Music supervisor

A music supervisor is an individual who combines music and visual media. In the musical theatre industry, a music supervisor is often responsible for managing a team of music directors working on any number of musical productions.

Description

The Music Supervisor position is difficult to generalize and highly versatile, depending upon the industry and project the role is involved in. Typically, a music supervisor handles the process of choosing, negotiating, and incorporating pieces of music into visual media (such as a television show or movie), acting as a liaison between the creative and business ends of this process^[1]. This position is most active within media based industries, including live events, television, film, advertising, theatre, and video gaming^[2]. Music supervisors may work within production companies, film studios, networks, music supervision companies, or do freelance work ^[1].

Originally, music was used in silent films to hide mechanical noises within a theatre, like the projector. Often a musician would be present to play improvised or pre-selected pieces along with the visual images on screen ^[3]. This led to the establishment of the soundtrack, and an emphasis on accompanying silent visual media with music^[3]. The demand for music supervisors in the production process solidified in the 1980s, and has continued to grow with the popularity of media soundtracks^[4]. Taking advantage of this musical component has become an increasingly feasible marketing strategy for these media outlets, placing a growing responsibility on the music supervisor^[1].

Job responsibilities

The overarching responsibility of a music supervisor is to meet the needs of a project’s director and producer. This means catering to the creative goals of a project under a strict budget: often less than 5% of a project’s total budget (Wierzbicki).

The director/producer will discuss their vision for the project with the music supervisor, and how they expect the music to enhance this vision. The visual media will then be spotted by the supervisor - a process of choosing where selected music will be inserted (Schuldenberg). Traditional spots include the main title, opening credits, and closing credits, while additional spots are incorporated to trigger emotional responses from viewers (Austin). Scores, or background music, are also an important consideration for enhancing visual media. Scores can range from the background to a dramatic scene to television bumpers - the music signifying leading into or coming back from a commercial break (Schulenberg).

After being given or creating a budget, the supervisor must select appropriate music for the project - either by licensing existing songs/scores, or creating new songs/scores. If creating new music, the supervisor may become responsible for additional roles, including securing artists or composers, facilitating the production and recording process, overseeing finances, and finalizing post-theatrical uses of the soundtrack (Baskerville). When using pre-existing music, the supervisor’s duties focus on the legal and financial aspects of licensing and negotiating. About thirty to fifty percent of a music supervisor’s job revolves around music clearance alone (Wentz).

Qualifications/background

There is no set educational or career path to become a music supervisor. Educational backgrounds range from Bachelors of Fine Arts in music or business to no higher education at all (Baskerville). Because the majority of the position involves music negotiations, clearances, publishing/performing deals, etc., a legal background is an excellent qualification. Some supervisors are musicians, producers, agents, or managers - experience with the music or film/television industries are strong backgrounds to build on. Despite common misconceptions, musical knowledge (writing, reading, performing, composing) is not nearly as important as a familiarity with a broad range of music, including popular styles and artists, as well as the production/negotiating process itself (Baskerville). Author of Music Business Handbook and Career Guide, David Baskerville, notes, “This is one of the few production specialties that has almost unlimited growth potential, because there are no technical qualifications at all and no universally accepted job description. The field remains wide open to people with connections and the ability to get the job done.”

The proliferation of video technology has resulted in an increased demand for production companies needing to license music, and the field now accommodates many career professionals. Because of the massive expansion in the field, many colleges and universities offer courses in music supervision.

Salary

Music supervisor salaries vary depending upon the project and the hiring process. Salaries can range from $30,000 annually at a music supervision firm, to upwards of $250,000 for a freelance supervisor per feature film (Austin). Music supervisors also have the opportunity to continue receiving funds through soundtrack royalties. It is generally more profitable (assuming one will be regularly hired) to work freelance jobs than to work for a larger corporation. While staff jobs with a network, studio, or production company offer more security, the recognition and pay are significantly lower. Despite the environment, a music supervisor should always work out a contract including expectations, responsibilities, and payment before beginning a project.

Notable Music Supervisors

• Alexandra Patsavas - The O.C., Chuck, Gossip Girl, Grey’s Anatomy
• Liz Gallacher - Resident Evil, The Full Monty, Bend it like Beckham
• Nic Harcourt - Igby Goes Down, The Dukes of Hazard, Gone Baby Gone, 90210

References

1. ^ ^{a b c} Baskerville, David, PHD. Music Business and Career Guide. 2006. Sage Publications, CA.
2. ^ Wentz, Brook. Hey, that’s my music!: Music supervision, licensing, and content acquisition. 2007. Hal Leonard Books, NY NY.
3. ^ ^{a b} Schulenberg, Richard. Legal Aspects of the Music Industry: An Insider’s View. 1999. Billboard Books, New York New York.
4. ^ Austin, D., Austin, C., Peterik, Jim. Songwriting for Dummies, 2nd Edition. 2010. Wiley Publishing, Inc., Hoboken, NJ.