Professional Documents
Culture Documents
There has been a significant interest in Music Supervision due to music’s ability to
sonically brand visual media, resulting in a lucrative cross-marketing tool. The music
supervisor acts as a liaison between the visual media’s creative team and the music
industry. This influential role of consultant and tastemaker considers more than aesthetics
know-how.
Film scholars that specialize in film music primarily focus on the composition of a film’s
score and less on the placement of pre-recorded music and it’s function as a narrative
device and a marketing tool. The music industry is at a cross-road. Record sales are
declining and musicians are bypassing the major record labels to self distribute. Music
industry professionals are looking to license music catalogues as a new marketing tool
Currently three books have been published on the topic of Music Supervision; two of
which approach music supervision from the perspective of the musician. There is yet to
be any visual media that explores the process, politics, and prospect of this art form.
entertainment professionals and artists. This project will provide the film and music
communities an understanding of the evolution of the art form and the selection process.
Music Supervision: a thesis project
2
Preface
Film has always been a passion, while music has been a hobby. I sought to merge the
two disciplines, which lead me to launch a production company, Nerdy Media, in 2007
where I began producing music videos and music related documentaries. That same year
I began graduate school and became interested in the relationship between the film and
music industries and the common denominator between the two, music supervision.
From September 2009 to December 2009 I had the opportunity to intern with Kurtis
filmmaking and music licensing. They have also inspired this thesis project by allowing
me to observe and participate in the licensing and research processes pertaining to music
supervision.
3
Table of Contents
ABSTRACT ....................................................................................................................................................1
MUSIC SUPERVISION: A THESIS PROJECT........................................................................................ 2
PREFACE ...................................................................................................................................................... 3
TABLE OF CONTENTS ....................................................................................................................... 4
......................................................................................................................................................................... 6
EXECUTIVE SUMMARY............................................................................................................................ 7
CHAPTER 1 – PROJECT PROPOSAL.................................................................................................... 10
OBJECTIVE.................................................................................................................................................... 10
MAJOR STEPS OF THE PROJECT ...................................................................................................................... 10
SCOPE OF THE PROJECT .................................................................................................................................. 10
METHODOLOGY..............................................................................................................................................10
ANTICIPATED OUTCOMES................................................................................................................................ 11
PRIMARY DATA GATHERING ...........................................................................................................................11
TIMELINE...................................................................................................................................................... 11
CHAPTER 2 – RESEARCH........................................................................................................................12
THE CREATIVE TEAM.......................................................................................................................... 14
HISTORY OF THE MOVING IMAGE AND MUSIC ........................................................................... 15
SILENT AGE AND PUBLISHING........................................................................................................15
THE SOUND OF SYNERGY ............................................................................................................... 17
ANATOMY OF FILM SOUND............................................................................................................... 20
BUILDING A BRAND............................................................................................................................. 23
SONIC BRANDING.............................................................................................................................. 24
CONGLOMERATES ............................................................................................................................26
THE RECORD BUSINESS AND THE MUSIC INDUSTRY................................................................. 27
PUBLISHING IS PROFITABLE...........................................................................................................29
Media Permissions................................................................................................................................30
UNDER NEW MANAGEMENT............................................................................................................31
THE PROFIT........................................................................................................................................ 32
NEW MUSIC MARKETING ...................................................................................................................35
NAVIGATE THE NEW PARADIGM..................................................................................................... 36
RELIABLE TOOLS............................................................................................................................... 36
THE NEW TOOLS................................................................................................................................ 38
CHAPTER 3 – PROJECT DETAILS........................................................................................................44
TIME MANAGEMENT – PROCESS DATES OF EXECUTION.........................................................................................44
Research – September 2009 to January 2010...................................................................................... 44
Pre-production - January 2010 ........................................................................................................... 45
Production – February and March 2010.............................................................................................45
Post-Production – April 2010 ..............................................................................................................46
CONSTRAINTS ............................................................................................................................................... 46
RESULTS....................................................................................................................................................... 48
FUTURE PLANS.............................................................................................................................................. 48
RECOMMENDATIONS........................................................................................................................................48
CHAPTER 4 – CONCLUSION...................................................................................................................50
4
BIBLIOGRAPHY.........................................................................................................................................52
....................................................................................................................................................................... 53
APPENDIX I................................................................................................................................................. 54
THESIS PROPOSAL.......................................................................................................................................... 54
Introduction.......................................................................................................................................... 55
Research Objectives .............................................................................................................................55
Proposed Table of Contents..................................................................................................................56
Schedule................................................................................................................................................ 57
APPENDIX II................................................................................................................................................58
VLOG SITE OUTLINE...................................................................................................................................... 58
........................................................................................................................................................................ 58
APPENDIX III.............................................................................................................................................. 59
AGREEMENTS.................................................................................................................................................59
Interviewee Release Form.................................................................................................................... 59
Location Release Form.........................................................................................................................60
THE LOCATION MAY FORM SOME OF THE BACKDROP OF THE ABOVE FILM............60
APPENDIX IV.............................................................................................................................................. 61
INTERVIEW QUESTIONS....................................................................................................................................61
MUSIC DEALERS – MUSIC LICENSING COMPANY........................................................................ 62
HOW DID MUSIC AND FILM CONVERGE.......................................................................................... 62
HOW DID MUSIC PLAY A ROLE IN THE SILENT AGE OF FILM................................................. 62
WHAT FUNCTION DOES MUSIC PLAY IN THE CINEMATIC EXPRIENCE .............................. 62
WHAT DID THE MUSICAL GENRE ADD TO FILM HISTORY....................................................... 62
WHAT IS A MUSICAL............................................................................................................................... 62
HOW DOES THE AUDIENCE RESPOND TO POPULAR MUSIC AND HOW DOES CINEMA
GIVE NEW LIFE TO FORGOTTEN HITS............................................................................................. 62
HOW IS THE SOUNDTRACK USED AS A CROSS-PROMOTIONAL TOOL................................. 62
WHY/HOW DO FILMMAKERS USES MUSIC AS A NARRATIVE DEVICE..................................62
HOW IMPORTANT IS THE MUSIC SELECTION FOR OPENING AND CLOSING TOTLES ...63
WHEN SHOULD THE PRODUCER/FILMMAKER/DIRECTOR HIRE THE MUSIC
SUPERVISOR...............................................................................................................................................63
WHAT SHOULD A FILMMAKER LOOK FOR IN A MUSIC SUPERVISOR.................................. 63
WHAT IS THE RELATIONSHIP BETWEEN A PRODUCER/FILMMAKER/DIRECTOR AND
THE MUSIC SUPERVISOR.......................................................................................................................63
DO YOU FEEL THE MUSIC VIDEO HAS INFLUENCE CINEMA/MUSIC PLACEMENT...........63
APPENDIX V................................................................................................................................................64
BIOS............................................................................................................................................................ 64
APPENDIX VI.............................................................................................................................................. 66
5
MARKETING DESIGNS..................................................................................................................................... 66
APPENDIX VII.............................................................................................................................................68
BUDGET........................................................................................................................................................68
Program: Music Supervision: a thesis project ............................................................................................. 68
Format: HDV................................................................................................................................................ 68
APPENDIX VIII........................................................................................................................................... 71
CUE SHEETS..................................................................................................................................................71
6
Executive Summary
This paper seeks to understand how and why music is selected and placed in media. The
project component of this thesis project will use online media, volg/podcasts, to explore
and illustrate the history, role, and tools of the music supervisor as well as the branding
potential of music licensing. This project will serve as a resource for the film and music
communities.
