Earle Hagen on being a "packager" or on the business end of composing music for television

Earl Hagen on using different types of beats for different scenes on The Mod Squad and on the band he used for the show

Earle Hagen on becoming a teacher of music

Earle Hagen on writing books on music composition

Earle Hagen on the role of music in television, and on how things have changed in the industry since he started

Earle Hagen on advice to an aspiring television composer

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

Lee Holdridge on his process for writing music and who he writes for

Lee Holdridge on the role of an orchestrator vs. the role of a composer

Lee Holdridge on the most important skill a film composer must have

Lee Holdridge on working with temp tracks

Lee Holdridge on differences between writing music for film and for television

Lee Holdridge on working on multiple projects as once

Lee Holdridge on working with studio musicians

Lee Holdridge on believing creativity can not be taught

Lee Holdridge on conducting

Eddie Kean on his musical style

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 on the popular music of the early 1950s when he was producing records, and on what he looked for in a song

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 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 on advice to an aspiring musician

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

Lalo Schifrin on his process for writing music for television; on writing music for Universal and for MGM

Lalo Schifrin on differences between scoring documentaries and fictional TV shows

Lalo Schifrin on differences between scoring documentaries and fictional TV shows

Lalo Schifrin on differences between composing for film and television

Lalo Schifrin on his music style

Lalo Schifrin on being music director for the Paris Philharmonic

Lalo Schifrin on the business side of music for television

Lalo Schifrin on composing chamber music

Lalo Schifrin on combining classical music and jazz influences into a single work

Lalo Schifrin on the role of music in a television show and how it elicits an emotional response

Paul Shaffer on joining the musician's union at the age of 15 and being in a band (but not yet seeing a career in music)

Paul Shaffer on playing music by ear (rather than being a sight reader)

Paul Shaffer on David Letterman and working on his shows as music director

Paul Shaffer on advice to aspiring musicians

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 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

Fred Steiner on learning to score by watching his father score cartoons

Fred Steiner on the craft and composing and arranging for television, and tailoring the music to fit the star

Fred Steiner on the process of composing for a pilot

Fred Steiner on what makes for an outstanding score

Fred Steiner on on the sound stages he's recorded on

Fred Steiner on the logistics of a recording session for a television score

Fred Steiner on following union regulations for musicians in recording sessions

Fred Steiner on his studies in musicology

Fred Steiner on writing his dissertation on Alfred Newman, and his study of musicology

Fred Steiner on advice to an aspiring television composer

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