In partnership with the British Academy of Songwriters, Composers, and Authors.
New event series Screen Music Connect is set for its debut conference next month and two of the event’s sessions and their respective speakers have been announced.
Screen Music Connect is aimed at music production communities in all media industries, with a focus on screen music ranging from film and TV, to video games and virtual reality.
The inaugural event will take place on 24th September at the Purcell Room, Southbank Centre in Lambeth, London.
As expressed in the press release, “The day’s one-of-a-kind programming will comprise of exclusive interviews, case studies and transformative [round table] discussions with an illustrious line-up of media composers and eminent industry executives exploring a wide variety of hot button issues and contemporary subjects including artificial intelligence-generated music, soundtracks and classical music, creative collaboration in film and television, interactive video game composition, and music for Virtual Reality… ”
There will also be a live performance from composer and classical cellist Philip Sheppard, who scored some of the music in this year’s sci-fi adventure game Detroit: Become Human.
A post-show networking hour will allow attendees to meet and connect; online suppliers of virtual instruments, effects plug-ins, and sample packs Time+Space will be sponsoring a prize bundle in which attendees will be entered.
Two sessions have been announced as “When Worlds Collide: Classical Music and Soundtracks” and “The Story of Interactive Music – Past, Present and Future.”
“WHEN WORLDS COLLIDE: CLASSICAL MUSIC AND SOUNDTRACKS”
Our panel of leading industry figures discuss their musical world view of, and influence on the artistic and commercial intersection of ‘classical music’ and music for screen media, followed by an intimate live performance from composer and cellist, Philip Sheppard.
With popular symphonic concerts of videogame, theatre and movie music packing the world’s concert halls, and sales of accompanying soundtrack albums buoyant, have the borderlines of classical music now become so blurred asto be relatively meaningless? Is it time to rebrand ‘classical’ as ‘orchestral’ and push harder to break down culturaland generational barriers much further to build on the evident appeal of the orchestral sound, encouraging new listeners to explore the classical canon? Can Final Fantasy and Star Wars be the gateway to Stravinsky and Beethoven? Or is the classical music fraternity and establishment too staid to respond to and embrace a new wave of interest in orchestral music arriving via entertainment media? What is classical music in the 21st century?
Jessica Curry – BAFTA Award-winning Composer (‘Everybody’s Gone To The Rapture’, ‘Dear Esther’) and Presenter of Classic FM’s ‘High Score’.
James Williams – Managing Director, Royal Philharmonic Orchestra.
Darrell Alexander – Film, TV & Games Composer Agent, CEO of COOL Music Ltd and The Chamber Orchestra of London.
Philip Sheppard – Film and Game Composer, Virtuoso Cellist, member of the Academy of Motion Picture Arts and Sciences (‘Detroit: Become Human’, David Bowie, UNKLE).
Chair: Jenny Nelson – Author of Classic FM’s ‘Saturday Night at the Movies’ book, former Executive Producer of‘High Score’ on Classic FM, trustee of the Cambridge Film Trust.
“THE STORY OF INTERACTIVE MUSIC – PAST, PRESENT AND FUTURE”
‘Interactive music’ is a term now deeply embedded in videogame speak. Yet, thirty years ago it simply didn’t exist. We examine what interactive music is, where it came from and why – questions which in turn also lead us to the heart of the matter of the fundamental raison d’être of music in games – its role, purpose, identity and delivery. Further, was some of the interesting creativity of the early days of game music lost in the clamour for cinematic mimicry and why?
With the book on how to do interactive music and indeed music for games seemingly for many now signed and sealed, are there in fact yet trend-bucking radical techniques possible to serve what, after all, is a medium radically different from its linear cousins. John Broomhall hosts a discussion featuring three pioneering interactive composers together with examples of their distinct approaches to the challenges and opportunities of creating music for a non- linear medium.
Olivier Derivière – BAFTA Nominated Composer (‘11-11: Memories Retold’, ‘Get Even’).
James Hannigan – Creative Director of Screen Music Connect and Multi-Award Winning Composer.
Richard Jacques – Ivor Novello and BAFTA Nominated Composer (‘James Bond 007: Blood Stone’, ‘Mass Effect’).
Chair: John Broomhall – Composer, Music Artist (String Theory – ‘Modularity’) and Game Music Connect Co-Founder.
The day’s schedule hasn’t been fully revealed yet and details on other sessions, guest speakers, talks on ‘The Role of Music in Virtual Reality’, ‘Artificial Intelligence and Creative’, and ‘Creative Partnerships in Film and Television’ will be announced soon.
Further information including the event schedule and tickets prices can be found at the Screen Music Connect website.