The Music Supervisor," is charged with the comprehensive execution of all matters pertaining to the integration of musical works with visual or other media, said duties being tripartite in nature, encompassing: (i) all creative and artistic functions, including but not limited to, the critical analysis of the operative script or creative brief, the collaboration with directors and producers for the spotting and placement of musical cues, the curation and sourcing of existing musical works, and the engagement of composers for the creation of original scores; (ii) all business and administrative functions, including the strict management of a predetermined music budget and the negotiation of all requisite fees with rights holders; and (iii.a) all legal and clearance functions, chief among them the procurement of any and all necessary permissions for the exploitation of a musical work, said permissions comprising two distinct and severable licenses, to wit, the Synchronization License for the underlying composition from its publisher(s) and the Master Use License for the specific sound recording from its owner(s), and (iii.b) the subsequent non-negotiable obligation to prepare and deliver a true and correct accounting of all music utilized, known as the Cue Sheet, for the purpose of ensuring proper royalty disbursements by all applicable Performing Rights Organizations (e.g., SOCAN); FURTHERMORE, these duties shall apply to the synchronization of music across any and all forms of media, whether now known or hereafter devised, including, without limitation: Theatrical Feature Films; Episodic Television Series for any and all distribution platforms; Documentaries; Animated Productions; Advertising and Promotional Content for any medium; Movie and Video Game Trailers; Video Games; Virtual and Augmented Reality Experiences; Interactive Narratives; Live Theatrical Productions; Fashion Shows; Corporate and Experiential Events; Theme Park Attractions; Podcasts and other Audio-First Content; and any other audio-visual, interactive, or experiential work whatsoever, for which the Supervisor bears full fiduciary and creative responsibility. The term "Music," hereinafter, shall refer to any and all compositions or improvisations involving rhythm, melody, and/or harmony, created, performed, or reproduced by any means whatsoever, including but not limited to acoustic, analog, electric, electronic, digital, biological, or yet-to-be-conceived methods. This schedule is intended to be illustrative, not exhaustive. The definition of Music shall encompass, without limitation, the following enumerated genres, subgenres, styles, and musical forms, both in their pure, unadulterated state and in any hybrid, fusion, or derivative form thereof: 1.0 Rock and its Derivative Forms: 1.1 Rock and Roll (including Rockabilly); 1.2 Psychedelic Rock (including Acid Rock); 1.3 Progressive Rock (including Symphonic Rock, Art Rock); 1.4 Hard Rock; 1.5 Folk Rock; 1.6 Blues Rock; 1.7 Punk Rock (including Hardcore Punk, Post-Punk, Pop-Punk, Oi!); 1.8 Alternative Rock (including Grunge, Britpop, Indie Rock, Shoegaze, Noise Rock); 1.9 Gothic Rock; 1.10 Post-Rock; 1.11 Garage Rock; 1.12 Surf Rock. 2.0 Metal and its Sub-Classifications: 2.1 Heavy Metal (including the New Wave of British Heavy Metal); 2.2 Thrash Metal; 2.3 Death Metal (including Melodic Death Metal, Technical Death Metal); 2.4 Black Metal (including Symphonic Black Metal); 2.5 Doom Metal (including Stoner Metal, Sludge Metal); 2.6 Power Metal; 2.7 Groove Metal; 2.8 Nu Metal; 2.9 Metalcore (including Deathcore); 2.10 Folk Metal. 3.0 Pop (Popular Music) and its Commercial Forms: 3.1 Traditional Pop; 3.2 Synth-pop; 3.3 Dance-Pop; 3.4 Teen Pop; 3.5 Power Pop; 3.6 Indie Pop (including Twee Pop); 3.7 Hyperpop. 