| Foreword |
|
ix | |
| Acknowledgments |
|
xii | |
| Introduction |
|
xiii | |
|
Chapter 1 Getting Started |
|
|
1 | (40) |
|
|
|
3 | (9) |
|
Cultivating Strong and Healthy Professional Relationships |
|
|
|
|
|
|
The Day-To-Day Life Of A New Composer |
|
|
12 | (7) |
|
Dreams, Reality, and Training |
|
|
|
|
|
|
A Look Back At An Early Career Start |
|
|
19 | (7) |
|
Making the Most of Every Opportunity, Then and Now |
|
|
|
|
|
|
Workflow - And Why It Matters To Composers |
|
|
26 | (8) |
|
Understanding Where You Fit in the Big Picture |
|
|
|
Ian Anderson, Tim Fritz, and Scott Hallgren |
|
|
|
How To Work With The Picture Editor |
|
|
34 | (7) |
|
The Relationship and Process of Editing |
|
|
|
A Q&A with Tracy Nichole Cring |
|
|
|
Chapter 2 Sticking It Out |
|
|
41 | (41) |
|
You Can Work From Anywhere |
|
|
43 | (8) |
|
Doing Indie Game Music Work - From Chicago |
|
|
|
|
|
|
|
|
51 | (7) |
|
Finishing Your First Feature and Beyond |
|
|
|
|
|
|
Self Promotion For Composers |
|
|
58 | (8) |
|
A PR Professional Tells You How to Put Your Best YOU Forward |
|
|
|
|
|
|
The Business Of Music (For Picture) |
|
|
66 | (8) |
|
Educating Yourself about the Value of Your Work |
|
|
|
A Q&A with Anna Kelberg-Kim, Msq |
|
|
|
|
|
74 | (8) |
|
Telling Musical Stories through Any Medium |
|
|
|
A Q&A with Claire Batchelor |
|
|
|
Chapter 3 Finding Success |
|
|
82 | (42) |
|
|
|
84 | (8) |
|
Why We Love Original Music So Much |
|
|
|
|
|
|
The Value Of Mentorships And Partnerships |
|
|
92 | (7) |
|
A Busy TV Composer Talks about Her Journey |
|
|
|
A Q&A with Rebecca Kneubuhl |
|
|
|
Why To Join A Performance Rights Organization |
|
|
99 | (9) |
|
An Important Move for Sustaining Your Career |
|
|
|
|
|
|
Other Roles For The Modern Composer |
|
|
108 | (8) |
|
Advertising Work, Engineering, and Insights on Success |
|
|
|
|
|
|
|
|
116 | (8) |
|
Additional Composing and the Composer Diversity Collective |
|
|
|
? A Q&A with Sandro Morales Santoro |
|
|
|
|
|
124 | (41) |
|
|
|
126 | (8) |
|
From Theme Parks to Theaters |
|
|
|
|
|
|
|
|
134 | (7) |
|
An Industry Veteran Becomes a Leader |
|
|
|
|
|
|
What Does A Music Editor Do? |
|
|
141 | (9) |
|
The Music Editor As Composer As Music Editor |
|
|
|
|
|
|
The Reality Of Reality TV |
|
|
150 | (7) |
|
The Challenges and Rewards at the Top |
|
|
|
A Q&A with Mark T. Williams |
|
|
|
What An Agent Is Looking For |
|
|
157 | (8) |
|
Beating the Composer Catch-22 |
|
|
|
|
|
|
|
|
165 | (42) |
|
Other Roles On The Sound Track |
|
|
167 | (8) |
|
Ways a Composer Can Sonically Expand in the Industry |
|
|
|
|
|
|
Teaching-A Powerful Way To Branch OUT |
|
|
175 | (9) |
|
Success in Multiple Arenas Helps Students and You |
|
|
|
|
|
|
|
|
184 | (7) |
|
Success Can Be Many Things over Time |
|
|
|
|
|
|
Education, Revolution, And The Meaning Of A Modern Musical Formation |
|
|
191 | (8) |
|
How Music Traditions, Educational Reality, and the Internet Are Colliding |
|
|
|
|
|
|
Moving Into Producing And Directing |
|
|
199 | (8) |
|
How a Composer in Iran Makes This Work |
|
|
|
|
|
| Index |
|
207 | |