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French composer Louis-Nicolas Clérambault composing at the piano.

A composer (Latin com+ponere, literally "one who puts together") is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media^{[clarification needed]}. The level of distinction between composers and other musicians varies, which affects issues such as copyright^[specify] and the deference given to individual interpretations of a particular piece of music.^{[citation needed]} In the development of European music, the function of composing music initially did not have much greater importance than that of performing it.^{[citation needed]} The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the concerto form, the soloist would often compose and perform a cadenza as a way to express their individual interpretation of the piece.

Inasmuch as the role of the composer in western art music has seen continued solidification, in alternative idioms (i.e. jazz, experimental music) it has in some ways become increasingly complex or vague. For instance, in certain contexts - the line between composer and performer, sound designer, arranger, producer, and other roles - can be quite blurred.

The term "composer" is often used to refer to composers of instrumental music, such as those found in classical, jazz or other forms of art and traditional music. In popular and folk music, the composer is usually called a songwriter, since the music generally takes the form of a song. Since the mid-20th century, the term has expanded to accommodate creators of electroacoustic music, in which composers directly create sonic material in any of the various electronic media. This is distinct from instrumental composition, where the work is represented by a musical score to be interpreted by performers.

See also[link]

• Lists of composers

References[link]

• Merriam-Webster dictionary on 'composer', accessed 17 November 2010

External links[link]

Look up composer in Wiktionary, the free dictionary.

• Composer societies at the Open Directory Project
• Composers at the Open Directory Project
• Composers and arrangers at the Open Directory Project

Michael Giacchino
Giacchino, with his sister Maria,[1] at the 2010 Academy Awards
Born	Michael Giacchino (1967-10-10) October 10, 1967 (age 44) Riverside Township, New Jersey, U.S.
Occupation	Film, television, and video game score composer
Years active	1995 – present

Michael Giacchino (Italian pronunciation: [dʒakˈkiːno]; born October 10, 1967)^[2] is an Italian American composer who has composed scores for movies, television series and video games. Some of his most notable works include the scores to television series such as Lost, Alias and Fringe, games such as the Medal of Honor and Call of Duty series, and films such as Mission: Impossible III, The Incredibles, Star Trek, Cloverfield, Ratatouille, Up, Super 8, Cars 2,50/50, and John Carter. Giacchino has received numerous awards for his work, including an Emmy, multiple Grammys, an Golden Globe Award, and an Academy Award.

Early life[link]

Michael Giacchino, an Italian American (with dual citizenship),^[3] was born in Riverside Township, New Jersey. Giacchino grew up in Edgewater Park Township, New Jersey and graduated from Holy Cross High School in Delran, New Jersey.^{[citation needed]}

Giacchino began combining images and music at age 10, when he began creating stop-motion animation with homemade soundtracks in his basement. While in high school, an art teacher who mentored Giacchino recommended to his parents that attend the School of Visual Arts in New York City. Giacchino describes visiting the school with his parents thus:^[4]

I thought, wow, this is fantastic. They actually have colleges like this? Where I can do the things that I am really interested in doing? That was amazing to me. I loved SVA. I loved the kind of freedom that it provided. It was kind of like this great experiment-okay, you're here because you like something. So let's see how much you like it. We're not going to regulate you too much. We're going to see how passionate and driven you are, and how much you want this thing.^[4]

Giacchino enrolled at SVA, majoring in film production and minoring in history. During his final year at SVA, his instructor in film publicity announced an unpaid internship was available at Universal Pictures. Giacchino, who was the only one interested, obtained the six-month position, which he filled at night while attending school during the day and working at Macy's to pay his rent. He graduated from SVA in 1990 with a Bachelor of Fine Arts, after which he took music classes at the Juilliard School.^[4][5][6]

Career[link]

Video games[link]

When Giacchino's internship ended, Universal hired him, giving him a job right out of college. He later moved to Disney, and when Disney relocated to Los Angeles, Giacchino moved with them, working in publicity, while taking night classes in instrumentation and orchestration at UCLA. His work for Disney had him interacting with the various personnel who worked in films, such as the producers who hired composers, so when a job at Disney Interactive opened for a producer, Giacchino obtained the job, thinking he could hire himself to write music for the games he produced.^[4][5][6]

