Comment / Opinion

If, at times, music for media feels impossible to break into, that’s because it is. And there’s a good reason for that.

When it comes to telling composers what to do, job titles are no barrier to meddling.

If you make music for a living, now’s the time to unite with others to protect your rights.

No matter how ridiculous a line may be, it’s the media composer’s role to toe it — even if the fate of the world is at stake.

We all have musical skeletons in our closets, but at least media composers don’t have to wheel them out every night at Wembley Arena.

Unless you’ve worked in today’s television business, you can’t hope to understand the true meaning of job satisfaction.

Recent disturbances in the space-time continuum gifted our columnist an unsettling vision of Oxford Street, circa 2014.

One thing that never changes in the world of music: the people who make it usually end up getting ripped off.

You’ve got to be good to get ahead in this game. And not just at mending cookers.

In which our hero eats too much cheese before bedtime and falls into a strange, Cheddar‑fuelled dream...

To reach the top as a composer for the media, what you really need is ‘people skills’ — and the patience of saints.

No‑one makes demos any more — it’s just that any music we make is treated like a demo.

Today's composers are expected to be available around the clock — and around the globe.

Title? Composer for the media. Job description? Squaring the circle...

Online delivery means fewer ways for things to go wrong, but it also makes media composers more faceless than ever and robs us of some vital excuses.

Where there's a newly independent republic struggling to establish itself on the world stage, there's an opportunity...

The only way to make money as a media composer is from publishing — but greedy production companies are targeting our back end with a vengeance.

CD technology? Eight-note polyphony? Things were getting pretty exciting back in 1985.

Its lovely to be appreciated — up to a point...

Some broadcasters will stop at nothing to save money, even if that means blatantly ripping off composers. So always look at the small print before you leap.

The musical challenges involved in composing for TV can be intimidating enough, but its the legal documents that are truly scary.