From 22 to July 31, virtually present your work at the Screen Music Program, have it professionally recorded by the mdi ensemble, participate in lectures and masterclasses, attend individual online Scoring Lessons, and receive an end-of-course certificate of achievement.
Video games have become some of the most sophisticated storytelling vehicles alive today — not only through intoxicating narrative but also with unimaginable artistic sovereignty.
The creation of highly immersive worlds provides essential connections to societies the world over. Gaming soundtracks have become a vital part of the storytelling process, influencing both the sound and success of the game.
With a renowned faculty, talented visiting artists, and special guests worldwide, the Screen Music Program explores the fundamentals of Film & Video Game scoring in a 10-day session of masterclasses, lectures, colloquiums, and workshops focused on composition through remote residency while promoting the recognition of video games’ unique storytelling potential.
The Screen Music Program empowers you to discover your artistic voice, persevere professional interests, establish a body of work, and join a global fellowship of musicians and composers as one of the world’s most comprehensive virtual summer music performance programs.
Providing an invaluable opportunity for emerging artists, Screen Music Program seeks composers who wish to produce and promote their work, secure future commissions, and job opportunities while connecting other composers to a vibrant artistic community.
The Program’s low-residency model shines and is ideal for self-motivated students with a background in music and demonstrated compositional skills.
If you thrive on inquiry, experimentation, creative process, and the freedom to explore a diversity of genres, Screen Music Program is the place for you.
This year’s program is a rich virtual online webinar, allowing you to attend all activities remotely. No travel, no accommodation required. Classes are taught through quality web conferencing software, included in your tuition.
Faculty mentors guide students through a ten-day session of self-designed composition study, complemented by the engagement of individual lessons, daily seminars, and masterclasses.
Emerge with an established composition practice, a portfolio of your music recorded by professional musicians and ensembles, and a degree that furthers your own compositional goals.
A significant part of our vision for a more equitable and innovative music ecosystem is cultivating talent. The Summer Music Program aids participants in supporting a thriving creative class, now and forever.
Fueling the next generation of creative entrepreneurs through a virtual hub, Screen Music Program fascinates students through musical ideas while forging authentic connections with leading professionals.
From 22 to July 31, 2021, you’ll have the chance to present your work, have it professionally recorded by the mdi ensemble, participate in lectures and masterclasses, attend individual online Scoring Lessons, and receive an end-of-course certificate of achievement.
The Program is aimed at anyone serious about a career in applied composition, from graduate and undergraduate students specializing in film scoring and video game music to anyone wishing to improve their craft.
The Screen Music Program Faculty includes:
Recording artists: mdi ensemble
Program Director: Paolo Fosso
- Norihiko Hibino (Metal Gear Solid, Bayonetta, Zone Of The Enders, Yu-Gi-Oh, Ninja Blade, Yakuza 2, Ace Combat: Assault Horizon, Shinobi 3D, Persona 4)
- Inon Zur (Fallout, Dragon Age, Prince of Persia, The Elder Scrolls: Blades, Crysis, Baldur’s Gate, Syberia, The Lord of the Rings)
- Alison Plante (Program Director @ Berklee College of Music Online)
- Clint Bajakian (God of War, Uncharted, Indiana Jones)
- Paolo Tortiglione (Chair of Film Music @ Conservatory of Milan)
Application deadline – June 30, 2021
Screen Music Program Online, Euros 899 – Apply now!
Fill in the application form with the following materials before June 30, 2021:
- A resume;
- A link to any of your audio files, of any length and genre, representing your style. Live recordings, virtual instruments, or a combination of the two are all eligible.
- Applicants are selected according to the quality of submitted works.
For any questions, please contact Paolo Fosso, Program Director at [email protected]
Join us at https://screenmusicprogram.com!
To apply: https://screenmusicprogram.com/apply
To better understand The Screen Music Program, meet Clint Bajakian, a professional composer and industry veteran who shares his passion the Program: https://fb.watch/5kNDx6LSwQ/ – also on YouTube at https://www.youtube.com/watch?v=ircX5K7Segw
Inon Zur, Special Guest at the Screen Music Program, Composer of Fallout, Dragon Age, Prince of Persia, The Elder Scrolls, Crysis, Baldur’s Gate, Syberia) – Facebook: https://fb.watch/5kMw5hHZk0/ – YouTube: https://www.youtube.com/watch?v=x10RMXMtZlQ
Screen Music Program Biographies:
Inon Zur, Emmy award-winner and three-time BAFTA-nominated composer (Fallout, Dragon Age, The Lord of the Rings, Syberia, Prince of Persia): «Hi, this is Inon Zur here and I just wanted to tell you how excited I am to be part of the Screen Music Program. I’m going to be speaking there about many many interesting adventures that I’ve been doing this year. I think that emerging composers, especially if you are interested in composing for computer games, I think it’s going to be amazing if you could join us. I could share some of my knowledge and experience with you. I really hope to see you there. See you!»