Giacchino's composition work for Disney Interactive during the 16-bit era included the Sega Genesis game Gargoyles, the SNES game Maui Mallard in Cold Shadow and the various console versions of The Lion King.^[7] However his first major composition was for the DreamWorks video game adaptation of the 1997 movie, The Lost World: Jurassic Park.^[8] The video game was the first PlayStation- (also on Sega Saturn) console title to be recorded with an original live orchestral score. Giacchino has since continued his relationship with DreamWorks, providing full orchestral scores for many of their popular videogames. He also worked with Pandemic studios to create the theme for Mercenaries: Playground of Destruction. Giacchino's award-winning compositions covers the first three Medal of Honor series, (Underground, Allied Assault and Frontline, along with the original Medal of Honor and Heroes: 2), and also the scores for several other World War II-related video games like Secret Weapons Over Normandy, Call of Duty and Call of Duty: Finest Hour.^[9] Additionally, Giacchino composed themes for The Incredibles: Rise of the Underminer, and co-wrote the theme of Black with composer Chris Tilton.^[10] He also composed the score for Alias, which was based on the television series of the same name. In 2008 Giacchino wrote music for Turning Point: Fall of Liberty.^[11] Electronic Arts has announced that he has returned to the Medal of Honor franchise as he has composed the music for Medal of Honor: Airborne.^[12]

Film and television[link]

Giacchino's work on various video games led to his entrance into television.

In 2001, J. J. Abrams, producer of the television series Alias, discovered Giacchino through his video game work and asked him to provide the new show's soundtrack. The soundtrack featured a mix of full orchestral pieces frequently intermingled with upbeat electronic music, a departure from much of his previous work. Giacchino would go on to provide the score for J.J. Abrams's 2004 television series Lost,^[13] creating an acclaimed score which employed a unique process of using spare pieces of a plane fuselage for percussion parts. The score for Lost is also notable for a signature thematic motif: a brass fall-off at the end of certain themes.^[14] Just like his counterpart Stu Phillips, he worked with the television show creator Abrams on his shows with his music scores while Abrams supplied the show's main themes on his certain shows such as Alias.

In 2004, Giacchino received his first big feature film commission. Brad Bird, director of Pixar's The Incredibles, asked Giacchino to provide the soundtrack for the film after having heard his work on Alias.^[15] The upbeat jazz orchestral sound was a departure in style not only for Giacchino but for Pixar, which had previously relied on Randy and Thomas Newman for all of its films. Director Brad Bird had originally sought out John Barry – perhaps best known for his work on the early James Bond films—but Barry was reportedly unwilling to repeat the styles of his earlier works.^[16]

Giacchino was nominated for two Grammy Awards in 2005 for The Incredibles: Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media and Best Instrumental Composition.^[17]

Like his other counterparts Joel McNeely, J. A. C. Redford and Frank DeVol, Giacchino mostly associated with Disney from early in his career up to most recently, ranging from video games such as Mickey Mania and Gargoyles to films such as The Incredibles and eventually collaborated with Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain at Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong Disneyland.^[18]

Giacchino also composed scores for the 2005 films Sky High and The Family Stone, and the television movie The Muppets' Wizard of Oz. Additionally, he wrote the music for Joseph Barbera's final theatrical Tom and Jerry cartoon The Karate Guard, and scored the Abrams-directed 2006 film Mission: Impossible III.^[19] Giacchino's next musical achievement was his Paris-inspired score for the Disney-Pixar film Ratatouille, which includes the theme song "Le Festin", performed by French artist Camille. He received his first Academy Award nomination for this score. He also created the score for Abrams' 2009 Star Trek film.

As of 2010, Giacchino's latest score was for the Pixar film Up (and its accompanying animated short Partly Cloudy) for which he collaborated with director Pete Docter. This marked the first time Giacchino worked with a Pixar director other than Brad Bird. This work gained Giacchino his first Academy Award, for Best Score—the first-ever win for Pixar in that category. Giacchino notes that he won on the same night as his SVA classmate Joel Harlow won for Best Makeup Oscar for Star Trek.^[4]

Giacchino has continued his collaboration with J. J. Abrams. For the Abrams-produced monster film Cloverfield, Giacchino wrote an homage to Japanese monster scores in an overture entitled "ROAR!", which played over the credits (and which constituted the only original music for the film). He composed for the pilot of the new Abrams series Fringe, after which Giacchino gave scoring duties to his assistant Chad Seiter (who scored the first half of season one), and then Chris Tilton (who scored the latter half of season one and everything after that).

