Joseph Trapanese Biography

Joseph Trapanese is an American composer, arranger, and producer. He works in the production of music for films, television, records, theater, concerts, and video games.

Joseph Trapanese Age

Trapanese was born in New Jersey, the United States in 1984 he is aged around 34 or 35 years

Joseph Trapanese Education

Trapanese completed his bachelor’s degree in Composition at the Manhattan School of Music. Later an M.A. in Music for Visual Media at UCLA, with support from the Henry Mancini fund. Joseph’s tutors included Giampaolo Bracali, Bruce Broughton, Paul Chihara, Roger Bourland, Jack Smalley, and Martin Bresnick. He also engaged in brief studies with Louis Andriessen, Aaron Jay Kernis, Julia Wolfe, Mark Snow, and Ira Newborn. From 2008–2011, Trapanese taught the Electronic Music and Composition curriculum at UCLA’s Herb Alpert School of Music.

Joseph Trapanese Wife

He has managed to keep information about his personal life of the cameras and hence it is not known about his marital status. However, this will be updated once it is clear.

Joseph Trapanese Career

Early career
Trapanese kick-started his composing career by collaborating with Daft Punk (Thomas Bangalter and Guy-Manuel de Homem-Christo) on the soundtrack for the Walt Disney Pictures film Tron: Legacy. His arrangements for the soundtrack have been described as “resolutely grand” and “stirring… ominous, hypnotic”.

Trapanese has proceeded to make various ventures including Disney XD’s vivified arrangement Tron: Uprising, Sony Pictures Classics’ The Raid: Redemption (co-made with Mike Shinoda out of Linkin Park), Sony Pictures Television’s unique web arrangement The Bannen Way, the free component Mamitas (highlighted at the 2011 Los Angeles Film Festival), and various scores for no-frills and enlivened movies from UCLA’s School of Theater, Film and Television.

He contributed melodic courses of action to Percy Jackson and the Olympians: The Lightning Thief, What Happens in Vegas and Traitor. Close by arranger Daniel Licht, Trapanese created and organized the scores for seasons 3 and 4 of Showtime’s unique arrangement Dexter, and gave organizations to seasons 5 and 6. The 2012 mystery trailer for Iron Man 3 includes Trapanese’s organization Something to Fight For.

His vocation, in the end, leads to taking a shot at real studio highlight movies working performance and close by chronicle craftsmen. A portion of his notable credits incorporate Universal Studios’ Straight Outta Compton, Lionsgate Films’ The Divergent Series: Insurgent, Sony Pictures Classics’ The Raid 2, and Universal Studios’ Oblivion (co-made with Anthony Gonzalez out of M83).

In 2017 he scored the Sony Pictures include Only the Brave, his third coordinated effort with executive Joseph Kosinski and co-scored the twentieth Century Fox melodic The Greatest Showman close by author John Debney. On that film, he delivered a few of the outline besting tunes from the film composed by Oscar-winning couple Justin Paul

Joseph Trapanese Net Worth

As an American composer, arranger, and producer, he is expected to have made a good amount of wealth for himself so far. However, his estimated net worth is still under review.

Trapanese In Music

Listen to such pulsing wavelengths as Fall on Your Sword’s “Another Earth,” Nathan Johnson’s “Looper,” Nima Fakhara’s “The Signal” or Steven Price’s Oscar-winning “Gravity,” and you’ll pick up loud and clear on the burgeoning film scoring genre I prefer to call “alt. sci-fi.” It’s a plane of electro-orchestral existence where traditional symphonic melody (or at least the spirit of it) gets fused with an acoustical rock and roll vibe that can veer from psychedelia to grunge.

Organic samples of everything from scraped metal to car engines are warped into new, unearthly entities, joining with electronic percussion and atmospheres that can be as simplistically lo-fi as John Carpenter’s “Dark Star” as they are the height of Reznor- Ross “Social Network” gearhead complexity. Musical content boldly announces itself just as quickly as it can morph into sound effects, all neo-experimental elements combining to create a surreal sound that transports a youth-friendly movie audience into an aural experience caught between pop’s outer limits and whatever’s left standing of the traditional film scoring style.

Simply put for those with the imagination to appreciate this new soundtrack form, it’s the coolest music to hit the genre since the Wendy Carlos and Tangerine Dream beat became the in-thing during the 80s with the likes of “Tron” and “Legend,” a decade that also included the far squarer symphonic likes of John Williams’ “E.T the Extra-Terrestrial.” Now apply said musical form, advance it thirty years into the found-footage multiplex age, and you’ll have received the call of “Earth to Echo,” wherein a bunch of suburban kids do their best to help an adorably Bubbo-appearing alien phone home – their adventures on earth recorded via camera phone and computer.

It’s the kind of warm, “Super 8” throwback that filmmakers weaned on “E.T.” can’t help but make as they pay tribute to their creative inspiration, but in a whole new retro way – particularly when it comes to Joseph Trapanese’s thoroughly fun, alt. sci-fi score that firmly establishes him as a solo voice in the genre, and film music in particular.

As a young artist steeped in both classical, rock and electronic scoring, Trapanese has most often served as a musical wingman for pop-alt. musicians who are the first media spotlight draws – collaborating with Moby on “The Bourne Legacy” song “Extreme Ways,” assisting on “American Idol” darling Kelly Clarkson’s album “Wrapped in Red” and doing percussively ultra-violent beat downs with Linkin Park’s Mike Shinoda for “The Raid: Redemption.”

But Trapanese’s telltale impact of bringing both electronic and orchestral worlds together was soundly heard when he jumped onto the game grid with Daft Punk for 2010’s “Tron Legacy,” a booming, Wagner-by-way-of Wendy Carlos score that signaled alt. sci-fi’s arrival. Next to teaming with M83’s Anthony Gonzalez for “Legacy” director Joseph Kosinski’s “Oblivion,” Trapanese got official co-scoring credit, amping up big-budget orchestral excitement while retaining a futuristic synth signature that truly sung during any number of dazzling musical set-pieces.

But it’s with director Dave Green’s “Earth to Echo” that Trapanese truly gets to shine with the major solo stuff that’s been no surprise to anyone in the know all along. What’s unexpected for Trapanese’s fans is that “Echo’s” approach is perhaps more Williams than Carlos-Carpenter, as a warmly melodic orchestral sound takes the lead among invigorating electro-beats.

It’s full of emotional symphonic movement that bicycle-riding kid named Elliot would appreciate, a nicely thematic score that proudly, and un-insultingly announces itself as hip kid’s stuff (in a way as different as imaginable from Trapanese’s throttling return to “The Raid’s” gleeful body count arena). Both mystery, magic and rambunctious authority-defying chases are in the air throughout this call to “Echo,” whether represented through JW-friendly strings or cool, hyper-electronic beats that might make you think its young heroes were zipping about in light cycles.