Our study score is “The Planets” by Gustav Holst. First performed in 1918, not only did “The Planets” establish Gustav Holst’s international reputation as an important British composer of the 20th century, but it provided the template for a whole generation of film music. From “Star Wars” to “Star Trek” and beyond, Holst’s approach to the orchestra is ubiquitous in contemporary scoring.
PANEL DISCUSSION; SCORING FOR GAMES
Music for video games has gone from 8-bit bleeps and bloops to some of the most sophisticated (and expensive) scores written for the screen. However, the technical challenges of scoring video that changes according to the decisions of the player makes this art form different from all other types of scoring. Our panel discussion will focus on creating a dynamic score that adapts and responds to player interaction, and long development cycles – how composing in different stages of game development affects the final soundtrack.
Jake Butineau (moderator) is a video game composer based in Toronto, ON. He has a passion for game development, working with indie game developers and attending as many Game Jams as possible. Jake’s current games include “Temporus”, a retro-inspired sci-fi by Firebelly Studios that was crowdfunded by fans. Jake is also a content creator, making regular Game Music Discussion videos on YouTube and hosting The Game Music Podcast.
Kris Maddigan (composer) is a percussionist, currently with the National Ballet Orchestra (principle percussionist) and the Toronto Symphony Orchestra. Kris composed the music for the wildly successful indie game CUPHEAD. The soundtrack has won 2 awards for best soundtrack in a game, has been nominated for a Juno, and has sold over 50,000 copies worldwide.
Ryan Henwood (composer) has written music for games (Watchdogs 2, FC Primal, Lovers in a Dangerous Spacetime, Far Cry 4) and sound design in an electronic/ambient style. He also works in game design, audio implementation and quality assurance/compliance in the video game realm.
Peter Chapman (composer) Peter is both a TV composer (Wynonna Earp, Workin’ Moms, Durham County, Leave It To Bryan which won a 2017 SOCAN award) and a film composer (Committed, Cyberstalker and Synthesize). He is also a composer for video games such as Guacamelee and Sound Shapes as well as Modnation Racers, Little Big Planet Karting and the retro kitch sci-fi game About a Blob. His score for The Castle Game was nominated for “Best Original Music” at the 2015 Canadian Videogame Awards.
NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.