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At State of Music in Media Conference, Demystifying the Role of …

The job of a music supervisor is largely misunderstood, according to panelists at the Guild of Music Supervisors State of Music in Media Conference, who said their role is as much about detective and curatorial work as it is about sound-tracking. “I love creating something new with audio and picture, but it’s a lot more than that,” said Maggie Phillips, who handles song chores for the FX series “Fargo.”  Speaking last night at USC’s Bovard Auditorium as part of the “Emmy TV Music Supervision Deep Dive,” Phillips said people considering a career as a music supervisor need to know “it’s not a sexy job.”

Although the field attracts people who are passionate about music, compromise is a key skill, according to Zach Cowie, who with Kerri Drootin supervises the Netflix series “Master of None.” “Having your awesome mix tape does help, but you’ll rarely get to use those songs, because the project you’re working on doesn’t have room.” The third annual GMS Conference was a curtain-raiser on a new partnership between the guild and USC, which is developing a masters degree in music supervision that may be offered as soon as next year, according Paul Young, chair of the USC Thornton School of Music’s Music Industry Program.

Cowie urged the audience of 500 to “teach yourself something about music every single day.” When “Master of None” co-creator and star Aziz Ansari became a fan of the ?60s Italian pop singer Mina and made her “the guiding voice for the season” it helped that

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