A music supervisor mediates between the two worlds of visual, interactive media and
music. The music supervisor is defined as a person who selects and licenses music and
sound effects.1 The broad description entails but is not limited to music selection
Film, television, video games, and commercials are conceptualized and developed by
creative teams. These creative teams are usually comprised of a person who manages the
profitability of the production and those that manage spending and the integrity of the
content. Secondary management team supervises the daily operations of the production.
Although music placement is not exclusive to cinema, it is the cinema that has had the
most influence on how the audience responds to music and the moving image. The silent
age of film was never silent. Most films were accompanied by live music, typically of
1Ramsay Adams, David Hnatiuk, David Weiss, Music Supervision: The Complete Guide to Selecting
Music for Movies, TV, Games and New Media, (New York: Schirmer Books, 2005), 1.
7
classical and popular music of the time, which provided an emotion to the scenes of
actors unable to vocalize sorrow or bliss. These musicians were film’s first music
supervisors. The music for these films was improvised, pre-composed, or original
compositions.
After the synchronization of sound and film, studios exploited film scores for the added
revenues from record sales and mechanical licenses. Essentially media would use
As the record business steadily declines, labels and musicians are looking towards music
supervisors in hopes to licensing their music to media (film, television, video games,
online media, etc) as a means to profit from and market their work. The music
supervisor’s success depends on navigating these venues and seeking the most exciting
music for placement. The three reliable sources to find music are the labels (major and
independent), music libraries, and the wide pool of unsigned talent. Music libraries and
record labels are becoming savvier in their approach to cater to the music needs of their
clients, the music supervisors, by offering affordable, unique, and customizable music,
The vlog/podcast will be comprised of four segments featuring a film historian, a music
supervisor, and a marketing expert who will inform filmmakers of the value of music
supervision and musicians the new tools music supervisor’s are using to locate music.
The project will be divided into three phases, pre-production, production, and post-
8
production.
equipment, crew, and drafting the website. The production phase will require developing
the website, conducting interviews, and filming. The post-production phase will require
This thesis project is a segment of an ongoing project that eventually will lead to the
9
CHAPTER 1 – Project Proposal
Objective
To provide information and insights into the music supervisor’s role as being key to
creative visual media teams, musicians, record labels, and the new profit possibilities
The major steps of this project are to research music supervision, manage the production
To produce engaging and informative segments that will be used later as a marketing tool
for the completed film. Four segments will be produced, filmed, and edited by a small
creative team.
Methodology
1. Research topic by investigating new trends via work experience, articles, and
interviews.
the website.
10
4. Post-Production: edit, embed videos, launch site and follow up with the
interviewees.
Anticipated Outcomes
The anticipated outcomes are a series of quality video segments that will feature a film
historian, a music supervisor, and a marketing expert, who will provide a better
of the documentary production process and music licensing from the music
industry perspective.
Timeline
The project is divided into four phases, Research, Pre-Production, Production, and Post-
Production.
2. Pre-Production – January 10
11
4. Post-Production and Delivery – April 10
CHAPTER 2 – Research
On May 15th 2006, 22.50 million viewers tuned in to watch the second season finale of
Grey’s Anatomy. For twenty-seven episodes the audience invested in the lives of the
interns, residents, and their mentors in the fictional Seattle Grace Mercy West Hospital.
As the season reached it’s climactic final moments, the audience, along with the interns,
are shocked to find Izzie lying in bed clinging to former heart patient and beau, Denny's
still form. Snow Patrol’s Chasing Cars begins to play softly and builds as the program
The next day Chasing Cars became the No. 1 downloaded single on iTunes, eventually
peaking at #5 on the Billboard Hot 100 in the US. After nine years this single became the
band's first Top 10 hit in the US. It was the fourth best selling digital single of 2006 in the
UK, totaling 190,000 legal downloads and the ninth most downloaded song in the
country of all time. The person responsible for connecting the band to this television
series was the owner of the music supervision company, Chop Shop, Alexandra Patsavas,
also the show's music supervisor. She described her choice as "a beautiful and complex
song [that] served as the perfect soundtrack to a series of very complex moments."2
Of all the other beautiful songs with complex lyrics, how did Patsavas find Snow Patrol
and how was it decided upon that Chasing Cars was the most suitable song to be placed
2Richard Harrington, “For Snow Patrol, Things Are Heating Up”, available from
http://www.washingtonpost.com/wp-dyn/content; Internet; accessed 13 December 2009
12
in this highly anticipated moment?
Alexandra Patsavas is the CEO of the record label and music supervision service, Chop
Shop Records. Chop Shop is an industry leader in licensing music for film and television.
A music supervisor mediates between the two worlds of cinema and music.
The music supervisor is defined as a person who selects and licenses music and sound
effects.3 The broad description entails but is not limited to music selection, clearance,
hard-working mediator who caters to the needs of directors, producers, and other creative
people.4
The music supervisor with a diverse background in business/legal affairs and the music
industry is an asset to the media team. There are two types of music supervisors. The
first is the in-house supervisor of a large media conglomerate, benefiting from access to
publishing, recording artists through subsidiary music ventures, in-house music editors,
clearance and legal personnel, and the bargaining power the conglomerates possess. The
second is the freelance supervisor who relies on networking and contacts from previous
The music supervisor works as a musical casting director helping to shape the score and
it’s promotional value and dramatic aptness. Developing the music budget, hiring the
13
composer and other music personnel, negotiating and licensing agreements are additional
responsibilities. However, it is the media’s creative team (i.e. producer, director, creative
director, etc) that both hires the music supervisor and determines if the suggested song
Film, television, video games, and commercials are conceptualized and developed by
management and creative teams. The management team oversees the production to make
sure the production runs on schedule and budget. The creative team supervises the
creative vision to ensure the artistic integrity. In film there is the producer and director;
in television there is the executive producer and showrunner. Producer David Puttnam
since you can’t mandate the success of a movie.”5 When the primary creative team
prepares for production, they take into consideration cost and creativity. Director Sydney
Pollack states, “Not only do their various creative and mechanical abilities contribute to
the final film, but every moment they save is an extra moment that can be spent
religiously. What pictures have they done? What are their personalities? How fast are
5 Jason E. Squire. “The Movie Business Book”. 3rd Edition. (New York: Fireside, 2004) 17
14
they? Do they get on well with other crew members?”6
Ancient societies have used music as a way to preserve myths and legacies through
folksong and performance. The member of society that was designated to preserve and
manage the proper execution of the musical aspect of these performances and rituals were
Although music placement is not exclusive to cinema, it is the cinema that has had the
most influence on how the audience responds to music and the moving image.
The silent age of film was never silent; most films were accompanied by live music
typically of classical and popular music of the time, which provided an emotion to the
scenes where actors were unable to vocalize sorrow or bliss. These musicians were film’s
first music supervisors; they scored films with improvised, compiled, and original music.
marketing tool for the film and music industry, by hiring Sam Fox Music and Academic
Music Publishing to produce a cue sheet to accompany the theatrical reel. The cue sheets
were generally three to four pages of listings of photoplay music, classical or popular
standards from their library, often with list the title and author of a song, when to play it,
6 ibid, 30
15
roughly how long to play it, and the publisher of the piece. Quite often, further notes
were given of sound effects, tempo, and so on, so that every important factor of the film
could be supervised. The musical director of a theater then went through the theater's
music collection (generally listed by tempo) and picked out the appropriate cue. If the
cues were not available, the musicians would replace it with another suitable piece, or
order it through the company that created the cue sheet. Some conductors compiled their
own scores rather than use cue sheets; others followed the cue sheet, but used their own
choices of music.
