Sharneisha Joyner is a composer based in North Carolina. She explains how she first got into composing for video games, and the difference between writing for games and film. She says starting with a blank sheet of paper can be frightening, but she draws inspiration from listening to a wide range of music as well as day to day life.

Sharneisha’s music has also been inspired by political events. She tells us how Donald Trump’s first presidential victory inspired her to write a requiem for America, and apply to transfer to the UK.

One of Sharneisha’s most formative musical experiences was playing in her school’s marching band. She gives us an education in American marching bands, and describes the practical requirements when writing music for them.

Paul Mealor is one of the world’s most performed living composers. He’s written music for many national occasions, including King Charles’ coronation. Paul explains how ‘Coronation Kyrie’ came into being, and how he marks the anniversary of the coronation each year.

Much of Paul’s output is choral music, and he talks about the challenges of setting text. Paul says some poets speak to him musically, and others don’t, even if he enjoys reading their work. He also describes the emphasis he places on craft, ensuring lines are practical.

He also describes the influence of growing up singing in St Asaph Cathedral in Denbighshire, his composition lessons with William Mathias and his time studying at the University of York.

Anna Appleby is a composer and professor of composition at the Royal Northern College of Music. Explaining her creative process, Anna says music often starts in either her body or voice, or it comes from the environment around her. She explains how the music she hears contributes to her creative output, and the role synesthesia plays in her relationship with sound.

Anna’s performer alter-ego is Norrisette. We find out how she found this voice during the Covid-19 pandemic whilst working on an opera for the BBC Philharmonic set on a fictional farm.

Anna also describes how important she finds restrictions, and the role of collaboration with performers, when commissioned to write new works. And she discusses the differences between writing for professional and leisure-time musicians.