Describe your background and industry experience, and explain how it will help you contribute to the SOCAN Board of Directors?
Glenn Morley is a Toronto-based Composer, Conductor, Producer, and Musical Director with an extensive background in music for media and live productions. He has credits for more than 2000 television episodes and Film projects in multiple genres, garnering numerous nominations and awards.
In addition to his extensive experience as an Audio-Visual Composer, Mr. Morley has produced and orchestrated works for a number of recording artists including Gino Vannelli, Alfie Zappacosta, Mark Masri, Amy Sky, and Richard Margison, and conducted orchestral performances for a wide range of acts including I Pooh, Holly Cole, The Priests, and World Rock Symphony Orchestra.
Mr. Morley was Musical Director for the Governor General’s Performing Arts Awards for 5 years. He has created scores for major Sound and Light Shows and been Music Director for Galas and live events including the Opening Ceremonies for the Royal Ontario Museum, and Luminato Festival’s Canadian Songbook Project.
His concert and theatre works have been performed across Canada by orchestras including the Toronto Symphony Orchestra, Hamilton Philharmonic, the Vancouver Symphony Orchestra, the National Arts Centre Orchestra, and theatres including the Stratford, Shaw and Blythe Festivals, and Manitoba Theatre Centre.
He has frequently conducted and/or produced scores for other screen composers including Henry Mancini, Louis Applebaum, John Welsman, Neil Smolar, Leslie Barber, and David Buchbinder.
A founding member and past president of the Screen Composers Guild of Canada, and currently a Director of SOCAN (Chair: TLD Committee, Past-Chair: Membership), and Director of the SOCAN Foundation, he has appeared as an expert witness representing SOCAN members in Copyright Board television and cable tariff hearings.
He is also a Past President of the Glenn Gould Foundation, and a past Board member of the Academy of Canadian Cinema & Television, serving as Chair of the Gemini Rules and Regulations Committee for 5 Years.
In your opinion, what issues will be most important to SOCAN members over the next three years?
The current upheavals in the fundamental structures and business practices of the music industry will continue for the foreseeable future.
Rights management for creators and publishers has become increasingly complex, as the relative value of different rights, platforms, distribution methods, and global copyright administration perspectives continue to change regularly and significantly.
SOCAN’s responses to this disruption must be focused, principled, efficient, and practical. As it continues with the restructuring of its IT, data systems, and Human Resources to create a more efficient, granular, and scalable collection and distribution of its members’ royalties, SOCAN’s management and Board of Directors also need to balance our global collaborative needs and interests with a robust protection and preservation of our own local cultural identity.