As Emmy Awards season begins, we take an overall look at the nominations in all of the music categories, including the ones for original composition (for a series, for a movie or miniseries, for theme, and original song), for music direction, and the new sixth category, for music supervision. Music supervisors are hailing this decision by the Television Academy to begin honoring their work, which for the most part involves finding the right song for the right scene. But there is a lot more in this story, including surprising nominations for documentary scores and even for Lady Gaga’s half-time performance at the Super Bowl — and a brief look at what highly touted songs weren’t nominated.
One of my most enjoyable tasks is the preparation of Variety‘s annual chart looking at all of the nominees in Emmy’s five music categories: original music for series; original music for movies, miniseries or specials; main title themes; music direction (usually for one-shot specials); and original songs for TV. Because it’s a chart, it rarely makes the transition from print to web, so we’ve scanned it and made it available here. The challenge is usually twofold: checking each nominee’s Emmy record (not easy because the Television Academy’s own database is incomplete and sometimes inaccurate) and condensing its musical essence down to a few words.
The past week has seen the unofficial launch of “awards season” with the presentation of five Emmys in the music categories (topped by composer Jeff Beal receiving the statue for his third season of House of Cards) and the American Society of Arrangers and Composers (ASMAC) presenting its Golden Score awards to deserving recipients John Debney (The Passion of the Christ) and Conrad Pope (Tim’s Vermeer). My story about the Emmys is here, and about the surprise-filled, music-filled ASMAC bash here.