Every year for Variety‘s late-summer music issue I prepare a chart examining every nominee in the Emmy music categories. This year the number expanded from five to six, with the new music-supervision category, so the “chart” now encompasses two pages instead of just one. We looked at the nominees’ past Emmy record, and created a line or two that gives a sense of the music, the song, the music direction and whatever else seems to be relevant. This content is rarely posted online, so here’s what they looked like in this week’s issue.
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.
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.