Children's Games: The Art of Making Music for Children's Television (2023)

From TV networks to the iconic Proms season to music festivals, apps and more, the world of children's music is more alive than ever, offering music creators the opportunity to flex often untouched creative muscles and earn an income.

Jim Ottewill puts on his diaper, puts on his mannequin and talks to some of these creators to find out why the genre is now going to the big schools...

“Someone drove into a Zingzilla when smoke was rising from behind. Then they took his head..."

Dan Hawkins (pictured above), guitarist and songwriter for rock legends The Darkness and author of the music for the hit song CBeebiesCatie's amazing machines, recalls no history of uncontrolled excess from the band's prosperous years. Instead, it's a slightly gruesome moment from a live performance of the children's TV hit,ZingZillaNames.

"Me and my brother Justin were asked to come along as we had written a rock song for the show. But one of the machines feeding the characters wasn't working. The producers got us all out before the kids were traumatized..."

Out ofO Womblesto theWallace and GromitthroughSr. Benethunder cats,Children's television and its colorfully themed music and soundtracks have always had a significant impact on young people's formative years. If you look back, you probably have a TV show that you love. And music plays a big part in making sure your past passion is rooted in you.

'I'm an 80's kid so I loved itrhubarb and cream,banana man, I was obsessed withDogtanian and the three Muskahounds,' Dan recalls. “All these songs stay with you. Maybe because the music is so strange. It's weird, but that's why it's so powerful. And since we were kids when we heard it, the song is a bit deeper.'

The Clangers

Is there a kids TV show deeper, weirder or more wonderful thanThe Clangers🇧🇷 The wacky intergalactic show, sprung from the cosmic imagination of animator and writer Oliver Postgate, is celebrating its 50th anniversary with a special screening at this summer's Bluedot Festival at Jodrell Bank.

Featuring a race of mouse-like creatures all living on a planet somewhere in outer space, its surreal atmosphere is punctuated by a musical soundtrack of classic whistles, beeps and flourishes.

Dan Postgate, Oliver's son and Executive Producer on the current incarnation of the series, created many of the scripts and stories. Why does he think the show's soundtrack remains revered along with the show itself?

“Music written forThe Clangersby composer Vernon Elliott got to the heart of the concept,” says Dan. “Oliver drew visual ideas for the song in blocks and wavy lines, and Vernon used that as a starting point. It was a modern classic, a bit like Shostakovich, with shocking quality yet delicate and charming – ideal for children.”

music and sound

The current incarnation ofThe Clangersincludes a score by Grammy Award-winning composer John Du Prez in collaboration with series producer and lead whistler Dan Maddicott. For Dan, simplicity and memorability are the keys to a great theme for children's television. "The music has to draw you into the program from the start," he explains. "It's like a call sign to come and watch."

The combination of beautiful design, charming characters, and compelling storylines is at the heart of the show's long-running success.

“In terms of sound, the music is holistic and unique, the Clangers' language is eerily understandable even when whistled, and Oliver Postgate's beautiful storytelling voice creates an atmosphere that draws you in completely,” says Dan.

Fast forward to now and one of preschool television's biggest hits isBin, a CBeebies show based on the (mis)adventures of an adolescent rabbit. The music was composed by Julian Nott, the sonic mastermind behind the scores for other children's hits, includingWallace and GromitePeppa Pig.

Mikael Shields, Managing Director of Acamar Films, is leading theBincreative team and worked closely with Julian on the music. Instead of another dreamy worldBinit's rooted in the everyday as the young protagonist stumbles through life's lessons.

"The show has a lot of emphasis compared to a lot of material on TV," says Mikael. "The pacing is quiet and smooth, in part because we're dealing with emotional narratives rather than action-based narratives."

"When the show is more emotional, there's almost no music because the performances carry it," he says. "The music is incidental, for action and fun - our editors are always asking us to add more music. But editorially we want less, so we can let the emotions take care of themselves.'

creative possibilities

With music so embedded in children's television, its importance to producers is clear. But why are musicians turning to this medium? It seems that the opportunity to enjoy new creative freedoms is attractive.

BAFTA-nominated songwriter and songwriter Ellie Wyatt's music has graced many contemporary children's television hits. Out ofMolly und Mackfor excited onestea e mothroughRest Sesameand on top of that, his love of making cross-genre music suits him perfectly.

"Writing children's songs for television coincided with having my own daughter and being totally in the zone watching kids' television shows and making up songs for her all the time," says Ellie. "She basically became my mini-jury."

Ellie's work spans string arrangements, pop music, library music and commercials, an eclecticism that suitsIt works outgood for kids tv.