Norihiko Hibino, Saxophonist, composer, video game musician, and developer of therapeutic applications of music, Norihiko Hibino is best known for his work on the Metal Gear Solid and the Bayonetta series, Zone Of The Enders, Yu-Gi-Oh, Ninja Blade, Yakuza 2, Ace Combat: Assault Horizon, Shinobi 3D, and Persona 4, as well as composing for anime, websites, and other musical projects. Born in Osaka, Japan, in 1973, Hibino went to Berklee College of Music to pursue a career in jazz saxophone. After graduating in 1997, he began performing solo in Kansas City, Missouri, but veered into composing for video games after returning to Japan. After working with Konami, Hibino started his own company, G.E.M. Impact, which is a studio consisting of composers Takahiro Izutani, Yoshitaka Suzuki, Takahide Ayuzawa, and himself.
An additional part of G.E.M. Impact is G.E.M. Factory, an in-house record label that has put out the debut album of The Outer Rim and the Ninja Blade soundtrack. In 2009, Hibino founded Hibino Sound Therapy Lab, which explores ways to use music as therapy. One of its projects was Prescription for Sleep, an iOS application that uses music to help users fall asleep. In 2016, Hibino co-wrote the score for the animated short, Sinmara Saga, with composer Dale North. Under the GENTLE LOVE moniker, featuring himself on saxophone and pianist Ayaki Sato (A.Y.A.K.I.) On piano, he published several albums including the Hibino Sound Therapy Lab Sound Library and Prescription for Sleep Volume 2.
Hibino recorded solo harp, chamber groups, and GENTLE LOVE to amass a library for his new therapeutic sound system called the R.I.N.S.H.U., which is a hand-carved sound system crafted by woodworkers in Japan in the likeness of a yacht. The system was released in Japan in 2014 and was patented and released in the United States in 2015. After the earthquake and tsunami in Japan in 2011, Hibino and A.Y.A.K.I. toured the affected areas, performing free concerts to help victims of the disaster. This resulted in the creation of the Music in Heaven spiritual care events which have taken place all throughout Japan, combining musical performances, conceptual footage displayed on a large screen above the stage, and a wellness event. Music in Heaven, which began in 2013, celebrated 50 performances in 2015, and is still being regularly scheduled throughout Japan.
Alison Plante, Chair of Film Scoring at Berklee College of Music, Alison is an award-winning composer whose scoring credits range from documentaries for PBS and the History Channel to national television ads, independent films, multimedia museum exhibits, and live theater.
Her scoring credits include seven educational television series for the Annenberg Channel; History Channel specials Bible Battles and Aftershock: Beyond the Civil War; documentary feature American Meat; national T.V. spots, trailers, and corporate identity music for Duracell, Kodak, Sodexho, Spalding Sports, W.B. Mason, G.M.A.C., Animal Planet, the National Geographic Channel, and the Pan-Mass Challenge, among others. Other credits include live action and animated shorts, theater (with a speciality in puppetry), and multimedia museum installations for the Smithsonian Institution and the Harvard Museum of Natural History.
Clint Bajakian, Clint Bajakian is a composer, producer, and manager of video game music with credits on over 200 titles since 1991. Recipient of the 2013 Lifetime Achievement Award from the Game Audio Network Guild, Bajakian has been dedicated to the advancement of video game audio and advocacy for its professionals, innovating adaptive scoring methods in workflow, project management, team leadership, and education. In 2012, Square Enix bestowed Bajakian an Award for Special Achievement, recognizing him as “one of driving forces in the evolution of V.G. music.” In the following year, Bajakian received the Distinguished Alumni Award from the New England Conservatory of Music.
