Ronit Kirchman is a pioneer on the frontier of experimental film and television music. Her mind-bending innerspace score for The Sinner—the acclaimed, Emmy and Golden Globe-nominated anthology series executive produced by Jessica Biel—has deepened the psychoanalytic mystery behind catastrophic crimes for two seasons and counting. Kirchman and Biel are finishing their second collaboration on Limetown, a crime series for Facebook Watch.
She has brought that same exploratory spirit to a wide-ranging trail of films and documentaries, while drawing on her musical experiences in styles all across the map. In the laboratory of her studio, Kirchman cultivates an ever-growing ecosystem of instruments and coaxes exotic, even alien sounds from electronics and the farther reaches of her acoustic and electric 7-string violins. She’s also a prolific songwriter, music producer, conductor, and singer, and continues to compose original scores for the theater, dance, multimedia installations, and the concert stage. She has performed and recorded internationally in many contexts, including free improvisation, classical, live electronica, rock, pop, jazz, world, blues, and country. As a storyteller beyond music, she’s also a poet, author, and accomplished painter with a degree in fine arts.
Growing up in New York City, Kirchman started playing violin at age four. Her teachers included Erick Friedman, a protégé of the legendary Jascha Heifetz. She garnered her BA at Yale with high honors and her MFA in composition at California Institute of the Arts before leaping into film music, earning fellowships at the Sundance Composers Lab and the Sundance Institute Time Warner Foundation—bringing a classical virtuosity as well as an innovative, genre-blurring adventurousness into the realm of composing for narrative.
Equally at home writing for large acoustic ensembles, minting a pop hook, programming electronics, and working with master improvisers, Ronit brings great versatility, imagination, and precision to all of her projects.
“What I love about film scoring,” she says, “is that each story really requires its own language on some level, and so each time I dive into a new story, I discover and develop new modes of expression.”