| 301. | Dovetailing lines in Tchaikovsky's Pathetique | 3 | |
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| 302. | Apollo 13's launch sequence | 3 | |
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| 303. | Clarity of writing in John Williams's Superman | 3 | |
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| 304. | The life lesson John Ottman learned from Cable Guy | 3 | |
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| 305. | Coming up: North by Northwest, Bernard Herrmann, and Alfred Hitchcock | 3 | |
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| 306. | LA Ravel Highlights, 1/15/16, featuring Gene Cipriano | 3 | |
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| 307. | Bear McCreary on the evolution of The Walking Dead | 2 | | The Walking Dead
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| 308. | Dealing with directors with temp love | 2 | |
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| 309. | Breaking down m6 of La Mer's first movement | 2 | |
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| 310. | Consistency across a music team, with the Riot Games music team | 2 | |
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| 311. | Bernard Herrmann's background in classical music | 2 | |
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| 312. | "So Close To Me Blues" from Taxi Driver | 2 | |
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| 313. | Mike Lang on first takes and preparation | 2 | |
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| 314. | Writing for glock and chimes | 2 | |
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| 315. | Highlights from the Holst Planets Jupiter Score Study (7/15/17) | 2 | |
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| 316. | The premiere of Ellington's Black, Brown, and Beige | 2 | |
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| 317. | Nestico, Basie, and the Kansas City Sound | 2 | |
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| 318. | Jason Graves on a unique sampling session | 2 | |
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| 319. | Ron Jones on balancing instruments in the mid range | 2 | |
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| 320. | Did Lalo Schifrin do demos? | 2 | |
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| 321. | Does John Ottman edit films with his own temp music? | 2 | |
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| 322. | John Altman Highlights (12/1/16) | 2 | |
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| 323. | The Herrmann-Hitchcock relationship | 2 | |
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| 324. | Scott Healy's overview of today's film noir study | 2 | |
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| 325. | John Powell on establishing trust with a director | 2 | |
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| 326. | Composer Interview: Jesse Carmichael (Short Liszt Composer Challenge) | 2 | |
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| 327. | Paul Peress on leading as a drummer | 2 | |
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| 328. | A quick overview of Bernstein's place in music history | 2 | |
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| 329. | Studying Gerry Mulligan's Jeru, clip 2 | 2 | |
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| 330. | Marcelo Zarvos on how to keep underscores interesting | 2 | |
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| 331. | Kris Bowers on recording the score for Green Book | 2 | |
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| 332. | Holst's layers of woodwinds | 2 | |
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| 333. | Recording and notating string harmonics | 2 | |
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| 334. | Gordy Haab Introduction | 2 | | Star Wars Battlefront
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| 335. | Tim Davies on orchestrating to the size of the room | 2 | |
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| 336. | Improvising three voice harmony | 2 | |
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| 337. | Studying Gerry Mulligan's Jeru, clip 1 | 2 | |
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| 338. | How Dan Fogelman invited Siddhartha Khosla to write the music for THIS IS US | 2 | |
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| 339. | Did Twilight Zone influence Star Trek? | 2 | |
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| 340. | How Garry Schyman got his start | 2 | |
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| 341. | Using meter changes to heighten drama | 2 | |
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| 342. | Music of "The Simpsons" with Chris Ledesma, David Silverman, & Ron Jones (INFOrum 9/25/14) | 2 | |
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| 343. | Event Teaser! The Music of Scavenger's Reign with Nicolas Snyder | 7 | |
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| 344. | Highlights from Music in Advertising with Liz Myers | 2 | |
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| 345. | The Count Basie style, and voicing Venus | 2 | |
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| 346. | Kevin Kiner on finding his voice | 2 | |
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| 347. | Emelie Bernstein on body awareness in conducting | 2 | |
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| 348. | The distinctive rhythms of Korean music | 2 | | Guild Wars 2
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| 349. | Do you write slashes or do you write specific notes? | 2 | |
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| 350. | A mariachi trumpet in Maya and the Three | 2 | |
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| 351. | Does the FOX organ have dynamics? | 2 | |
