It is not My Music, it is the Film’s Music

Anne Teikari (Masters of Music) graduated with the thesis It is not My Music, it is the Film’s Music. The thesis explores collaborations where the individual psychological and creative processes of the collaborators become intertwined. The focus is on a case study involving a student fiction film and the collaborative efforts of the editor, director, and composer.

In this context, it's emphasized that in filmmaking, the decisions influencing the music are not solely made by the composer. This challenges the conventional romantic notion of a classical composer as a "God-like" genius who independently crafts magic on sheet music. The collaborative dynamic emerges distinctly when the film composer shares the first music demo with the director. The thesis contends that, especially when working with a narrative created by someone else, the social aspect of the work is equally crucial as the musical dimension.

Anne: "My thesis dives into the question of what does it mean to be a maker? Even if there was only one person addressed as the composer, what does it mean to be the addressed maker in a collaboration?"

It is not My Music, it is the Film’s Music


'Traditionally, in musicology, the film music scholar listens to films and analyses them while relying on previous research and theory. However, as a composer, one might want to include their own craft in the research process.'


Dr. Joachim Junghanss, Deputy Director Conservatorium van Amsterdam: 'Anne’s thesis' offers much value, beyond academia. Her thesis opens fresh perspectives on the role film music as a genre, not only under musical considerations. The social context in which decisions are made ‘behind the scenes’ affects film music. The societal context influences the creative and compositional process.'

Sini Mononen, musicologist and an art critic: 'Anne Teikari tackles the issue of composing in a collaborative setting of a film production. Teikari, had to change her way of thinking about film music research while writing the thesis. To be able to change one's thinking from one paradigm to another, is never an easy task. Through rigorous reading, auto ethnography, and interviewing her colleagues, she approached film composing as a collaborative effort, where one is not composing music of their own but for the purposes of the film and in the service of collaborative creativity.'


A project by:

Anne Teikari