In the past decade, the ongoing digital evolution has led to fundamental changes in the way music is produced and recorded for movies and TV. So, what’s ahead? What do top composers expect to be the biggest changes to their jobs in the next five years?

To find out, Playback asked a trio of composers (all of whom took home prizes in the latest round of film and TV awards from the Academy of Canadian Cinema and Television) to peer into their crystal balls.

One mentioned keeping apace with the next generation of surround sound, while another finds technological advances of secondary importance. Of course, the volume of drama produced in this country remains of prime concern, as do opportunities for minority composers within the mainstream structure.

Here’s what our respondents had to say:

bJim McGrath, Composer
Gemini Award for best original music score for a dramatic series: Degrassi: The Next Generation 5 ‘Our Lips Are Sealed, Part 1’

‘The most significant changes in my job will continue to be those related to technology, as has been the case for the last decade or so. The gear keeps getting better and better, allowing a composer to produce a really fantastic-sounding score from his own facility. Certainly, composers will have to, if they don’t already, deliver their mixes and stems in 5.1 (or whatever the next audio format will be) from their own studios.

‘Optimistically, the next five years will see an increase in television drama and feature film projects in Canada. There appears to be, based on a number of recent short films I’ve worked on, a generation of filmmakers coming up that I have high hopes for.’

Jennifer Elizabeth Kreisberg, Singer/songwriter/producer
Genie Award for original song in a film: ‘Have Hope’ from Unnatural & Accidental

‘I expect the biggest change in my job to be a larger forum for aboriginal and First Nations artists in the mainstream. I see us crossing over into all facets of the music industry without having to necessarily be performing or doing First Nations music only. I think more opportunities and chances will come our way to show all the talent within our large community.’

Jonathan Goldsmith, Composer
Gemini Award for best original music score for a program or miniseries: Trudeau II: Maverick in the Making

‘Although I do keep well abreast of the breakneck pace of developments within the film and music production process, I’ve always had an uneasy relationship with what is commonly referred to as ‘progress in the field.’

‘The technological advancements, although always impressive, tend to address areas of efficiency and speed – neither of which necessarily serve the domain of creative thought, which is, after all, the principal concern of my endeavors as a composer. I find the over-eager embracing of new toys can lead to the all-too-common and unfortunate spectacle of the tail vigorously wagging the dog.

‘So, practically speaking, I don’t really expect any change at all in my job in the next five years, or the next 20, for that matter. The tools inevitably become more varied and interesting, but unless they serve a good idea, they are little more than so much tin and wire.’