Pernilla Österberg is a composer from Gävle, now based in Stockholm. She’s written instrumental music for film and TV for over 15 years. Her music is built on emotion, melody and meant to complement a scene, not dominate it.

She’s played piano since childhood. “At 9 I opened for the Norrköping Symphony Orchestra. "At 10 I played weekly at a retirement home and made a bit of extra money.” In 2004, she joined BMG and started her path into production music. Today, she writes for several publishers around the world and has received a SKAP award for her work.

Melodic music shaped by emotion and control

“I’d describe my music as very melodic,” Pernilla says. “But when you write for film or TV, you need to hold back. It’s about enhancing the feeling without taking over. Still, I always want the listener to be moved.”

She’s influenced by the Hans Zimmer team and uses instruments from different cultures when possible, especially Asian sounds. Her typical workflow starts with piano and pads. “Then I usually remove the pads. After that, it just flows.”

While most of her work is instrumental, she’s recently begun writing vocal music for American publishers. For that, she collaborates with lyricist Ulrika Sandström, a friend since childhood.

Music that connects

One track stands out in her catalogue: Södermalm, written for her son Oscar. “That one means the most to me,” she says. Her aim with every piece is to help people feel something. “I want the listener to see images. I want something in the music to make them stop and reflect.”

She learned about Cora Music through Patrik Hinrichs at AMG Scandinavia. “All of his catalogues are on Cora. I think it’s a great tool for creators who need high-quality instrumental music for videos and more.”

What drives her, in and outside the studio

Pernilla’s interest in how music shapes experience goes beyond the screen. “Everyone knows video feels flat without music. But silence also plays a part, it gives the music impact. Music’s used to direct behaviour too. In shops, calm music makes you linger. Uptempo music tells you it’s time to leave.”

Outside the studio, she finds energy in travel, creative people, and riding her motorcycle. Her daily schedule is packed: up at 6:00, in the studio by 8:00, short breaks for walks and time with her partner, then often working until late when collaborating with musicians abroad. She mostly listens to her own work, but lately she's been into heavy root blues. “I’ve started singing in that genre too.”

If she could work with anyone, she wouldn’t hesitate: “The Hans Zimmer team. And I would’ve loved to write for Eva Cassidy. Or collaborate with Benny Andersson.”

Looking for instrumental music for YouTube videos? You’ll find Pernilla’s music here on Cora.