Film Scoring Faculty

Andreas Bjorck

Assistant Professor, Film Scoring | 617-747-8142

"You have to treat technology as an instrument that's no different from spending six hours a day in a practice room practicing your guitar. Whether it's a computer or a mixing board or a guitar, you have to make it kind of sing and play for you."

Peter Bufano

Assistant Professor, Film Scoring | 617-747-6506

"In my teaching, I place a value on each student having a unique experience."

Mason Daring

Professor, Film Scoring | 617-747-8846

"I see the same films over and over, but I'll tell you I do not hear the same music over and over. It's really fascinating to hear new takes on them."

Richard Davis

Professor, Film Scoring | 617-747-8211

"A big part of what I teach is storytelling through music. It's also understanding how the music fits in as a partner. It must have an intention, and a flow that communicates very specific feelings or ideas to the audience."

Dario Eskenazi

Assistant Professor, Film Scoring | 617-747-6247

Ruth Mendelson

Assistant Professor, Film Scoring

"One of the greatest reasons for having talent is to be of service to others, so I want my students to trust their intuition and imagination to come up with ways to make a living within that."

Sheldon Mirowitz

Professor, Film Scoring | 617-747-8141

"Remember that you will produce bad music as well as good music. In fact, you can't produce one without the other, because bad music is what you make on the way to making good music."

Alison Plante | 617-747-2637

"Even with a film score, music has to be a personal expression to some extent, otherwise you're not creating something meaningful."

Claudio Ragazzi

Associate Professor, Film Scoring | 617-747-8067

"I believe in the complete musician. I think in order to make it in the real world today you have to have a specialty like film scoring, orchestration, or production, but you also need to know how to play your instrument, arrange, produce, and read."

Eric Reasoner

Professor, Film Scoring | 617-747-8467

"It's pretty fascinating to see how a class of 12 students is given all the same information, they'll study the same techniques, even write music for the same scene, yet they'll come back with 12 very different pieces of music."

Ted Reichman

Assistant Professor, Film Scoring | 617-747-6416

"Film composers today need to have a wide range of musical, technical, and organizational abilities, and, of course, a deep understanding of film and music's role within that."

Michael Sweet

Associate Professor, Film Scoring | 617-747-2814

"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."


Duncan Watt

Assistant Professor, Film Scoring | 617-747-6435

"Most composers are comfortable working on their own material—but when I’m working on a game, I’m working on someone else’s vision."

Don Wilkins

Chair Emeritus, Film Scoring
Also affiliated with: Berklee Online (available courses) | 617-747-2441
  • 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