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Faculty

The members of our faculty are more than teachers. They’ll be your mentors, your collaborators, and your instant list of more than 500 industry contacts. They are experienced and talented professionals in their field—and bring a thorough knowledge of music to the classroom that comes from a rich professional background in the music industry. They also bring an energy that will inspire you to push your talents and thinking beyond what you thought were the limits. You’ll find yourself transferring their influences to your ensemble rehearsals, performances, recording sessions, and gigs. In addition, the student-teacher ratio averages 8 to 1. Which means you’ll never feel like a number.

Find a faculty member

Eric Reasoner, Professor

DEPARTMENT : Film Scoring

"I try to give my students practical working knowledge—to not only understand the concepts but to see how it all comes together. I'll show examples of feature film projects that I've worked on; I'll bring films into the classroom and tear them apart and say, 'Now, here's where we start. Here's how we build the music cues for this particular scene. Here's how we go about editing them.' Just showing students the overall process flow."

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Joe Smith, Professor

DEPARTMENT : Film Scoring

"A film scorer needs a diverse musical vocabulary to be able to write different musical harmonies for different kinds of projects. You're obviously not, for example, going to write the same kind of score for Mrs. Doubtfire as you would for Silence of the Lambs—both of which Howard Shore did."

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Michael Sweet, Associate Professor

DEPARTMENT : Film Scoring

"Video game audio is a multidisciplinary field; it's so varied and massive in scope, with about six disciplines combined into one. On one hand, you have to be the John Williams: you have to write the music. But on the other hand, for it to work with the video game, there's also the logic of how all that music is going to work together in the game and how that stuff interacts. For composers, you have to wrap your head around some new concepts that you don't encounter as a linear film composer. Those things include branching and looping, and being able to transition from one place to another very quickly. In a game, you have to plan for all the variances of how a player might actually be interacting with the game."

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Don Wilkins, Chair Emeritus

DEPARTMENT : Film Scoring

  • B.M., Berklee College of Music
  • Composer for feature films Sixteen (a.k.a., Like a Crow on a June Bug), Mission Hill, The First Killing Frost, and Academy Award nominee Urge to Build
  • Composer for television series Hometown and Breaking Ground and co-composer for America by Design
  • Music supervisor on over 200 short subjects, including Academy Award winner Karl Hess: Toward Liberty and nominee Kudzu
  • Film music editor for network television specials and contributing arranger for network television movies River of Gold and Maybe I'll Come Home in the Spring
  • Clinician on film music for National Film Board of Canada, Women in Film-New England, and IAJE

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