<p>I know that USC is way up there. Do you know any other grad school composition programs producing the best of the best in film music?</p>
<p>Yeah where did Mancini, Elmer Bernstien and many others get their chops?</p>
<p>This was interesting with many good links...</p>
<p><a href="http://en.wikipedia.org/wiki/Film_music%5B/url%5D">http://en.wikipedia.org/wiki/Film_music</a></p>
<p>UCLA and USC for their proximity to the industry. Of course there are also many examples of composers who never went to school for film music. In fact, I think some of the most interesting composers for film music today are those who never went to school for film music. Rather, they either come from a pop background or went to school for traditional classical composition training. </p>
<p>Carter Burwell, Don Davis, Jon Brion, Mark Mothersbaugh, Tan Dun, Michael Giacchino.... They all come from a variety of backgrounds.....one thing in common: None of them went to school for film music. Many in fact stumbled into their current careers. </p>
<p>Mancini and Bernstein all learned their craft through the old Hollywood studio system...which encouraged talented folks to work their way up. John Williams used to just be a sessions pianist! That system has long since collapsed. In today's world, it's impossible to learn through that system. </p>
<p>I have personally never considered attending school for film music; however, one can imagine certain benefits such as industry contacts and training of how to write in specific "temp" styles. </p>
<p>The composers I've mentioned above are those who have developed quite idiosyncratic styles; I certainly can't imagine Jon Brion or Tan Dun writing a John Williams-like score. Film Music school doesn't encourage this kind of idiosyncrasy; rather, they want you to be able to write in any kind of style. This sort of skill is nice if you want to be marketable in the industry and find a steady gig. </p>
<p>Perhaps even more important than getting training in a film music program, the most important is probably finding a filmmaker/director with whom you can develop a close working relationship with and whose style you admire. Such collaboration would yield more trust from the filmmaker and allow the composer to have slightly more creative room to write music. Obviously finding someone like that is not easy either...</p>
<p>WCU's last point echos the collaboration of Spike Lee and Terence Blanchard.</p>
<p>Dudedad...actually, I was just thinking about that! Thanks! </p>
<p>Yeah, Spike Lee/Terence Blanchard is a great example of the director/composer relationship that often results in interesting music. Blanchard comes from a jazz background; I doubt he went to school for how to write film music. If fact, he probably wouldn't be writing much film music had it not been for Spike Lee!</p>
<p>The same can probably said about Wes Anderson/Mothersbaugh and Coen Brothers/Carter Burwell etc. </p>
<p>Of course, examples from more well known pairs also exist: Hermann/Hitchcock, David Cronenberg/Howard Shore and Spielberg/Williams. I know some young, ideological composers still in high school who often tell me: "I want to write film music just like John Williams!" What they fail to realize is that John Williams' music sounds the way it does because a lot of it fits the kind of grandiose style of Spielbergian filmmaking. Look at Williams' output! Besides Star Wars, much of it is for Spielberg movies! Many non-Spielberg movies he wrote the music for are often very close to Spielberg's style. For example, Home Alone and the first Harry Potter were directed by Chris Columbus, a prot</p>
<p>Wow - some of you really know your film music. I am pretty old school, but my son is very tuned in to film music and maybe some day will branch out (after his violin perf. major). He is particularly impressed with the original 'Spider Man' (is it Danny Elfman?). Also, the composer for many of the 'Sixth Sense' producer's films. I see your point about getting associated with someone in the industry who has influence. Thanks for all of the advice.</p>
<p>Haha...Violinmom...those two examples that your son likes are also well known for their collaboration with directors. Danny Elfman with Tim Burton and James Newton Howard with M. Night Shyamalan. </p>
<p>hehe...I think most of my post didn't really answer your question...sorry. It's really just my personal opposition to film music grad programs because I think that while they CAN help you get in touch with people in industry, I really don't think that it's the best route for artistic developement. It's really a place for composers to learn about technical things- time syncing with film and stuff like that. </p>
<p>What I would recommend is for you son to enroll in some sort of music composition grad program- definately in a big city with strong programs in filmmaking. For example, if he ends up in NYC, he should try to get to know some film students at say NYU- those people will be the next Speilberg, or Tim Burton or Wes Anderson. Work on student films....it's the best way to learn. He would have infinately more opportunities to be exposed to interesting and cutting edge filmmakers that way. </p>
<p>Also, there are many film music workshops that your son may also consider. You don't need to be tied down to a school and there are usually a lot of industry people at these events. The competition to get into these 2-3 wseek programs are tough, but worthwhile. Consider to Sundance Festival program or the ASCAP filmmusic programs. I'm not sure how long the USC program is; if I not mistaken, it's only a diploma/certificate program and not actually a masters? If its only say 6 months or a year long, it might not necc. be a bad thing. However, I would strongly, strongly encourage him not to enroll in a master's degree program in film music. </p>
<p>Best of luck to your son.</p>
<p>hey violinmom...where does your son go to school now? How much compositional experience does he have?</p>
<p>WindCloudUltra --- he will be a freshman this year (violin performance) at the University of North Texas. He has not formally studied theory or composition, but he has written some pieces for friends to perform and definitely has an ear and mind for understanding the way pieces are constructed, i.e. instrumentation, etc. So he is really looking forward to taking all of the classes offered at UNT in theory and composition. From looking at their website, the comp. faculty appears to be rather contemporary rather than classical (if that makes sense).</p>