The television landscape is shifting, and if the 2024 Emmy music nominations are any indication, the industry’s sonic identity is evolving alongside it. As the Television Academy prepares for its annual celebration of excellence, the music branch has signaled a distinct embrace of fresh talent, a diversifying roster of creators, and a continued migration away from traditional broadcast models toward the dominance of streaming platforms.
This year, the Music Peer Group has cast a wide net, nominating 54 individuals across seven competitive categories. Perhaps most striking is the influx of new blood: one-third of this year’s nominees are first-timers, marking a significant transition for an institution often criticized for favoring established industry titans.
The New Guard and the Veterans
While the list is peppered with industry legends, the narrative of the 2024 season is undeniably defined by those making their mark for the first time. Among the standout newcomers is composer Dave Porter. Long celebrated for his iconic, tension-filled work on Vince Gilligan’s Breaking Bad, Porter has secured a trio of nominations this year for Apple TV+’s Pluribus. His recognition spans music composition for a series, main title theme music, and the technically demanding category of outstanding sound mixing—a rare hat trick for a composer.
Conversely, the veterans are holding their ground, albeit with stiff competition. Composers such as Jeff Beal and Sean Callery, both previous Emmy winners, managed to snag two nominations apiece. Beal is recognized for his work on All Her Fault in the limited series composition and main title categories, while Callery mirrors that feat for The Beast in Me. Daniel Pemberton also continues his hot streak, earning nominations for his work on the critically acclaimed Slow Horses and a best song nod for Spider-Noir.
Perhaps the most compelling "long-game" story is that of Hans Zimmer. Despite a decorated career boasting two Academy Awards and five Grammys, the film-scoring legend is still chasing his first Emmy. In his eighth attempt at the golden statuette, Zimmer is nominated for co-composing the documentary score for National Geographic’s Prehistoric Planet: Ice Age. Should he win, it would represent a significant milestone for a composer who has conquered virtually every other medium of visual storytelling.
Statistical Shifts: Diversity and Entry Trends
The statistical breakdown of this year’s nominees offers a nuanced look at the state of the industry. The Academy’s data reveals a "mixed bag" regarding representation. While the number of women nominated dropped slightly from nine last year to eight (15% of the total), the presence of creators of color has trended upward. This year, 15 people of color received nominations, representing 28% of the field—an increase from 24% in the previous cycle.
The volume of entries also suggests a tightening of the field. Only 31 individual programs were selected from 417 entries across the seven categories, a decrease from the 480 entries submitted last year. This suggests that while the competition is fierce, the Academy’s peer group is becoming more discerning, focusing their recognition on a more curated list of high-impact projects.
One notable historical milestone has been achieved in the music and lyrics category: Mis Figuritas from the hit comedy Hacks has become the first Spanish-language song to earn an Emmy nomination. This inclusion reflects the increasing globalism of television production and the Academy’s willingness to recognize linguistic diversity in storytelling.
The Streaming Takeover
If there was any doubt about where the center of gravity in television production lies, these nominations provide the definitive answer. Of the 31 nominated programs, only five hail from traditional broadcast networks, and those are confined strictly to the music direction category. The rest of the field is dominated by streamers like Apple TV+, Netflix, Prime Video, and HBO Max.
The reliance on streaming platforms is not just a matter of volume; it is a matter of aesthetic. The nominated scores highlight a shift toward complex, high-concept audio design. For instance, in the "Music Composition for a Series" category, we see a wide range of sonic textures: from the folk-inspired guitars and fiddles of Dan Romer’s A Knight of the Seven Kingdoms to the unsettling, synth-heavy ambiance of Dave Porter’s Pluribus, and the cool, noir-ish theremin tones of Kris Bowers and Michael Dean Parsons’ Spider-Noir.
Navigating the Categories: A Deep Dive
Music Composition for a Series
This category is perhaps the most representative of the genre-bending happening in TV today.
- A Knight of the Seven Kingdoms (HBO Max): Dan Romer leans into a homespun folk aesthetic.
- Palm Royale (Apple TV+): Jeff Toyne revives the playful, wordless-vocal jazz of the 1960s.
- Pluribus (Apple TV+): Dave Porter’s work is noted for its "unsettling ambiance," utilizing a blend of voices and synths.
- Slow Horses (Apple TV+): Pemberton and Toydrum provide an "edgy contemporary" backdrop for the UK spy thriller.
- Spider-Noir (Prime Video): A blend of modern orchestra and theremin defines the noir-inspired soundscape.
- Widow’s Bay (Apple TV+): David Fleming utilizes eerie strings to underscore a town’s dark past.
Music Composition for Limited Series/Movies
The scope here is larger, often leaning toward orchestral grandeur. Thomas Newman, a perennial favorite, brings a "vast time-space canvas" to Hulu’s In the Blink of an Eye, while Cameron Moody’s work on Washington Black provides a deeply emotional, symphonic backdrop.
Music Direction
This category celebrates the heavy lifting behind the scenes of major live events. The nominees include the Apple Music Super Bowl LX Halftime Show, The Late Show with Stephen Colbert (showcasing performances by icons like Paul McCartney and Elvis Costello), and the 98th Academy Awards. These nominations underscore the technical prowess required to capture live performance in an era of high-definition broadcast standards.
Music and Lyrics
The "Best Song" race is particularly eclectic this year. Beyond the historic Mis Figuritas, we see the gospel-infused Raise Him Up from The Boys, the torch-song styling of The Devil You Know from Spider-Noir, and the satirical Christian Woman from South Park. It is a testament to the fact that, in the streaming era, a single musical moment can define a show’s cultural footprint.
Implications for the Industry
The implications of these nominations are clear: the Emmy Music Peer Group is looking for innovation over legacy. By favoring first-time nominees and highlighting non-traditional compositions, the Academy is pushing the envelope of what is considered "television music."
For the 750 members of the TV Academy’s Music Peer Group, the final round of voting—taking place between August 17 and August 26—is not merely a popularity contest. It is a decision on what the future of television sound will sound like. Will they reward the seasoned masters who have defined the medium for decades, or will they fully commit to the new voices who are currently redefining the sonic boundaries of the small screen?
The answers will be revealed on September 5 and 6, when the winners are announced. As the industry looks toward these dates, one thing is certain: the bar has been raised, and the composition of television has never been more diverse, more experimental, or more vital to the overall storytelling process. From the jazz-infused 60s nostalgia of Palm Royale to the grim, percussion-heavy scores of Black Rabbit, the 2024 Emmy season is proving that music is not just background—it is the very heart of the modern television experience.