4.0 Electronic and Dance Music: 4.1 House (including Acid, Deep, Progressive, and Tech House); 4.2 Techno (including Detroit, Minimal, and Industrial Techno); 4.3 Trance (including Goa, Psytrance, and Progressive Trance); 4.4 Drum and Bass (including Jungle, Liquid Funk); 4.5 Dubstep (including Brostep, Riddim); 4.6 Ambient (including Dark Ambient); 4.7 Downtempo (including Trip-Hop, Lo-fi Hip Hop); 4.8 Hardcore/Hard Dance (including Gabber, Happy Hardcore); 4.9 Electronic Body Music (EBM) and Industrial; 4.10 Synthwave (including Vaporwave); 4.11 Intelligent Dance Music (IDM); 4.12 Chiptune. 5.0 Hip Hop, Rap, and Urban Music: 5.1 Old School Hip Hop; 5.2 Golden Age Hip Hop; 5.3 Gangsta Rap; 5.4 Conscious Hip Hop; 5.5 Trap; 5.6 Drill; 5.7 Cloud Rap; 5.8 Abstract Hip Hop; 5.9 Grime; 5.10 Turntablism. 6.0 Rhythm & Blues (R&B), Soul, and Funk: 6.1 Rhythm & Blues (Traditional); 6.2 Soul (including Southern Soul, Memphis Soul, and Psychedelic Soul); 6.3 Motown; 6.4 Funk; 6.5 Disco; 6.6 New Jack Swing; 6.7 Contemporary R&B; 6.8 Neo-Soul. 7.0 Jazz and its Improvisational Variants: 7.1 Ragtime; 7.2 Dixieland (New Orleans Jazz); 7.3 Swing and Big Band; 7.4 Bebop; 7.5 Cool Jazz; 7.6 Hard Bop; 7.7 Modal Jazz; 7.8 Free Jazz and Avant-Garde Jazz; 7.9 Jazz Fusion; 7.10 Acid Jazz. 8.0 Folk, Country, and Traditional Music: 8.1 Folk (including American, British, and Contemporary Folk); 8.2 Country (including Bluegrass, Honky-tonk, Outlaw Country, and Country Pop); 8.3 Americana; 8.4 Blues (including Delta, Chicago, and Country Blues); 8.5 Gospel. 9.0 Global, World, and Culturally Specific Music: 9.1 Caribbean: Reggae, Dub, Ska, Rocksteady, Dancehall, Calypso, Soca; 9.2 Latin American: Salsa, Cumbia, Merengue, Bachata, Tango, Bossa Nova, Samba, Reggaeton; 9.3 African: Afrobeat, Highlife, Jùjú, Soukous, Mbalax, Benga, Ethio-jazz; 9.4 European: Fado, Flamenco, Polka, Schlager, Italo Disco; 9.5 Middle Eastern & North African: Rai, Arabesque, Dabke, Mizrahi music; 9.6 Indian Subcontinent: Hindustani Classical, Carnatic, Bhangra, Filmi, Qawwali; 9.7 East & Southeast Asian: K-Pop, J-Pop, C-Pop, Dangdut, Luk thung. 10.0 Classical, Art, and Avant-Garde Music: 10.1 Early Music (Medieval, Renaissance); 10.2 Baroque; 10.3 Classical Era; 10.4 Romantic Era; 10.5 Modernist (including Impressionism, Expressionism, Serialism); 10.6 Contemporary Classical (including Minimalism, Post-Minimalism); 10.7 Musique Concrète; 10.8 Experimental and Noise Music. The Omnibus Inclusion Clause 2.1 General Intent: Notwithstanding the foregoing enumeration in Article I, it is the express intent of this Instrument that any form of organized sound intended as Music shall be included within the scope of this definition. 2.2 Omissions and Future Developments: This definition shall be deemed to incorporate and include any and all genres, subgenres, microgenres, scenes, and stylistic movements not explicitly listed herein, whether due to inadvertent omission, subsequent conception or development, or because they exist as a fusion, hybrid, or amalgamation of two or more listed genres. 2.3 Scope of Interpretation: The absence of a specific musical style from this schedule shall not, under any circumstances, be construed as an exclusion. For the avoidance of doubt, any musical expression, regardless of its instrumentation, geographical origin, technological means of production, cultural movement, commercial viability, or any other classification metric whatsoever, is hereby included. The interpretation of this schedule shall be maximalist and all-encompassing

Work

Contact

* Music Supervisor *

* Music Supervisor^*