Emir is a film composer whose work explores how music interacts with art, memory and identity.

Rooted in Istanbul’s layered sonic past, he works across orchestral and choral writing, musical theatre, rock and jazz, developing a musical language that moves fluidly between genres and eras.

His recent score for the animation Planet Toad, a psychedelic rock score, will premiere at the London International Animation Festival on 30 November, followed by a screening at the Toronto Global Film Festival.

Emir’s music has been performed at Somerset House and the Barbican Centre, including work with the Guildhall Session Orchestra, and with filmmakers from Central Saint Martins and the Royal College of Art. His solo piano score for an early 20th-century Japanese silent film was presented at Barbican Cinema in June 2025, and his work has also featured at a sustainability symposium at Anglia Ruskin University in Cambridge.

Currently studying at Guildhall School of Music and Drama, Emir's upcoming projects include an orchestral arrangement of Queen’s Who Wants to Live Forever for the Guildhall Session Orchestra, to be performed at the Bohemian Rhapsody 50th Anniversary Concert at Milton Court Concert Hall on 28 November.

Hyungju Park is a producer and sound engineer based in South Korea and the United Kingdom. Since 2024, he has been studying at the Guildhall School of Music and Drama in London.

His portfolio ranges across a wide spectrum—from jazz trio and big band to chamber music, EDM, and pop. His work has been presented at the Blackpool Wedding Chapel installation for the Blackpool Light Festival, in concert at the National Gallery, and at the Guildhall Bauhaus Festival 2024.

As an engineer, he has served as an assistant PA engineer for the Devil’s Door Jazz Festival (South Korea, 2023). Building on his studies at Guildhall, he is actively expanding his practice across multidisciplinary art.

Currently a student at Guildhall School of Music and Drama studying Film Music, Lïana has composed and recorded music with the London Symphony Orchestra (LSO) and the Guildhall Session Orchestra (GSO). 

Lïana has orchestrated various works including for Corinne Bailey Rae and OrchestRave. She has also composed music for a range of films and animations. 

She has had her works showcased at the National Gallery, Milton Court Concert Hall, Roundhouse and Rosetta Arts Centre.

Wenshan Yu is a London-based composer whose work spans classical music, film scoring, and electronic sound. Currently studying at the Guildhall School of Music and Drama, her compositional style blends lyrical writing, refined orchestration, and a strong sense of visual and narrative imagination.

Wenshan’s concert and multimedia work has been featured in major London venues. In June 2025, she composed original piano-and-electronics music for the Barbican event A Colour Box: Silent Film & Live Music, contributing to a new score for Merry Frolics of Satan, which she also performed live on piano. In March 2025, her string quartet—inspired by Salvator Rosa’s Witches at their Incantations—was performed as the finale of a “Friday Lates” concert at the National Gallery, where it was praised for its dramatic intensity and vivid pictorial character.

Her earlier orchestral work The Ancient Market Place premiered at the Wimbledon Community Orchestra’s Christmas Concert in 2022 and received an enthusiastic response from both the audience and the performers.

Alongside her concert work, Wenshan composes extensively for film. Her score for the animated short If I Raised My Mother won Best Sound / Composer – Animation at the Bournemouth International Film Festival. Films she has scored have also been selected for major festivals, including the Thessaloniki Animation Festival (TAF) and the London International Animation Festival (LIAF).

Sam Moss is a 21-year-old composer originally from Macclesfield, Cheshire, UK. He began playing the piano at age 6 with a keen interest in film and television music. This enthusiasm for the subject quickly led him to want to pursue a career in media music, and in 2022 he began studying film music composition at the Guildhall School of Music and Drama in London. 

Since beginning his studies, Sam has engaged himself in a variety of musically compelling and interesting projects. These include; writing music for the world-famous London Symphony Orchestra, writing music as part of a BBC Total Immersion series, broadcast on BBC Radio 3 in February 2025, being shortlisted to provide music for the European Bank for Reconstruction and Development, collaborating with animation students from the Royal College of Art and Central Saint Martins amongst others, writing and orchestrating for renowned venues such as Barbican Centre, the National Gallery, and more.

Sam’s passion for the art of composing and his love for crafting melodies sets him apart from the increasingly atmospheric world of film music. His ability to write in a plethora of styles including traditional Hollywood orchestral, romantic, rock, and pop, gives him a broad palette to choose from when tasked with creating a meaningful and enriching composition.

Deniz Dortok is a London-based composer specialising in electronic and instrumental music, as well as film and theatre. He graduated from the University of Manchester with first-class honours and is now studying for a Master’s in composition at the Royal College of Music under Ken Hesketh and Nick Moroz. He received the Andrew Downes Prize for the highest mark in composition midway through his studies.

His works have been performed at venues including the BFI, St James’ Piccadilly, the Wallace Collection, and the Anthony Burgess Foundation in Manchester. His electroacoustic piece Babel was recognised at the 2023 International Petrichor Music Competition, while his brass work Rhonabwy’s Dream, written for the Band of the Prince of Wales, won second place at the Brass Composition Competition. Deniz has also developed his practice in film and theatre. His score for Toffee (2023) was selected for BFI Southbankand won the Straight 8 competition. His theatre score for Catfish the Cabaret (2023) ran at the Edinburgh Fringe, and The Practice(2025) was praised for intensifying the atmosphere and sense of claustrophobia on stage.