The popularity of cinema and its use of the musical score lead to a relationship between
the film and music industries. Sales of all sheet music exploded between 1910 and 1918.7
In 1885 a concentration of music publishers settled in the Manhattan section of West 28th
street between 5th and 6th Avenue, which has been respectably labeled Tin Pan Alley.
These music publishers issued sheet music. Ten years later in 1895 the Music
Following the arrival of sound and the syncing of film and music, the performance right
organizations began to take shape. The American Society of Composers, Authors and
Publishers (ASCAP) was established in 1914 to assure that music creators are fairly
compensated for the public performance of their works, and that their rights were
7 Jeff Smith, The Sounds of Commerce (New York: Columbia University Press, 1998),
28
8 MPA.org, “About the MPA” Available from http://mpa.org/about/; Internet; accessed. 1, February, 2010.
16
properly protected.9 Following ASCAP, Society of European Stage Authors &
Composers (SESAC) was founded in 1930, Broadcast Music, Inc. (BMI) was founded in
1939, and SoundExchange was founded in 1995. These organizations were formed to
collect royalties and distribute and lobby for reality rights on behalf of the copyright
holder.
1927 was ground breaking for film. When the adapted play The Jazz Singer (1927) made
its debut, it was the first film to sync sound and film. The musical film became prominent
during the 1920s to late 1940s. The musical film is a genre where the characters sing or
act out songs that are interwoven into the narrative. These songs advance the plot or
develop the film's characters.10 There were a number of groundbreaking movies that
revolutionized film. The Broadway Melody (1929), considered one of the earliest
examples of a musical, is notable for the song You Were Meant For Me written by Arthur
Freed and Nacio Herb Brown. Alam Ara (1931) defined the Hindi musical cinema genre
wove placement of popular music into the narrative. Most of the lyrics and melody were
previously composed, the music was reconfigured by composer Max Steiner. Titles such
as As Time Goes By and It Had to Be You were synced to memorable moments causing
the viewers to attach a new meaning to the music. The Walt Disney classic Fantasia
9 ASCAP.com, “ASCAP History” Available from http://www.ascap.com/about/history/; Internet; accessed.
1, January, 2010.
10 Wikipedia.org, “Musical film”, Available from http://en.wikipedia.org/wiki/Musical_film; Internet;
17
(1940) is an extreme case of a film supported mainly by notable classical music.
of multi-track techniques that offered control over sound quality. Stereo recording was
introduced in 1957 and became a standard in the 1960s. 1969 presented the possibility of
scores and soundtracks became layered and even more prominent in the narrative.
In 1956 Alfred Hitchcock place the song Que Sera, Sera (Whatever Will Be, Will Be) in
the film The Man Who Knew Too Much (1956) as a narrative device and was awarded the
1956 Best Song Oscar. Murray Pomerance, in the book Soundtrack Available, describes
the song as the heart of the film, “ As we give serious consideration to both the song and
the singing.” Pomerance also points out the layering of sound as a communicative device
“Because the focus of the scene is acoustic, the actual dance routine is carefully arranged
to be visually interesting without disturbing the continuity of the sung lyric or the
harmonic development. Thus, when the duet is abruptly interrupted by an invisible rap at
acoustical development.” 11
The technological boom became a presence in the home with the affordable turntable and
11Pamela Robertson Wojcik, Arthur Knight, Soundtrack Available: Essays on Film and Popular Music,
(North Carolina: Duke University Press, 2002), 32
18
popularity of vinyl. The Beatles capitalized on this opportunity with A Hard Day's Night
(1964) and Help! (1965). Both films were accompanied by influential soundtracks that
supported the launch of new songs to a wide audience, and, conversely, these popular
songs helped to sell the films. The James Bond franchise managed to maintain a perfect
balance between associating the successful film with the singles conveniently named
after the colorful title series installment such as Shirley Bassey’s Goldfinger and
Diamonds Are Forever. In the 1970s popular recording artists were commissioned to
construct soundtracks that connected the film to a distinctive sound. Saturday Night
Fever (1977) capitalized on the star appeal of the Bee Gees. Superfly (1972), scored by
Curtis Mayfield, created a look and sound of an underrepresented class. The lyrics
explored themes of poverty and drug abuse. A Clockwork Orange (1971) was
groundbreaking as it was the first film to utilize Dolby sound that reduces noise on all
pre-mixes and masters. The film also contained a unique mixture of popular classical
music and synthpop in its music scoring such as Pomp and Circumstance March No. 1
Films of the 1980s and 1990s were designed to speak to a generation that grew-up on pop
culture references, and the soundtracks reflected this by consisting largely of popular
singles. Prince built a franchise on the film Purple Rain (1984) by producing the
soundtrack by the same title. John Hughes’ influential teen franchise, Sixteen Candles
(1984), Breakfast Club (1985), Pretty in Pink (1986) and Ferris Bueller's Day Off (1986)
was carefully scored with music pop songs. Songs such as Don't You (Forget About Me)
by Simple Minds from Breakfast Club (1985) and Oh Yeah by Yello that reflected the
19
emotions and lifestyles of the characters.
The 1990s ushered in films that consisted largely of popular (or sometimes forgotten)
singles such as Kool & The Gang’s Jungle Boogie in Pulp Fiction (1994) and Iggy Pop’s
Lust for Life in Trainspotting (1996). These soundtracks reflected the filmmakers’
sensibility and in some cases help to re-launch the popularity of these songs.
The film industry utilized music to add conceptual and marketability value to the
cinematic experience, making the music supervisor an added value to the production.
In Ways of Listening, Eric F. Clarke writes “Perception and meaning are closely related.
When people perceive what is happening around them, they are trying to understand and
adapt to, what is going on. In this sense they are engaged with the meaning of the events
in their environment.”12
Sound is as much of a narrative force as the image. There are three vital layers to the
media soundtrack: dialogue, sound effects, and music. These elements are mixed to
12
Eric F. Clarke, Ways of Listening: An Ecological Approach to the Perception of Music Meaning. (New
York: Oxford University Press, Inc., 2005). 6
20
Claudia Gorbamn in her book Unheard Melodies: Narrative Film Music defines seven
II. Inaudibility -- music must not be heard consciously, and should submit to
III. Signifier of emotion -- music can suggest moods and emotions, but is first and
continuity
VII. One might break with any of the above rules within the boundaries of reason
A given film score may violate any of the principles above, providing that violation is at
13Claudia Gorbman, Unheard Melodies: Narrative Film Music. (Indiana: Indiana University Press, 1987).
72
21
22
BUILDING A BRAND
When “Chasing Cars” reached it’s tipping point, both the label and the show worked
quickly to capitalize on its popularity. Although the song had a video, the video was re-
edited to include clips from the show. The video still failed to catch on, so a third version
was filmed to correspond with the edited single version of the song. On September 13,
2006, the song soared in the digital music charts to become the most-downloaded song in
the U.S. iTunes Store, just one day after the DVD release of the second season of Grey's
Anatomy. On September 12, 2006, the song was included in a compilation of music from
the show.