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| 352. | The superpower of being able to auralize harmony | 2 | |
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| 353. | Why tremolo doesn't work in the middle of the bow | 2 | |
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| 354. | Should every cue start at measure 1? | 2 | |
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| 355. | Cliff Eidelman on working with temp scores | 2 | |
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| 356. | A typewriter accompaniment in John Williams's Superman? | 2 | |
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| 357. | The Music of James Bond - INFOrum Panel Highlights 5/13/16 | 2 | |
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| 358. | A Look at "Vanity" from Bernard Herrmann's score to Jane Eyre | 2 | |
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| 359. | Jorge Mester on the physical energy of the orchestra conductor | 4 | |
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| 360. | Austin Wintory on how the first Banner Saga began | 2 | |
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| 361. | Composer Interview: John McCarthy (Short Liszt Composer Challenge) | 2 | |
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| 362. | The story of the Manhattan Transfer's Tequila | 2 | |
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| 363. | Goldsmith, Herrmann, and The Twilight Zone | 2 | |
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| 364. | Michael Abels on music for action and emotion | 2 | |
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| 365. | Intro to the Riot Games Panel | 2 | Discussion |
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| 366. | Paul Lipson on building the composing team for Halo Wars 2 | 2 | | Halo Wars 2
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| 367. | Observations on "Lunar Dreams" from James Horner's Apollo 13 | 2 | |
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| 368. | Conceptualizing the sound of Coming 2 America, with composer Jermaine Stegall | 2 | |
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| 369. | Ray Donovan and the influence of film noir | 2 | |
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| 370. | The first sound you hear in advertising | 2 | |
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| 371. | The instrumentation for Alex North's score to 2001: A Space Odyssey | 2 | | A Space Odyssey
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| 372. | Debussy's La Mer, 2nd movement, rehearsal mark 21 | 2 | |
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| 373. | Jazz Music Theory with Scott Healy (Ellington Group 3/25/16) | 2 | |
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| 374. | Jeff Beal on avoiding predictability in music | 2 | |
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| 375. | The Score to Independence Day: Symmetrical Harmony | 2 | |
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| 376. | How sounds become part of the theme in Ray Donovan | 2 | |
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| 377. | On working with comedian Martin Short | 2 | |
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| 378. | The purpose of a mockup | 2 | |
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| 379. | Garry Schyman on the Dante's Inferno game | 2 | | Dante's Inferno
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| 380. | You can only change the world you can touch | 2 | |
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| 381. | Korngold's writing process for Robin Hood | 2 | |
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| 382. | Harmonic analysis excerpt from North by Northwest | 2 | |
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| 383. | When Duke Ellington met Clare Fischer | 2 | |
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| 384. | How Holst's Jupiter is built on the 4th | 2 | |
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| 385. | Pieces that changed music history | 2 | |
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| 386. | What is League of Legends? | 2 | | League of Legends
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| 387. | A legendary studio exec story | 2 | |
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| 388. | John Ottman explores a misconception about how films are edited | 2 | |
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| 389. | Final thoughts on the coda of Venus | 2 | |
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| 390. | Tim Davies on the last frontier in sample libraries | 2 | |
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| 391. | The riveting snare drum ostinatos in Shostakovich | 2 | |
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| 392. | Using flutes as a pad instrument | 2 | |
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| 393. | Herrmann, Philip Glass, the piano, and minimalism | 2 | |
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| 394. | Inside the Score: Debussy's La Mer (excerpt 1) | 2 | |
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| 395. | Thad, Duke, and some College Chords: Ellington Study Highlights, 11/11/16, featuring Scott Healy | 2 | |
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| 396. | Ron Jones on the color of the contrabassoon | 2 | |
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| 397. | How many count-off clicks should be in your score? | 2 | |
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| 398. | A look at the Pro Tools session for Maya and the Three | 2 | |
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| 399. | Introduction to Debussy's La Mer | 2 | |
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| 400. | Composers as a service and not a product maker | 2 | |
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