The AGSC’s principle objectives and aims are to represent the interests of Australian screen composers by developing and promoting employment opportunities, undertaking educational initiatives and increasing their profile amongst the industry.
The Guild is now set up as a Company Limited by Guarantee under the Corporations Act of 2001. It consists of two categories of membership:
1) Full members, (requiring two screen credits)
2) Associates and students (with an interest in the Guild)
A Brief History
Bruce Smeaton and Bruce Rowland first established the Guild as a vehicle for the challenges and issues that were facing composers in 1981.
Chris Neal was the next driving force and in 1987, organised meetings of a small group of Sydney based composers at the Australian Writers Guild headquarters. Bob Young was the first president. Shane Simpson amongst a few others, helped draw up the original constitution. The Guild has had 4 presidents, Bob Young from ’87 to ‘91, Martin Armiger from ‘92-‘98, Chris Neal from ‘99 to 2000 and then Art Phillips from 2001 to 2008. The current President is Clive Harrison. Marianne Bryant was the first Executive Officer of the AGSC, followed by Jo Smith, the current Executive Director.
In 1991 APRA became the Guild’s major sponsor. APRA’s contribution to the Guild has been vital. It has allowed the aims and objectives of the Guild to be realised through its numerous activities such as the screen music awards, professional development seminars and educational initiatives.
There has been a wide array of sponsors and supporters over time. The main ones include NSW Film & Television Office, APRA, Film Vic, Australian Film Finance Corporation, The Roland Corporation, Sony Entertainment, BMG Zomba, Trackdown, Harbour Music, Magnet Film & Video Editing and Studio 301.
The Guild recognized the need to have a successful industry representative on the committee and in 2001 David Hirschfelder was appointed chairman. This position was established to provide an influential “public face” to the AGSC and also gave prominent representation on behalf of Melbourne composers. David’s successful international career made him a perfect ambassador to represent Australian screen composers.
The AGSC continues to be actively involved in administrative and regulatory functions to do with the film, television and multi media industries and is represented on the Australian Film Commission Advisory Panel on International Co-Productions, the AFI Awards Advisory Panel, and the newly formed Australian Screen Council. Recently the AGSC has been successfully working with other industry groups to lobby the government over the proposed sedition laws.
Who We Are and Where We Are Going
For us, as members of the Australian Guild of Screen Composers, we are a fellowship of creative individuals, aligned through the magnificent obsession that is music. This shared creative paradigm fuels a sense of unity, and through the power of numbers in the AGSC we have the possibility to implement changes and direct initiatives that can influence the future direction of Australian screen composition.
It is the intention of the board of directors that this new era of the Guild will mark the beginning of many discussions and forums, aimed at raising vital issues which will have far reaching implications manifesting in the broader applications of screen composition including education, career development, cultural initiatives and international artist placement. Ultimately, these impacts will be implemented as positive outcomes in political applications, thereby ensuing a new understanding and respect of the unique cultural identity and role of the Australian screen composer, at home and abroad.
Whether it is scoring for a major feature film, writing music for a TV series, or designing soundtracks for multi media purposes, the majority of screen composers are subject to the same laws of isolation and introspection in the initial stages of composition. Staring at one’s computer, piano, or score paper waiting for the muse to descend with the inspiration of the sound of the next opening theme is a familiar place for many of us. The association of members of the Guild is a place where we can have a meeting of like minds, where we can share the cultural imperatives that drive us to want to pursue this wonderful and yet challenging career. The Guild provides not only a forum for discussions, but also the practical advantage of a data base of information for screen composers including contract advice, sourcing musicians, arrangers, copyists, producers and directors.
Australia stands at a pivotal point in its direction and influence as a vital force in the international film community. Exquisite natural locations and availability of highly skilled professionals not only make Australia a valid option in filming and production schedules, it also provides a financially viable outcome for international producers. There is an unmistakeably unique sense of fresh creativity and ideas arising from Australia’s fertile ground of multi-cultural sensibilities and an inherent creative independence resulting from our specific geographical location. We have an Australian sound; we can sense it in the natural environmental ambience and define it across a broad range of music styles. The Australian Guild of Screen Composers seeks to put a substantial profile to the content of Australian composers. It aims to establish an international reputation and database for all Australian screen composers which can be accessed through our website.