The placement of music in media is a strategic marketing move for both music and
media. Carefully coordinated sales campaigns, media, and record labels attempted to
inexpensive advertising stimulates interest in both the film and the artist. The music
In the words of Henry Mancini, “The minute you put a song over the titles or in any part
of the picture, you’re unconsciously trying to play on the viewer’s pocketbook – you’re
14 iBid, 288
23
SONIC BRANDING
Studios exploit film scores for the added revenues from record sales and mechanical
licenses.
(a.k.a. audio branding, acoustic branding or sonic mnemonics) is a term most commonly
used in the advertising world, and is defined as the use of sound to reinforce brand
identity. Criterion of sonic branding is recognizable and memorable, even after a very
short period of time. The core of sonic branding is the sonic branding engine that acts as
the foundation of the strategic approach. The engine acts as a think tank that analyzes the
life cycle of sonic branding. Stage one verbally defines the brand in an effort to generate
consistency. Stage two is creative learning, during which audits, group discussions and
moodboards are used to determine how the brand will express itself through sound.
Stage three uses the information collected in the previous stage to build a system of sonic
branding that will be capable of generating the distinct, memorable, flexible and honest
identifiers that a brand needs to generate belief among stakeholders. The fourth and final
stage is the experience by utilizing touch points to strategically positioning the brand to
Sonic touch points define the fourteen possible situations where sonic branding is a factor
15 Daniel Jackson, Sonic Branding: An Introduction. (New York: Palgrave Macmillan, 2004), 123
24
in the nature of the branding experience.16 These locations include the telephone hold,
radio, television, IVR, cinema, retail, parties, desktop, conferences, offices, web, cd-rom,
In the traditional cinematic experience the possible situations where music is a factor are
the overture, main title and opening credits, first part of the film, intermission, entr’acte,
second part of the film, and closing credits.17 The contemporary overture is the montage,
which is a stylized break from the dialogue. The music framework of the opening and
end are significant to the branding of the film. In accompanying the main title and the
opening credits, music can fill a variety of functions: altering the audience, introducing
the dominant musical theme, presenting several musical themes that will be heard in the
film, establishing the mood of the film as a whole, and foreshadowing significant aspects
of the story. Music for the closing credits may similarly reflect the mood at the end of a
film or simply create a cheerful ambiance for the exiting audience. Frequently, the
closing credits reprise a number of important musical ideas from the film. It is also
common in recent filmmaking for the closing credits to include a new song, which could
lead to a possible Oscar nomination for Best Song and boost potential sales of a
soundtrack recording.18
Sonic language works to build the brand’s identity by assembling the sound identity
16 ibid, 5
17 Roger Hickman, Reel Music: Exploring 100 years of Film Music. (New York: W.W. Norton &
Company, Inc., 2006), 36
18 ibid, 36
25
during the creative process and expressing this in a clear understandable way.
CONGLOMERATES
other media companies (television, music, videogames, and books). Sony is an eminent
example of both vertical and horizontal integration. It is a top manufacturer of audio and
video hardware, a music distributor, and a film studio that has resulted in an efficient
management of resources that reduces overhead and pre-unit production cost, scale of
economies.
The structural interaction of film and music divisions allow for more efficient
departments, management teams, and in-house music supervisors. The film score
functions within the film and outside of it. This synergy creates many commodities out
of one intellectual property that could then be produced and cross–promoted by the
the benefits of vertical integration and cross promotion. The music supervisor on the
Universal Pictures’ film was Kathy Nelson. Nelson was appointed President of Film
Music for Universal Music Group and Universal Pictures on December 4th 2004. The
position was created to maximize opportunities between music and film. Nelson oversees
the development and production of all soundtrack albums for the company’s U.S. labels,
including those associated with Universal Pictures’ releases as well as other film
26
companies. For Universal Pictures, she manages all aspects of development and
By creating multiple profit centers for a single property, synergy spreads risk among
several different costs of an unsuccessful film and vice versa; synergy fails if it produces
only a hit film or a hit record is to somewhat simplistically elevate one economic goal
over another. 20
“Technology brings about massive industry discontinuities, when industries are forced to
often wither away leaving room for more agile entrepreneurs.”21 David Kusek, The
The record business and the music industry are not the same. The record industry is in
the business of selling albums and album sales are down. However, more music is being
consumed. The birth of the MP3 has breathed new life into the music industry, and record
labels neglected the opportunity to exploit the new technology. A 2007 Rolling Stone
article addressed the decline of the record industry by pinpointing its missed opportunity.
According to Jeff Kwatinetz, CEO of management company The Firm, “Among the
19 new.umusic.com, “Kathy Nelson Named President, Film Music For Universal Music Group And
Universal Pictures”, Available from http://new.umusic.com; Internet; accessed 17, January, 2010.
20 Smith, 1998, 188
21 David Kusek, Gerd Leonhard. The Future of Music: Manifesto for the Digital Music Revolution.
27
biggest, was the label’s failure to address online piracy at the beginning by making peace
with the first file-sharing service, Napster. They left billions and billions of dollars on the
table by suing Napster -- that was the moment that the labels killed themselves. The
record business had an unbelievable opportunity there. They were all using the same
service. It was as if everybody was listening to the same radio station. Then Napster shut
down, and all those 30 or 40 million people went to other [file-sharing services].”22
The relationship and dynamics between the primary parties in the music industry has
shifted. For a long time the musician’s objective was to sign with a major label. It was
believed that labels would propel every artist signed to stardom. The reality of this myth
is that record labels are corporations with the objective of making a profit not developing
careers. This hierarchy and structure limits the creative vision. The contracts that
musicians are required to sign are exclusive and limits the control they have over their
own careers. The labels control the way their albums are produced and marketed. The
and video recordings,23 all at the expense of the recording artist. Million dollar advances
that record labels give to newly signed artists are nothing more than dangling carrots. It
is the recording artist who pays for the record, producer, rehearsal time, musicians, video,
tour support etc. This usually results in the artist owing the label money even if the
22 Brian Hiatt, Evan Serpick, “The Record Industry's Decline”, Available from
http://www.rollingstone.com/news/; Accessed, 21, September, 2009.
23 Brian Wesley Peters. Music Business 101:For Aspiring Producers, Writers,
Musicians, Singers, And Future Record Moguls. (California: Swerve Publishing, 2005).
27
28
PUBLISHING IS PROFITABLE
Publishing has always been a profitable business and is also the essence of a record label.
The income generated from publishing is valuable and reliable and record labels have
known this for decades. Record companies work with artists and numerous other support
people such as record producers, musicians, and video producers. Each of these people
invariably license or assign the ownership rights in their work to the record company so
that the record company becomes the copyright holder.24 The valuation of the 2004
acquisition of Warner Music Group by Bain Capital and Providence Equity Partners,
valued the publishing company at $2 billion, compared with the $1.5 billion given for the
Copyright is defined as a form of protection provided by the laws of the United States
(title 17, U. S. Code) to the authors of “original works of authorship,” including literary,
There are two types of copyright. The publisher owns the words and music and the
master is the specific recording of the song. Recording artists, by record labels “copyright
24 Richard Jay. How to Get Your Music In Film & TV. (United Kingdom: Schirmer Books, 2005), 6
25 Leonhard Kusek, The Future of Music: Manifesto for the Digital Music Revolution, 57, 25
26 Copyright.gov, “Copyright Basics” available from http://www.copyright.gov/; Internet; Accessed 1,
January, 2010.