From 2004-2013, he led the music production team at Sony PlayStation, developing methodology, managing projects, and supervising soundtracks with leading orchestras throughout the world, including God of War and Uncharted franchises. From 2000-2004, Bajakian managed his own company Bay Area Sound, producing the original score for LucasArts’ Indiana Jones and The Emperor’s Tomb, receiving G.A.N.G.’s Music of the Year. Throughout the 90s, he co-led LucasArts Entertainment’s audio department in composition and sound design on such properties as Star Wars, Indiana Jones, Outlaws (original score won Outstanding Achievement Award from Computer Gaming World magazine), Grim Fandango, and Monkey Island.
In 2014, Bajakian composed for Blizzard Entertainment’s World of Warcraft: Warlords of Draenor, which won the H.M.M.A. award for Best Video Game Soundtrack. After two years with Pyramind Studios in original music and team development, in 2015, Bajakian joined the San Francisco Conservatory of Music faculty in the Technology and Applied Composition department and entered business as an independent composer. Bajakian holds a double Bachelor of Music degree from the New England Conservatory in Guitar Performance and Music Theory and a Master of Music degree in Music Composition from The University of Michigan. Clint resides in the San Francisco Bay Area with his wife, Deniz, and two children, Lara and Deren.
Giorgio Casati, recording artist at the Screen Music Program, cellist of mdi ensemble: «Hi, my name is Giorgio Casati. I’m the cellist of mdi, a new music chamber ensemble based in Milano. This year, my ensemble will take part, as a String Quartet, in the Screen Music Program, and our goal is to record your music for film, T.V., and video games. Screen Music is a field in which several languages tend to mix in the last few years.
So, we think it’s very useful to have an exchange between composers and the contemporary music group in order to discover the problems of the different languages you could use and how to use, in the best way, the recording time. If you wish to know more about us, you can visit our website mdiensemble.com. Please, apply to the next Screen Music Program. We really look forward to meeting you all.»
Paolo Tortiglione is Professor of Film Music and Applied Technology at the Conservatory of Milan. His works have been performed at the most important contemporary music festivals such as Olympia International Festival (Athens), Esoterics Spectra Festival (Seattle), ALEA III Contemporary Music Festival (Boston), Contemporary Brass Festival (Sacramento), Grenoble Institute, Naples Contemporary Music Festival, Assisi Festival, British Music Information Center, Electroacoustic Music Festival (Stockholm & Uttersberg), Edinburgh University Contemporary Music Festival, Sweden Vaxjo Media Artes Festival, Rome Ensemble Musica Oggi, Gorizia Festival, Sofia Musica Nova, Rome Festival Nuova Consonanza, Milano Triennale.
He has worked as a film, ballet, and theatre/stage music composer. He has given Computer Music masterclasses in Copenhagen, Amsterdam, Olso, Stockholm, Geneva, Lausanne, Zurich, Abu Dhabi, New Delhi, Dubai, New York, Jerusalem, Tel Aviv, Wien, Brno, Prague, Helsinki, Budapest, Manchester, London, Leeds, Birmingham, Frankfurt, Dusseldorf, Poznan, Bogotà, and Bruxelles. Paolo graduated in Composition, Organ, Electronic Music, and Choral Conducting. He holds a Ph.D. in Composition at the Accademia Santa Cecilia of Rome. He also studied Computer Science and worked for a very long time as a consultant, starting with I.B.M. in 1996.
As a theorist and journalist, he has published more than 120 articles about computer music programming, mathematics, music theory, film music, music notations, and music analysis. He has published several books for Ricordi, DeAgostini, Berben, Rugginenti, Volontè, Curci, Davinci-Edition. His book, Semiography and Semiology of Contemporary Music (ISBN: 9788876656163) can be found on Amazon.
Diego Ricchiuti is Co-founder and Creative Director of Affinity Project, an independent video game developer based in Milan. With the Affinity Project, he has developed Don-Ay, the first donation game ever made. He is a Professor of Game Design at the Italian Video games Academy (A.I.V.) in Rome, where he is the Head of the Game Design department. From 2014 to 2017, he worked at Ubisoft on the Game Design of Ghost Recon Wildlands, also creating the A.I. behavior behind game vehicles, A.I. Vs A.I., and A.I. Vs Player.
