Every year at this time, Variety asks me to view all of the Emmy nominees in the music categories, interview as many as possible, and write a bit about their accomplishment. It’s gotten more complicated as the years have gone by, as there are now seven categories (music composition for a series, for a miniseries or movie, and for a documentary; songwriting; music direction; main title theme; and music supervision). The chart now covers two pages of the August Music for Screens issue, and is rarely reproduced online. Click on the individual pages (and then zoom in for a closer look at each).
This year there are seven music categories at the Emmys, the most for any craft discipline except for editing, which has eight. For many years there were five (original music for a series; music for a TV-movie or miniseries; music direction; song; main title theme) but in the past two years the TV Academy has added two more (music supervision; original music for documentaries). So covering this vast field has become infinitely more complicated; there were an estimated 700 entries from the 2018-19 season. My stories for Variety included an early overview (including The Orville, Succession, Leaving Neverland, The Umbrella Academy); music for drama (Yellowstone, Orville, Twilight Zone); music for movies and miniseries (Good Omens, Catch-22, The Bad Seed); music for comedies (Veep, Pen15, Russian Doll, Arrested Development); and music for documentaries (Love Gilda, RBG, Our Planet, Hostile Planet).