29
Shares indicate ownership of a song. The publisher buys or leases the publisher’s share of
the copyright, eventually building a catalog of music to be licensed and sold within the
term of the publishing deal. Writer’s Share is the portion of the song owned by the
composer. The Publisher’s Share is the other percentage of the copyright. The composer
has the option to sell any percentage up to one hundred percent of the publisher’s share,
either to a publisher or other entity like a manager. In some cases, publishers have
bargaining power. If they believe that the project is unsuitable or the music is
The following is a chart of a variety of licenses that are needed for acquisition when
Media Permissions
Media Licenses to be secured Source
Film Synchronization License Publisher
Master License Writer
Record label
Master owner
Artist
Television Synchronization License Publisher
Master License Writer
Record label
Master owner
Artist
Internet (streaming) Performance License Performance Rights Society
27 Wentz, 2007, 62
30
Master License SoundExchange
Internet (download) Master License Master owner
DVD Synchronization License Publisher
Master License Writer
Record label
Master owner
Artist
VOD (Video on Demand) Synchronization License Publisher
Master License Writer
Record label
Master owner
Artist
In the late 1940’s musician William James (Willie) Dixon signed a suspicious record deal
with Chess Records. This artist is considered one of the key figures in the creation of
Chicago Blues and went on to write some legendary blues songs that later became rock
anthems. He saw little return from his music. That suspicious record deal gave Chess
Records ownership of the songs Dixon created and recorded. Willie Dixon is just one
example of how record labels have been taking advantage of artists for decades. Fast-
forward to 1994 when a young entrepreneur, Percy Miller, started a record label out of
his mother’s home in Richmond, California that later moved to New Orleans. No Limit
Records proved to be an example of the new model of the music industry. Percy Miller,
also know as rapper Master P, owned his own masters and copyrights and personally
Many artists are now seeking 50/50 deals where net revenue is split between the artist
and the label, resulting in shared responsibility. Established artists such as Prince,
31
Radiohead, and Nine Inch Nails have abandoned the major-label system to market and
distribute their music independently and retain ownership of their master recordings. 28
Musicians are wise to the pitfalls of the record labels and the advantages of new
marketing new music easier and cheaper. Today it is possible for a musician to write,
arrange, record, and master an album in a $5,000 home studio. The barriers of entry into
the music business have been lowered resulting in major labels competing with 16 year-
olds with bedroom studios. According to David Kusek, writer of The Future of Music, the
result of a democratized music industry has “injected a good deal of Darwinism into the
business. The more people record, produce, and publish their works, the more new
releases will vie for our attention. And today, getting attention is the name of the
game.”29
THE PROFIT
When the music supervisor requests licenses, the publisher and owner of the masters
consider the format in which the song will appear. The formats that are currently
negotiated are theatrical, television, DVD, and downloads. The fees that are negotiated
are flat-fee or unit based. Flat-fees are negotiated for theatrical, television, internet
streaming, in-flight and corporate exhibition. Unit-based fees negotiated for media that is
sold as an individual product or downloads which are typically used for DVD, VHS and
32
Internet downloads.
Below are rough figures of fees of commercial songs placed in independent films:
a $1,000/ side
Cable Television: $750-$2,000/ side depending on the term and what network is airing
the show.
Art House Theatrical: $500-$2,500/side; these days films aren't in the theater long due to
home video, so if you keep the term short like 6 months, the fee will be less costly.
Home Video: $0.08-$0.15/side per unit fee with an advance on anywhere from 1,000
units to 10,000 units; if you are pressing more than 10,000 units we suggest doing a
Network TV: Generally covered by the networks' performance rights blanket licenses,
but if a show is going to re-air somewhere else, then the production company needs to
33
New Shows: A one-time airing is generally permitted, just as it is with public television,
but if a show is going to re-air somewhere else, then the production company needs to
Every contract consists of clauses and deals that are negotiated to either benefit the music
providers or the media production. The Most Favored Nations (MFN) clause puts the
publisher and master owner (record company) in competition for the highest fee. The
MFN clause means that, regardless of what fee was actually quoted, the copyright holder
or holders insisting on the clause get the same fee as either: the other "side" of the same
song; or the other co-publisher; sometimes, the other songs in the production. If one of
the songwriter or the co-publisher quote a lower fee, it means that all the copyright
holders to a particular song will be entitled to the highest fee paid to any one of them, no
The step deal is a license grant, most often for theatrical distribution of films, where the
licensee must pay additional fees when it earns certain amounts of box-office revenue.
To keep track of which music is used, the music supervisor has the important task of
compiling a cue sheet. Media productions must report the music used in their productions
to the appropriate rights organizations. Each type of media must acknowledge the set of
30 Brooke Wentz. Hey, That’s My Music: Music Supervision, Licensing and Content Acquisition. (New
York: Hal Leonard Books, 2007). 77-78
31 ibid, 79
34
requirements specific to that media. Music publishers must make sure that compositions
have been filed with he U.S. Copyright Office and with a performance rights
organization is able to collect royalties and distribute them accordingly. The music
supervisor is responsible for compiling cue sheets for tracking song usage in a
production. A cue sheet is a list of all the music heard in a production in the order that it
appears in the media. The cue sheet includes the exact timings and all the precise writer
music. For years consumers relied on traditional means such as terrestrial and satellite
radio or music stores (those that still remain) to discover new music. Today consumers
are experiencing new music in non-traditional ways such as social networking sites,
blogs, mixtapes, television, internet programming, commercials, films, and video games.
However, most consumers want and need tastemakers, which are credible personalities
and proven entities that package programs and expose us to new music.33 Even music
supervisors rely on tastmakers such as college and independent radio DJ’s, music and
32 ibid, 97
33Leonhard Kusek. 2005, 57
35
Both unsigned artists and small labels are in competition with major labels to gain the
attention of the music supervisors to market their music. Kevin Weaver of the Atlantic
Records Group believes, "there are tremendous opportunities in the film, TV and
videogame landscape.”34
As the music industry has become more reliant on music placement and licensing, online
distribution has resulted in an oversaturated music marketplace. How does the music
Just as the consumer has several outlets to find new music, the music supervisor is aware
of even more music options. Their success depends on navigating these venues and
seeking out the most exciting music for placement. There are three reliable sources to
find music: the labels (major and independent), music libraries, and the wide pool of
unsigned talent.
RELIABLE TOOLS
The Labels
Record labels, both independent and major, court music supervisors or associates of
creative teams. Their objective is to license their artist’s music to media creatives. Their
artists earn a substantial fee and the company receives effective marketing at no cost to
34Christopher Morris, “Music exec looks to film”, Available from http://www.variety.com/article; Internet;
accessed 15, August, 2009.