Giacchino has frequently referenced previous work when naming his pieces. For example, the score for The Incredibles contains a piece named "100 Mile Dash", and the album with the score from Ratatouille has a track entitled "100 Rat Dash". Another series of examples: "World's Worst Beach Party" from the first Lost album, "World's Worst Last 4 Minutes To Live" from the Mission: Impossible III soundtrack, "Galaxy's Worst Sushi Bar" from Star Trek (2010 deluxe release), "World's Worst Landscaping" from the second Lost album, "World's Worst Car Wash" from the soundtrack album Lost: The Final Season, and "World's Worst Field Trip" from the soundtrack of Super 8. The soundtrack for Mission: Impossible - Ghost Protocol also has a track titled "World's Worst Parking Valet". Inversely, the score for Mercenaries: Playground of Destruction has a track entitled "World's Best Carpool Lane"; the Speed Racer score has tracks entitled "World's Best Autopia" and "World's Worst Road Rage."

Additional compositions[link]

In addition to his long list of soundtracks, in 2005 Giacchino collaborated with Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain at Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong Disneyland.^[18] Giacchino was also contracted by Sarah Vowell, who played character Violet in The Incredibles, to compose the score to the audio version of her book Assassination Vacation. Michael Giacchino's music can also be heard in "Star Tours: The Adventure Continues" during the "travel log videos" shown in the cue line for both the Disneyland and Walt Disney World versions of the attraction.

In 2009 he was asked to conduct the Academy Awards orchestra for the 81st Academy Awards. For this project he rearranged many famous movie themes in different styles, including a 1930's Big Band treatment of Lawrence of Arabia and a bossa nova of Moon River.

Awards, nominations and recognition[link]

Awards[link]

• 2001 Interactive Achievement Awards for Original Music Composition – Medal of Honor: Underground
• 2003 Game Developers Choice Awards for Excellence in Audio – Medal of Honor: Allied Assault
• 2003 Interactive Achievement Awards for Original Music Composition – Medal of Honor: Frontline
• 2004 IFMCA Award for Score of the Year – The Incredibles
• 2004 IFMCA Award for Composer of the Year
• 2004 Game Developers Choice Awards for Excellence in Audio – Call of Duty
• 2005 Emmy Award for Music Composition for a Series (Dramatic Underscore) – Lost
• 2007 Film & TV Music Award for Best Score for a Short Film – Lifted
• 2007 StreamingSoundtracks.com Award for Composer of the Year
• 2008 Grammy Award for Best Score Soundtrack Album – Ratatouille
• 2010 Broadcast Film Critics Association Awards for Best Score^[20] – Up
• 2010 Golden Globe Award for Best Original Score – Up
• 2010 Grammy Award for Best Score Soundtrack Album – Up
• 2010 Grammy Award for Best Instrumental Composition – "Married Life (from Up)"
• 2010 BAFTA Award for Best Music – "Up"
• 2010 Academy Award for Best Original Score – Up

Nominations[link]

• 2005 Grammy Award for Best Score Soundtrack Album – The Incredibles
• 2005 Grammy Award for Best Instrumental Composition – "The Incredits" (from The Incredibles)
• 2008 Academy Award for Best Original Score – Ratatouille
• 2008 Emmy Award for Outstanding Music Composition for a Series – Lost
• 2010 Grammy Award for Best Score Soundtrack Album – Star Trek
• 2010 Grammy Award for Best Instrumental Arrangement – "Up With End Credits (from Up)"
• 2010 Emmy Award for Outstanding Music Composition for a Series – Lost

Recognition[link]

• The score for Season 1 of Lost was cited by New Yorker music critic Alex Ross as "some of the most compelling film music of the past year."^[21]

Discography[link]

"Oceanic 815" from Lost (2005) noicon Sample of brass fall-off from the first season finale of Lost "Mission: Impossible Theme" from Mission: Impossible III (2006) noicon Sample of Mission: Impossible theme in Mission: Impossible III (based on the original theme by Lalo Schifrin) "Suspense Music" from Medal of Honor: Allied Assault (2002) noicon Sample of suspense music in Medal of Honor: Allied Assault

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Films[link]

Video games[link]

Television[link]

Short films and other works[link]

References[link]