The Guild supports and encourages a wide range of musical genres, whether they are driven by acoustic or technological composition tools. Each different musical style, from orchestral through to electronica has a valid place within the community of the Guild of screen composers and we welcome diversity.
Some of the Guild’s Initiatives
Screen Composition Course at the Australian Film, Television and Radio School
The Guild has a strong interest in developing education initiatives and through its efforts has established a successful screen composition course at AFTRS. The first beginnings of this project were in 1990 when an education sub-committee from the AGSC was formed. In 1995 after negotiation with the school from the AGSC, a composer-in-residence scheme was set up. Edward Primrose, Greg White and Art Phillips were the first composers-in-residence.
In 1997, Jan Preston was appointed as a Lecturer within the Sound Department, developing a composition course structure. In 1999, Edward Primrose was appointed Lecturer in Screen Composition. Martin Armiger was appointed in 2001 eventually leading to, in 2004, the formation of a screen composition department, offering postgraduate study of music for film, television and digital media with associated courses in other states and the adoption of a flexible learning scheme.
Screen Music Awards
Each year the AGSC and APRA host the screen music awards. It has become an important event in the diary of Australian film composers. The judging of the awards takes place over a few weeks. The applications of the different musical forms and styles vary greatly, from the pure simplicity of acoustic instrumentation for a small ensemble, through to the major orchestral works. More often than not, the wide range of musical genres, whether they are driven by acoustic or technological composition tools, are subject to the dictates of budget and directorial preferences. Beyond the influence of huge orchestras, sampled loops or solo piano, the Guild believes that in judging the screen music awards, it is of vital importance to recognize and appreciate the simplicity of a good composition that supports the story, regardless of the instrumentation applied. Therefore all applications whether they are for a low budget short film, or a blockbuster feature film are treated with the same criteria for compositional standard.
On the Couch
This is an ongoing series of evenings discussions held in the home of composer Guy Gross where invited guests, often from the international film community, share their professional experiences in a casual and informal way. It is also an opportunity for the AGSC members to welcome these professionals to Sydney. They are not lectures, rather, conversations with plenty of room for questions and open discussion. Guests include Michael Nyman and Hal David.
Cross fertilisation is a powerful tool in the alchemy for artistic development, and when this fusion of ideas can be integrated in an informal setting, whilst still retaining an international level of expertise, it offers great possibilities for discovery and learning. “On the Couch” is just such an occasion and it is this relaxed setting that is the pivotal point of the “On the Couch” series.
Professional Development Seminars
These seminars provide an inside view to the workings and musings of some of our successful composer colleagues and other industry professionals. They have included:
•David Hirschfelder, Burkhard Dalwitz, Iva Davies and David Bridie talking about their experiences as composers
•The work of the team at Supersonic, and Nick Murray’s experiences as a producer, were explored in this seminar entitled “Director and Producer”. It focussed on the relationship between the composer, director and producer.
From these seminars we gain a new perspective and shared camaraderie. The opportunity to learn from some of Australia’s most experienced composers is an invaluable experience, and fortunately, through the initiatives of APRA and the AGSC, with projects such as the Professional Development Seminar, a solid foundation of diverse and yet united screen composers is emerging as one of the faces of contemporary Australian music culture.
Through these seminars, we are able to discuss strategies and disciplines with industry representatives in which to improve and develop the climate and conditions of Australian composers. This generates an impetus for the creation of an even stronger Australian contribution to the international world of film and music making.
Camera Camerata
The Guild supported the creation of this innovative project incorporating four film projects, four composers and the Australian Youth Orchestra with recordings and a live concert in Sydney (1998).
Creation and Delivery of Various Seminars at the Chauvel Theatre / AFI Paddington such as:
The Invisible Character (1992) and The 3rd Dimension (1991) with the use of The Con Orchestral Ensemble performing original compositions by 5 composers to the arrival at the beach scene from Gallipoli.