36
them. This type of music is known as commercial music. These are typically
recognizable songs and/or artist’s who already have a fan base and this could prove
useful for the music supervisor. However, the cost of licensing such songs can range
from about $15,000 to $40,000. Hits or semi-hits from more established artists will
Music Libraries
tracks are usually very well-recorded and are set up to be used fast and licensed with
extreme ease. They can also be generic, boring, the exact same sounds that all your peers
are using. Nonetheless, in a time crunch, library music can be your best friend.36
Unsigned Talent
When music of a lesser-known artist is placed in media and that song evolves from
musician(s) can be found the old fashion way through attending shows, on a street
onsmash.com. When an original song from the score of a movie or TV series receives
mainstream exposure, it's likely that it will end up being licensed from a compilation
album or DJ album. This is a perfect way to further the incoming revenue generated
from the TV or film project's original budget, and it is a prospect that would be of interest
35 Ramsay Adams, David Hnatiuk, David Weiss, Music Supervision: The Complete Guide to Selecting
Music for Movies, TV, Games and New Media, (New York: Schirmer Books, 2005), 22
36 ibid, 22
37
to an industry executive.37
The new hybrid services that cater to both the artists and the music supervisors are known
as music licensing companies. Many of these companies are formed by music and media
professionals who provide insight into the needs of both the musicians and creative
publishing, recording, and management to the musicians and convenient search options,
licensing packages, and custom made to order music for the music supervisor.
independent artists and music producers to big name clients and brands. Eric Sheinkop, a
University of Wisconsin graduate that furthered his education with both business and
music programs in Argentina, Ecuador, Honduras, Milan, Cuba, Austria, and Barcelona
founded the company. Eric earned a degree from the prestigious Full Sail music
and Director of Operations. Prior to Music Dealers, John attended Columbia College,
Chicago and founded his own successful and critically acclaimed record label.
This web-based company provides artists and media creatives the tools to connect with
each other. Artists have the ability to upload and manage their music. Media creatives
37 ibid, 120
38
have the ability to quickly and efficiently find the perfect track for their project.
Former Viacom editor Jared Gutstadt and Dan Demole founded the New York based
company Jingle Punks in 2008. The company's focus is to provide its clients with
dynamic indie acts at a price point that appeals to network executives and to provide
custom sonic branding that clients will own. The leadership team also includes music
manager Anthony Martini who is a partner and Ethan Goldman who is the Senior Vice
consultant. This team has provided music for CBS, Food Network, A&E, History
Channel, IFC, Bravo, Animal Planet, TV Land, E!, Stars, CBS, and film projects. The
company tries not to go beyond 10-12 projects per quarter so they can provide all their
clients with personal music supervision and the ability to create music for specific
projects in a timely manner. The Jingle Punks' library is web-based and allows the client
to search music, which is mapped in relation to existing bands, moods, emotions, scenes,
and cultural reference. Music can also be searched by traditional headings such as genre,
subgenre, and tempo. When the creative team decides on a song, there are three licensing
options to choose from: a one-year blanket deal, a one-series blanket deal or a one-track
purchase. The process for a musician to become a part of this music licensing company
giant starts with the approval process. Once approved a non-exclusive 50-50 split with
Sir Groovy is also a music licensing company with a well-connected leadership team.
39
Vic Sarjoo, a seasoned investment banker, founded this New York based company. The
leadership team includes, David Leibowitz, who was former EVP & General Counsel of
the RIAA, Lee Rudnickiand, former CEO of Broken Ocean Entertainment, Contract
attorney for DreamWorks and General Counsel for Eleven Arts, Inc. The advisory board
includes Rupert Perry, former European President of EMI and Emily Kaye, former VP of
Music at Sony Pictures. The company's client list includes Fox Searchlight Pictures,
Discovery Channel, MTV Networks, ESPN, and CBS. The search technology uses Music
DNA™ software which analyzes the sound file itself for certain characteristics in 13
categories. For example, tempo and mood and encodes these characteristics as XML and
is stored with the file. Their database includes 10,000 pre-cleared tunes from 50 countries
Rumblefish is a sonic branding and music licensing company. Based in Portland, Oregon,
the company's leadership team is comprised of professionals from music, advertising, and
technology industries. CEO Paul Anthony resumé includes music producer, film
composer, and music commentator. The team also includes Creative Director, Brian
Baker, of Liquid Audio. The company's clients include YouTube, 48 Hour Film Project,
Pabst Brewing Blue Ribbon, NBC-Universal, HBO, Nike, The North Face, Adidas,
40
Pump Audio is a music licensing agent that connects independent musicians and labels
with media teams. The technology is the company's main focus. Pump Audio is know for
its product, The PumpBox, which is a portable music delivery service and is available as
webware and hardware. The service provides comprehensive search capabilities for
finding music in their catalog. The music is searchable by genre, mood, instrument, and
tempo. The music is then instantly available for use. Pump Audio's client list includes
MTV, VH1, Comedy Central, the History Channel and a host of top ad agencies.
The company has partnered with Creative Commons and allows the public to license
independent musicians for non-commercial use. The process for submission is based on
each song and once accepted, each CD sent is treated separately and requires a separate
It's no mistake that licensing companies have one foot in the music industry and one foot
in the visual media industry. Recognizing the priorities of the music supervisor allows
these companies to tailor their product to satisfy the music supervisors creative and
administrative needs. The music licensing companies that lack the help (i.e. consultant,
board member, staff) from established industry professionals find new angles to appeal to
Music plays a major role in the overall production of film, television, video games, and
online media. Music acts as a narrative device to make a moment memorable by sonically
sound recognition. Consumers look to all sources of media to experience new music. In
41
return, this makes the music supervisor a tastemaker and musicians, labels, music
licensing companies are aware of the profit and marketing potential that placement
generates. With the abundance of music from major labels, independent artists, and music
libraries, music supervisors are left to navigate a plethora of music to find the most
suitable track.
The marriage between Snow Patrol's Chasing Cars and Grey's Anatomy was not a
mistake. It was a strategic move to give the band exposure and increase the brand’s
equity of the ABC brand. This makes the music supervisor's job one that teeters on the
edge of creativity and politics. Music Supervisor Alexandra Patsavas had worked with
Snow Patrol on a previous show, The OC. Prior to the band’s music appearing on Grey's
Anatomy, they were known in Europe, but had a small following in the US. Music
placement has become the new tool to market music. The popularity of the music video
in the 80’s illustrated the effects of coupling music with the moving image, and music
placement is a touch point for consumers to become aware of new music and to revive
old classics.
Music Supervisor Alexandra Patsavas has built a strong networking relationship with
musicians, labels and creatives. Her partnership with TV producer Josh Schwartz has
For the musicians and libraries, the music is only as good as the industry connections. It’s
innovative music. Music supervisors also need to stay current with music and media as
42
well as music industry trends in business and technology.
43
Chapter 3 – Project Details
Production.
Research for this project began in September 2009 after working with thesis committee to
form a thesis statement for the project. The research consisted of understanding the
the music supervisor; working relationships between the music and visual media
industries; and the evolving tools that the music supervisor uses to find cost-effective and
innovative music. Interning with Warner Music and Music Dealers was influential in
developing this thesis project, observing the licensing process, and understanding the
quality video documentaries. My research efforts have led me to identify equipment that
44
is both portable and can deliver high quality results. This research was compiled through
online sites visiting stores, speaking with other filmmakers, and screen tests. Watching at
least one documentary a day helped to develop visual ideas of how to construct a visually
interesting documentary. Reading books on video production provided insight into how
to manage time and operations of the production. Interning at Kurtis Productions in fall
the framework of story structure along with research and interview techniques that will
• Preliminary site design and logo is created that is aligned with my established site
(nerdymedia.com). This design gives the site developer an idea of the completed
project.
• Working with a site developer to further design the vlog site and securing the
45
URL.
• Launching the site and reflecting on the project. Web launch will include
establishing Facebook, Twitter accounts to promote the site through these social
networks.