"Kids respond to all types of music, they may enjoy listening to classical music, reggae, swing jazz," explains Ellie. “When writing for children, there is a lot of freedom to use all kinds of styles. If you can convey a simple, fun message without turning the music down, parents will appreciate that too.”

Jazz songwriter, bandleader, and youth music ambassador YolanDa Brown (pictured above) agrees.Yolandas Band-JamShow on CBeebies sees his group perform live in front of an audience of kids in the studio, teaching them sonic style and rhythm and a variety of instruments. She breathes the creative energy of her young audience.

"They ignore the cameras and respond with a lot of enthusiasm," she says. "It's amazing to have the opportunity to give something like this back to the next generation."

While the health of music in schools and music education is another matter entirely, children's music is booming on TV, especially as Amazon and Netflix increasingly focus on creating their own content for young people. The BBC's CBeebies channel has its own ball at the Royal Albert Hall and music festival, this year in Liverpool. While music obviously makes a groundbreaking impression on our youth, it enjoys both status and big business.

YolanDa agrees, “Last year's CBeebies festival was amazing – as was Glastonbury for kids. Playing events like this gives me a feeling of musical freedom and really influences my other projects.”

scores on ports

Os Teletubbiesis one of the biggest hits on children's television, featuring the psychedelic antics of Tinky Winky, Laa-Laa, Dispy and Po. Musician and songwriter Andy McCrorie-Shand (pictured above) was the show's music writer, but how did he get the job? After a stint with the legendary KPM music library, Andy is best known for his association with production company Rag Doll and his earlier work on the hit show.Rosie and Jim.

'Teletubbieswas for even younger viewers than expectedRosie and JimSo there has been a lot of research into how little ones learn languages ​​and see the world,” he explains.

“There was a lot of character and story development and I was fortunate to have been there from the start. It gave me a better understanding of what the writers and producers were trying to achieve.'

Close collaboration is certainly a fundamental cog in the creative process when it comes to TV projects, with a lot of back and forth between creators and music producers.

TIN Sounds are the duo behind the music for the BAFTA-winning hitNo Duggee(Pictured below), an animated children's show depicting the exploits of a group of young people at the Squirrel Club. From banjo-thumping hoe downs to nostalgic 80s rock, the music covers a huge range of different sounds.

"STUDIO AKA often steers us in a direction that we interpret musically, and it's an ongoing process of refinement," says Toby of the songwriting team of the creative process. “They always give us interesting references to start the song with; The Doors, The Alien Soundtrack, Kraftwerk, Ska, Hip-Hop - and we've built on that."

Anna Kubik, senior editor at STUDIO AKA, says musical summaries and the process vary between episodes. “Our initial flow could be an animated sequence timed to a specific click track that determines the speed of our editing. Sometimes we have certain instruments in mind. Sometimes it can be much more vague and Tin Sounds suggests some ideas. It's a very collaborative process.”

Toby believes his score is as effective as it meets the visual needs of adults and their children. "We get so many emails from parents saying they love the show that someone even asked for a song for their wedding," he says.

"We all play our instruments and really enjoy doing it, and I think it shows - it's all made with care and love, and there's never been a hint of the manufactured, numbers-driven approach you get from this kind of work could expect. 🇧🇷

creative obstacles

As with any creative gig, there are challenges, especially when trying to create so much music for an entire series under tight deadlines.

'TeletubbiesIt was hard work,” recalls Andy. "365 half-hour episodes and other miscellaneous spin-offs - there was a motoboy waiting outside my house at 8am most weekdays, ready to take my latest musical offerings to Pinewood Studios and beyond - that was the norm."

Dan Hawkins wrote much of the guitar-driven music forCatie's amazing machineswhile touring the US with The Darkness. “I took all the shots on the go; So I threw mics during sound checks or took the lead at the front of house table. I recorded the drums for the stage, so all the drums that you hear on the show were recorded at various locations across America.'

But despite these difficulties, the creative go-to-market and enthusiasm for the finished product far outweigh any downsides. "There's no pressure compared to how I feel making a Darkness album," laughs Dan. "With this kind of music you also have carte blanche for what you create - and that's what I enjoyed the most."

put a foot in the door

Bing's Mikael Shields believes that the power of the score should not be underestimated in any form of visual media, from children's television to Hollywood blockbusters.

“Music is an absolutely vital part of filmmaking,” he says. "Because sound is the most important thing when it comes to making a film - it's the biggest deal you make with your audience and the music is very important in making that happen."

Given a hugely successful show, what advice would he give to any songwriter or songwriter looking to make music for this type of television?

“Do it for love and do a good job. Hear from the great songwriters who came before you - and build a portfolio of work. When someone listens to something and hears how good it is, they're more likely to give it a chance."