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62nd Emmy

The 62nd Emmy Music Nominations

The 62nd Emmy Music Nominations

Another story, another music, another industry

[Jakarta, LTTW] At the beginning of this month of July, America’s Academy of Television Arts & Sciences has announced the 62nd Annual Emmy Award nominations for the five main categories in music. With more versatile and first-timer nominees for composers and songwriters during the 2009-2010 season, this year’s Emmy which will air on primetime on August 29 will serve an even more attractive awards for the ever creative world of America’s television production, specifically in it’s music sector. And here they are:

Outstanding Music Composition for a Series (Original Dramatic Score)

  • Batman: The Brave And The Bold episode “Mayhem Of The Music Meister” – Music By Michael McCuistion, Lolita Ritmanis, Kristopher Carter, Michael Jelenic and James Tucker
  • FlashForward episode “No More Good Days” – Music by Ramin Djawadi
  • Lost episode “The End” – Michael Giacchino, Composer
  • Psych episode “Mr. Yin Presents” – Music by Adam Cohen and John Robert Wood
  • 24 episode “3:00 PM – 4:00 PM” – Music by Sean P. Callery

Outstanding Music Composition for a Miniseries, Movie or a Special
(Original Dramatic Score)

  • Blessed Is The Match – Music by Todd Boekelheide
  • Georgia O’Keeffe – Music by Jeff Beal
  • The Pacific, Part Ten – Music by Blake Neely, Geoff Zanelli and Hans Zimmer
  • Temple Grandin – Music by Alex Wurman
  • When Love Is Not Enough: The Lois Wilson Story (Hallmark Hall Of Fame Presentation) – Music by Lawrence Shragge
  • You Don’t Know Jack – Music by Marcelo Zarvos

Outstanding Music Direction

  • 82nd Annual Academy Awards – Marc Shaiman, Music Director
  • Andrea Bocelli & David Foster: My Christmas (Great Performances) – David Foster, Music Director
  • Celtic Woman: Songs From The Heart – David Downes, Music Director
  • In Performance At The White House: Fiesta Latina – Sheila E., Music Director
  • The Kennedy Center Honors – Rob Mathes, Music Director; Rob Berman, Music Director
  • Vancouver 2010 Olympic Winter Games Opening Ceremony – Dave Pierce, Music Director

Outstanding Original Music and Lyrics

  • Family Guy episode “Extra Large Medium”: Song title “Down’s Syndrome Girl” – Music by Walter Murphy, Music and Lyrics by Seth MacFarlane
  • How I Met Your Mother episode “Girls Vs. Suits”: Song title “Nothing Suits Me Like A Suit” – Music and Lyrics by Carter Bays and Craig Thomas
  • Monk episode “Mr. Monk And The End Part II”: Song title “When I’m Gone” – Randy Newman, Composer
  • Rescue Me episode “Disease”: Song title “How Lovely To Be A Vegetable” – Music and Lyrics by Peter Tolan, Music by Brad Hatfield
  • Saturday Night Live episode “Host: Blake Lively”: Song title “Shy Ronnie” – Music by Aleric Banks; Lyrics by Andy Samberg, Akiva Schaffer and Jorma Taccone
  • Treme episode “I’ll Fly Away”: Song title “This City” – Steve Earle, Composer/Lyricist

Outstanding Original Main Title Theme Music

  • Human Target – Music by Bear McCreary
  • Justified – Music by Oscar Owens and Jason Keaton
  • The Legend of the Seeker – Music by Joseph LoDuca*
  • Nurse Jackie – Music by Wendy Melvoin and Lisa Coleman
  • Warehouse 13 – Music by Edward Rogers

*(Replaces Parks and Recreation, whose theme was disqualified as ineligible shortly after the nominations were announced.)

Music (for) television: Industry against another industry?

The American television industry, or even its counterparts around the world, now seems to been enjoying an increasingly rapid growth phase, in line with the emergence of new television programs that are considered “innovative”, “unique”, or “creative”, along with the “market’s” demands which has also increased. And so it is not surprising when the role of music in television programs, whether it is for scoring, special effects or original soundtracks, will be larger as well.

On the one hand, this of course gave birth to a huge opportunity for perpetrators of music in the television industry, viewing from the trend of worldwide successful musical-based television programs such as the musical series Glee to the singer competition reality show American Idol, where the (huge) number of viewers can be directly “calculated” as “the buying audience.” And not to mention the more innovative actions of television’s advertising world.

But on the other hand, this situation also bears a “threat”, or perhaps we can call it a big challenge for the music industry itself. Referring to the declining purchasing level of musical products such as vinyl, CD, or mp3 to concert tickets, the music biz seems to keep hiding this problem, one of which through the “glittering” disguise of the various music awards such as Grammy and just recently held Mercury Prize.

From those point-of-views, one line that we can draw is that music still has it “charm” to attract millions of people across the world. This proves that music always has it roles and functions that live in the society: as system of thoughts, reminder of values, medium of expressions, bond in social interactions, language of dialog, and of course, as entertainment vehicles. And as for the current generation of one world’s citizenship we’re living in, where music is considered a “renewable resources”, there has to be a way (or ways) to push the proportion back to its proper place. How? Just start looking from now.


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Author: Web Admin

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