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SoundTrack_Cologne 16: the entire festival programme is now online


You can find the entire conference programme of SoundTrack_Cologne 16 >here and the film programme SEE THE SOUND >here.


Reality Check: special lectures, workshops and discussions at SoundTrack_Cologne 16

Will artificial intelligence programs replace composers in the future? These and other topics will be presented in six special lectures and workshops within the frame of the Reality Check section at SoundTrack_Cologne. Killing Eve music supervisor Catherine Grieves and Leaving Neverland composer Chad Hobson will give personal insights into their work. In workshops, participants will receive practical tips, for example on collaborative teams in film composing, on current production music trends, and on film music agreements for European composers working for US productions.

Catherine Grieves is an experienced music supervisor and composer agent. She joined Faber Music in 2017 as Head of Film and TV. Recent music supervision credits include the BAFTA and EMMY nominated drama Killing Eve, critically acclaimed dramas Brexit: The Uncivil War for HBO, Collateral for BBC/Netflix, and BAFTA winning London Spy. Grieves also supervised award-winning films such as The Counselor, Sing Street and Les Misérables.

The list of Chad Hobson’s compositions for film and TV is long: he composed the music for films like Adulthood, Manchester: The Night of the Bomb and Dom Hemmingway, along with the BAFTA Award winning BBC series Our War and The Paedophile Hunter. At SoundTrack_Cologne, Hobson will talk about his musical work on the HBO documentary Leaving Neverland. The film follows the alleged sexual abuse cases of two young boys by singer Michael Jackson.

An expert panel discusses chances and challenges of AI composed music: Dennis Braunsdorf is a music composer, technologist and co-founder of the audio technology company Prolody which aims to bridge the gap between humans and technology through sound. Prof. Dr. Francisco Tigre Moura (University of Applied Sciences Bad Honnef) researches on listeners’ perspectives on music that was composed with the help of AI. Composer Wout Bremer (YouCompose) is the creator of the AI composing app Aimée.

Zeina Azouqah, Susanne Hardt, Hanna Sophie Lüke, Franziska Pohlmann and Maxi Menot, members of the track15 female composers collective, will talk about how successful development of projects can be achieved within a team while preserving each artists’ individuality. They will discuss their own formation process and present work samples of projects they have completed as a collective. In cooperation with WIFT Germany and the Alliance for Women Film Composers.

Robert Williams and Paul Pilot break down the Hollywood Composer Agreement in their presentation ‘Scoring for Hollywood’. Their discussion will include both a legal and practical overview of European composers working with U.S. productions and will explain U.S.-style agreements, what publishing rights you should ask for, and the work-for-hire concept for productions in the U.S.

Production music has long ceased to be a field for the exploitation of leftover tracks from film, popular and media music. More and more, production music is developing into a highly specialized field. During the workshop Anselm Kreuzer, Martin Häne and Sebastian Parche will present two music libraries with different orientations and give practical insights into Do’s and Don'ts of production music, current trends, exploitation opportunities and future perspectives.

You can find the entire conference programme of SoundTrack_Cologne 16 >here and the film programme SEE THE SOUND >here.

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