He works as Game Designer & Pipeline Director for Techland studios, Wroclaw, Poland, where he is responsible for several game features with particular regard to the fun factor, player engagement, and general ratings. His education includes a degree in I.T. Digital Communication at the Bocconi University of Milan and a bachelor’s degree in Interactive Media Design at the University of Suffolk, U.K., where he graduated with honors.
mdi ensemble was formed in Milan in 2002 and has been an artist-in-residence at the festival di Milano Musica from 2012 to 2017. Since the beginning, the ensemble has collaborated with composers such as Helmut Lachenmann, Salvatore Sciarrino, Gérard Pesson, Marco Stroppa, Stefano Gervasoni, Sofia Gubaidulina, Unsuk Chin. The ensemble regularly appears at some of the most relevant Italian festivals, such as MiTo Settembre Musica, Venice Biennale, Società del Quartetto di Milano, Ravenna Festival, Festival dei Due Mondi, Festival Transart.
Described from the Los Angeles Times as “astonishingly competent”, mdi ensemble performs throughout Europe and overseas, notably at Festival Présences de Radio France in Paris, Tonhalle in Dusseldorf, SWR Stuttgart, Festival Jeunesse in Vienna, S.M.C. in Lausanne, Los Angeles County Museum of Arts, Chelsea Music Festival in New York City and the Italian Institute in Tokyo. The ensemble also frequently collaborates with eminent conductors such as Stefan Asbury, Beat Furrer, Emilio Pomarico, and Pierre-André Valade. Since 2016, mdi ensemble has been curating two concert series in Milan (Sound of Wander) and Florence (Contrasti).
mdi ensemble’s discography includes monographic C.D.s dedicated to composers such as Stefano Gervasoni, which has been awarded by Academy Charles Cros the prestigious Coup de Coeur – Musique Contemporaine 2009, Misato Mochizuki, Giovanni Verrando, Sylvano Bussotti, Marco Momi, Emanuele Casale, Mauro Lanza, Simone Movio. Their DVD See the Sound – Homage to Helmut Lachenmann was broadcasted by Rai 5 and Sky Classica.
Paolo Fosso (Program Director) Composer and Event Manager. C.E.O. of Merry-Go-Sound, dedicated to promoting contemporary music and digital awareness by featuring a range of events throughout the year. The company produces the highSCORE Festival and the Screen Music Program. President of the Conservatory of Pavia from 2010 to 2013. Selected by the European Commission in Brussels as an Expert both in the MEDIA and in the Culture programs.
Global Head of Contents at Campus Party, the greatest technological experience of the world. He studied Computer Science at the University of Milan and Composition at the Conservatory of Milan. As a passionate Entrepreneur, he invests in marketing and technology. Recipient of the Ivano Becchi Professional Award endowed by the Banca del Monte di Lombardia Foundation and the Talent of Ideas prize by UniCredit Bank.
Patrick Gutman, Ph.D. in Music Composition @ U.C.L.A., Screen Music Program alumnus: «I had a wonderful experience attending the Screen Music Program. I loved the variety of the seminars that were offered, from the business of music to learning how to score for film and video games to actually creating a mock-up score to a video game as well. I felt that the quality of the seminars was really high and very useful for composers, and the Faculty who are teaching it are amazing.
Their expertise and knowledge in these fields is incredible, and they’re so willing to help you both in the seminar and outside of the seminar, which is something I really valued and appreciated as well. And lastly, I loved the other composers who were there. It was so nice to be able to talk with them and to connect with them, and I feel now I have expanded my network with composers from all over and developed friendships that have lasted far beyond just the Program itself. So if there are any composers out there who are looking to develop their craft further, to learn more about the process of video game and film scoring, as well as wanting to connect with other composers, I think this is a perfect opportunity to do so.»
Inga Magnes Weisshappel, MM in Music Composition at Iceland University of the Arts, Screen Music Program alumna: «For any composer interested in scoring for films, tv, and video games – this Program is the way to go! These past days have been so inspiring and insightful. Attending so many great lectures, learning about the industry at the individual lessons, and receiving personal career advice from award-winning film score composers is what made the Screen Music Program so invaluable.»
Anika Zak, BM in Music Composition @ University of Regina, Screen Music Program alumna: «Hello, I’m Anika Zak, and I’m a music composition student based in Canada. I’m very happy to say that I participated in the Screen Music Program last July and I’m here to tell you why you should join this year. The Program offers exceptional lectures from distinguished Faculty about a wide variety of topics, individual lessons with the Faculty members, master class settings where you can showcase and receive feedback on your work, phenomenal guest speakers, and discussions about everything from scoring software and hardware to the psychology of screen music, all from the comfort of your own home.
