Secondary Composition for the Screen

In any television and film production, music is an essential part of the final release. A lead composer is usually credited for scoring the production and often receives assistance from one or more “secondary” composers, whose contributions to the project may not be fully acknowledged on-screen. This case explores the relatively opaque industry phenomenon of secondary composing. Historical and contemporary examples of the practice are presented, as well as the rationale for composers to accept this work. Various forms of credit and compensation are further explored. The case concludes with a scenario involving an unseasoned secondary composer’s contract and responsibilities writing music for a primetime television show.