The production crew consisted of a union grip for television and film and myself. I built
a working relationship with Mike Lust and Music Dealers previous to starting the project.
The aesthetic of the videos were inspired by other podcasts, specifically CoolHunting, a
podcast that focuses on the creative process. I admired the flow and aesthetic of the
podcast and aimed to input my own style to the videos for this project.
Constraints
The most difficult function of this production was finding professionals to interview.
After contacting over 70 people in Chicago, New York, and Los Angeles, many people
didn’t have the time or were not interested in participating in this project. A reference by
46
a friend or colleague would have increased the chance of securing the interviews.
47
Results
With planning and execution of the project, accomplishing the goal of shooting, editing,
and posting four interviews with music and media professionals. Established a working
relationship with these professionals was an added benefit to the project. The interviews
reflected their views on the field, the music licensing process on the music and film
industries.
Their interviews are the foundation from which future videos may be shot to further
Future Plans
interviews will take place during the production phase. Four of those interviews will be
used for this project. After the completion of this thesis project production will continue.
It will focus on the actual music selection process from the point-of-view of the
management team, the music supervisor, and the musician. This thesis project will be
Recommendations
As the videos are posted on the nerdymedia.com website and iTunes, the project will be
advertised via social networking sites along with posters and stickers (Appendix VI) in
venues such as bars, stores, music and video stores, and restaurants in Chicago, New
48
York, and Los Angeles. This gorilla marketing campaign is designed to make the music
and media communities aware of the project. It also makes and serves as an introduction
to other music and media professionals which should allow further interviews as
awareness of this project matures and the possibility to set up more interviews with the
49
CHAPTER 4 – Conclusion
Music licensing is lucrative for the music and media industries. Music supervisors are
being presented with a variety of music sources. This project explores how music is
licensed through music licensing companies as the means by which music supervisors
find new talent and bring fresh sound to media. Music licensing companies have become
a one-stop shop solution for music supervisors. These companies work as mediators
between the music and media companies by finding new music and negotiating deals for
the unsigned artist. Many music licensing companies are founded by professionals from
the music and media industries, this allows them to tailor their services to the needs of
Music licensing is a topic that appeals to both the media and music communities. Media
creatives unaware of the legalities, marketing, and resources will find this project useful
in exploring and noting companies and professionals that share their experience and
knowledge. The music community can also benefit from this project, as it brings
awareness to the earning potential that music licensing offers and the process of music
supervision.
This project was a learning experience on both the topic and video production process.
Prior to embarking on this journey, my only experience and knowledge about music
supervision was what I learned from Kate McComb and Chuck Bein’s music supervision
class. The research process opened a door to the history, marketing potential, and
50
innovation of music licensing. The music industry is evolving and looking to music
licensing as a lucrative profit stream. Media producers are also realizing the impact of
fresh and exciting music has on their viewers and cross-marketing potential.
This thesis project has allowed the opportunity to apply the knowledge and skills from
my undergraduate and graduate studies. This project focuses on a topic that is relevant to
arts management and utilizes video production to produce segments that are distributed
51
Bibliography
Adams, Ramsay, Hnatiuk, David, Weiss, David. Music Supervision: The Complete
Guide to Selecting Music for Movies, TV, Games and New Media, New York: Schirmer
Books, 2005.
Conrich, Ian, Ticknell, Estella. Film's Musical Moments (Music & the Moving Image).
United Kingdom: Edinburgh University Press, 2007.
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Indiana: Indiana University
Press, 1987.
Hickman, Roger. Reel Music: Exploring 100 Years of Film Music. New York: W. W.
Norton & Company, 2005.
Jay, Richard. How to Get Your Music In Film & TV. United Kingdom: Schirmer Books,
2005.
Kompanek, Sonny. From Score To Screen: Sequencers, Scores And Second Thoughts-
The New Film Scoring Process. New York: Music Sales Corporation, 2004.
Kusek, David, Leonhard, Gerd. The Future of Music: Manifesto for the Digital Music
Revolution. Massachusetts: Berklee Press, 2005.
Lathrop, Tad. This Business of Music Marketing and Promotion. New York: Billboard
Books, 2003.
Mundy, John. Popular Music On Screen: From Hollywood Musical to Music Video.
United Kingdom: Manchester University Press, 1999.
Peters, Brian Wesley. Music Business 101:For Aspiring Producers, Writers, Musicians,
Singers, And Future Record Moguls. California: Swerve Publishing, 2005.
Scheurer, Timothy E. Music and Mythmaking in Film: Genre and the Role of the
Composer. North Carolina: McFarland, 2007.
52
Smith, Jeff. The Sounds of Commerce. New York: Columbia University Press, 1998.
Squire, Jason E. The Movie Business Book. 3rd Edition. New York: Fireside, 2004.
Wentz Brooke. Hey, That’s My Music: Music Supervision, Licensing and Content
Acquisition. New York: Hal Leonard Books, 2007.
Wojcik, Pamela Robertson, Knight, Arthur. Soundtrack Available: Essays on Film and
Popular Music. North Carolina: Duke University Press, 2002.
Wolff, Robert. How to Make It in the New Music Business: Lessons, Tips and Inspiration
from Music's Biggest and Best. New York: Billboard Books. 2004.
53
APPENDIX I
Thesis Proposal
Abstract:
There has been a significance interest in Music Supervision due to music’s ability to
sonically brand visual media and as a result has become a lucrative cross marketing tool.
The Music Supervisor acts as a liaison between the visual media creative team and the
music industry. This influential role of consultant and tastemaker considers more than
aesthetics of the scene, the responsibilities extend into legal know-how, administrative,
Film scholars that specialize in film music focus mainly on the composition of a film and
less on the placement of pre-recorded music and it’s function as a narrative device and a
marketing tool. The music industry is at a cross road where musicians are bypassing the
major record labels to self distribute and record sales are declining. Music industry
professionals are in search of innovative means of marketing and new sources of revenue.
Currently three books have been published on the topic of Music Supervision, two of
which approach music supervision from the perspective of the musician. Music
supervision is a marriage of music to the visual art form, there is yet to be a documentary
Music Supervision will attempt to illustrate the process, politics, and prospect of this art
54
form, through a mixed approach of examples of music placement, cinéma vérité and
understanding of how, why, and the current tools used to seek music for licensing in
visual media. The goal of this project is to provide information regarding music licensing
Introduction
The fundamental role of the Music Supervisor is finding, selecting, and acquire musical
materials for media and environment use. Just as the consumer has several outlets to find
new music, the music supervisor are aware of even more and their success depends on
navigating these venues and seeking out the most exciting music for placement.
Music Supervision seeks to analyze the significance of the music supervision from the
perspective of visual media and the music industry and the tools the music supervisor
employs.
Research Objectives
Research design, Literature (books and articles) and interviews. Areas of research are to
include:
55
Process (creative, technical, interpersonal, administrative)
Branding (franchising)
Music Supervision: The complete guide to selecting Music for Movies, TV, Games, &
New Media, offers concise insight to the profession of music. Sonic Branding
explores the emotive power of music from a branding perspective. The work includes a
chapter on film music and branding by surveying how image and sound can create a
music event. Soundtrack Available: Essays on Film and Popular Music. examines
popular pre-recorded music in film and how this music along with moments creates a
Executive Summary
Chapter 2 – Research
Chapter 3 – Analysis
Chapter 5 – Conclusion
Bibliography
Appendix
56
Schedule
Pre-Production – January 10
Adamsn, Ramsay, Hnatiuk, David, Weiss, David. (2005). Music Supervision: Selecting
Music for Movies, TV, Games and New Media: Schirmer Trade Books.