I think the Screen Music Program is a valuable resource for composers of all skill and experience levels. Whatever your background, the Screen Music Program will immensely benefit you and your compositional craft. I highly recommend it.»
Jason Brauer, B.A. in Music Composition at Vanderbilt University, Screen Music Program alumnus: «The Screen Music Program was such an exciting opportunity! The faculty and guest speakers were at the forefront of their field, yet they showed great devotion to teaching and connecting with their students. My colleagues were incredibly talented and friendly, and I’m proud of the strong community we formed. I learned so much from the Program’s lectures, masterclasses, and colloquiums, but perhaps my favorite part was the opportunity to score provided excerpts and receive invaluable feedback and advice. For any aspiring film, T.V., or video game composer, I cannot recommend the Screen Music Program enough!»
Azariah Felton, M.F.A. @ California Institute of the Arts, Screen Music Program alumnus: «Hi, my name is Azariah Felton, and I’m a composer from Perth in Western Australia. I got to participate in the 2020 Screen Music Program, and it was a really amazing experience working with the Faculty and with Harry Gregson-Williams, who’s one of my all-time favorite composers, and I’d recommend it to anyone.»
Matt O’Connor, BM in Musical Composition @ MacEwan University: «Hi, my name is Matt O’Connor, and last Summer, I took part in the Screen Music Program online. It’s a really great opportunity for anyone who wants to learn how to apply their music to film, television, and video games. The Faculty is really excellent. They want to see you succeed, and they have great feedback for the portfolios that you send them. I would recommend you come with a lot of questions and be ready to meet some amazing composers. It’s really a great opportunity, and I cannot recommend it enough.»
EA Hendershot, BM in Music Composition @ Susquehanna University, Screen Music Program alumna: «Hi, my name is Emily and last year, I participated in the Screen Music Program in the Summer of 2020, and it was a really great experience that I would recommend to any aspiring composer that even has just the slightest interest in composing for visual media. The Faculty were really enthusiastic and eager to answer students questions and critique their work, and they also gave a lot of really good practical career and creative advice that I certainly, really appreciated, and it was also just really inspiring and cool to listen to other people’s work from around the world, you know, and being able to interact with other both aspiring and more experienced composers who have similar interests to mine. So, I highly recommend it. If it sounds the least bit interesting, check it out.»
Carlos Figueroa, Screen Music Program alumnus: «Hello, my name is Carlos Figueroa, and I attended the Screen Music Program last year. I learned so much from the Faculty and from those who participated, and it wasn’t just this one-and-done deal. I still talk to them to this day for their advice or just to talk about what’s going on in the industry. This Program gave me the opportunity to learn more about the industry, its collaboration methods, and, best of all, listen to lectures from professionals in the industry like Inon Zur.
Anyways, if you’re afraid of applying due to hardware, don’t worry about it. Several of the past attendees weren’t very familiar with D.A.W.s, and so they turned in their applications with notation software like Finale, Dorico, or Sibelius, so just trust in your work and turn it in. Apply and join us this year.»
Timothy Blaisdell, BM in Composition @ Anderson University: «Hi, I’m Tim Blaisdell, and I had the pleasure of participating in the Screen Music Program master class this last Summer, and it was a phenomenal experience that I would recommend to any aspiring composer or experienced composer, really something to be learned for everybody here.
Most of the writing I had done up until that point was for concert halls, so not really anything for video games or movies, and even if someone is inexperienced in that field as I was, really, you know, got a lot from it, met some amazing people, a lot of great young composers and some amazing world-class teachers and lecturers, and it was without a doubt one of the best experiences I’ve ever had, and I would highly recommend it to anyone else.»
Krista Vázquez-Connelly, D.M.A. in Music Composition @ University of Nebraska-Lincoln, Screen Music Program alumna: «Hi, my name is Krista Vázquez-Connelly, and I’m a composer based in the United States. I took the Screen Music Program just as I was finishing my Doctorate in Composition. As someone who has always been interested in film scoring, I found the Program above all gave me insight into the industry of film, T.V., and game scoring—the masterclasses with faculty and guest presenters all unique light lenses to the craft.
I loved having one-on-one time with a few of the Faculty to discuss career pathways. I also enjoyed scoring an excerpt for the Program prior to starting collaborating with fellow participants on scoring a game playthrough and simply observing the other participants’ scoring work. For a remote program, it was very successful, and I definitely recommend this Program to my fellow composers.