Wojcik, P.R. & Knight, A. (2001). Soundtrack Available: Essays on Film and Popular
Music. North Carolina: Duke University Press.
57
APPENDIX II
Vlog Site Outline
58
APPENDIX III
Agreements
I expressly release Nerdy Media, from any defamation and other claims I may have
arising out of the above-described materials and hereby waive all rights to inspect and
approve the finished product or its use.
I acknowledge this release is firm and final and I sign this document to signify my
agreement.
Signature: ________________________________________
Date:_________________
Phone ___________________________________
E-mail ___________________________________
59
Location Release Form
Email: .........................................................................
The location may form some of the backdrop of the above film.
• The producer/director may edit the film entirely at her/his sole discretion, and that
the footage of the Location will be edited and may be juxtaposed with other parts
of the program mentioned above.
• All copyright and any other rights (including moral rights) associated with the
location are assigned to and shall be the property of the organizers of Nerdy
Media in perpetuity throughout the entire universe.
• The producer/director may reproduce the Location in its various versions and
associated promotional material, or any other film, and the finished material may
be distributed throughout the world by any means and shown on any available
format.
• The producer/director shall not be obliged to use the Location in any form.
I understand that in agreeing to allow the producer/director to use the location I will not
later change my mind.
Producer/Director:
La Toia Janine
Cell: 323.309.8257
60
NerdyMedia.com
info@nerdymedia.com
APPENDIX IV
Interview Questions
Are the six categories that David Huron considered and discussed by the creative team
during the music selection process? (Entertainment, Structure and Continuity,
Memorability, Lyrical Language, Targeting, and Authority Establishment)
How do you decide the music styles that are most appropriate for a campaign?
(pre-recorded or custom composition)
is cross branding (musician and product) a concern for advertisers seeing that object is to
sell the product and not the music?
where do you find new music, what resources and tools are used?
In your opinion, what are the elements of a well-scored campaign?
61
how do you market tight phantomz and/or your music
how did your first licensing opportunity occur
where has your music appeared
how do you seek new opportunities (partnership with music licensing companies,
networking, solicit, etc.)
Do you find yourself making music with licensing in mind/what is your creative process
Who's your publisher/why
Is licensing more as a revenue stream or is it also a marketing tool or both
what type of deals do you negotiate
how do you make your music stand apart from everything that's out
since having your music placed on television/film have you noticed in increase in your
fan base
what projects are you currently working on
Name
Title
What is music Dealers (how does it work)
What is the difference between music libraries and music licensing companies
who are your clients
who is your competition
what deals are made with the artist
Explain non exclusive
how do you find musicians
what kind of licenses are negotiated with the media teams
what do you look for in an arts before signin
Peter Hawley – Chairman, Film & Broadcast at Tribeca Flashpoint Media Arts
Academy
62
How important is the music selection for opening and closing totles
When should the producer/filmmaker/director hire the music supervisor
What should a filmmaker look for in a music supervisor
What is the relationship between a producer/filmmaker/director and the music supervisor
Do you feel the music video has influence cinema/music placement
63
APPENDIX V
Bios
Gabe McDonough joined DDB in 2004 as a Print Project Manager, but parlayed his love
and deep knowledge of music into a post working with DDB's creative teams across the
agency to mine rare music tracks and create many of the award-winning sounds for which
DDB Chicago and its clients are best known. In 2009, his placement of Os Mutantes "A
Minha Menina" in the McDonald's "Victory" commercial earned recognition from
Billboard Magazine as one of the 5 best ad songs of all time.
Formerly the Promotions Director for Chicago's legendary live music venue, the Empty
Bottle, as well as an employee of Thrill Jockey Records, McDonough's collaborative
style and strong artist-producer relationships have established him in both the advertising
agency and independent music communities at the national level.
He continues to work as a DJ, play bass for bands in the US, Canada and UK, record
music podcasts showcasing the Chicago music scene and contributes frequently to Time
Out Chicago magazine. McDonough is also known as the bassman for the Boas, a band
that opened for Wilco during their critically-acclaimed Yankee Hotel Foxtrot tour.
A graduate of Wilfrid Laurier University in Waterloo, Ontario, McDonough resides in
Chicago with his wife, Rebecca Anderson and daughter, Evelyn.39
Mike Lust is a Chicago based musician, producer, and recording engineer responsible for
over 150 records in the last 8 years. In his owned and operated Phantom Manor studio,
and elsewhere, he has recorded and worked with a wide range of artists including
William Elliot Whitmore, Chinup Chinup,Ten Grand, Sweep the Leg Johnny, Wilco,
Mike Leonard (Today Show),Picture Show Films, Sybris, Bible of the Devil, Narrator,
and Catfish Haven, whom he tours with as a second guitarist. As a member of Lustre
King, he wrote and produced the critically acclaimed Shoot the Messenger and
contributed music to Transworld Skateboards, the ABC Family Network, and MTV's
Real World and Road Rules. As the frontman of Chicago's Tight Phantomz, he's recorded
two albums and toured the country numerous times, as well as contributing music to
Lensmoto Motocross and Brendan Canty's (Fugazi) Burn To Shine DVD series. in 2004
the band won Best Rock Entertainer at the 23rd Annual Chicago Music Awards. He was
also the voice of McDonalds I'm Lovin' It campaign for Tony Hawk. He lives and works
in Chicago.40
64
Peter Hawley – Chairman, Film & Broadcast at Tribeca Flashpoint Media Arts
Academy
Peter is an award-winning film writer and director working in feature film, documentary,
television and TV Commercials. He has been teaching film at the college level for a
dozen years.
65
APPENDIX VI
Marketing Designs
The following are two designs for posters and stickers that will be distributed to stores,
restaurants, and bars in Chicago, New York, Los Angeles, and San Francisco during the
66
67
APPENDIX VII
Budget
ABOVE-THE-LINE:
1000 RESEARCH 0
1010 Books, research materials, add 1 Day 0 0
screenings of related films
1030 Meetings (advisors, staff, etc.) Day 0
1099 Misc research 1 Day 0 0
TOTAL 0
TOTAL 600
68
3190 Miscellaneous 1 Day 20 20
3400 MUSIC/COMPOSER 0
3420 Music Supervisor 0 Flat 0 0
3430 Add'l Music Rights (songs, etc.) 01 Selection 0 0
TOTAL 20
5300 PHOTOGRAPHY 0
5310 SD Card 0 Roll 0 0
5320 Processing/CD Roll 0
5310 Misc accessories Flat 0
TOTAL 2,555
69
7000 EDITORIAL EQUIPMENT & 95
FACILITY
7010 Editor Hour 0
7020 Editing Facility/Suite Hour 0
7030 External Hard Drive 1 Flat 94.99 95
7090 Miscellaneous Flat 0
TOTAL 95
70
APPENDIX VIII
Cue Sheets
71
Series/Film Name: Music Supervision: a thesis project
AKA:
Episode Name: Creative Process
AKA:
Prod. #: 1
Episode #: 005
Show Duration: 1:51
Original Airdate:
Total Music Length: 1:08
Production Co./Contact Name:
La Toia Janine B.
Nerdy Media
info@nerdymedia.com
323.309.8257
72