Title: Jig (film)
Content:  The score for Jig was written by Academy Award-nominated Scottish composer Patrick Doyle. The soundtrack was released through Varèse Sarabande 12 July 2011.
Title: Tom Clancy's Splinter Cell: Double Agent
Content:  Michael McCann (under the alias Behavior) was lead composer for the game's soundtrack. For the Ubisoft Shanghai version, McCann composed all music, except the Main Theme, which was composed by veterans Cris Velasco and Sascha Dikiciyan. McCann released the majority of the body of music composed for the game via his website for free. For the Generation Six version, McCann handled all music except the cinematics, which were composed by Velasco and Dikiciyan.
Title: Of Sinners and Saints
Content:  The film score was composed by Franco Eco, an Italian musician.
Title: Sin City (film)
Content:  The soundtrack was composed by Rodriguez, John Debney, and Graeme Revell. The film's three main stories were each scored by an individual composer: Revell scored "The Hard Goodbye", Debney scored "The Big Fat Kill", and Rodriguez scored "That Yellow Bastard". Additionally, Rodriguez co-scored with the other two composers on several tracks. Another notable piece of music used was the instrumental version of the song "Cells" by the London-based alternative group The Servant. The song was heavily featured in the film's publicity, including the promotional trailers and television spots, and being featured on the film's DVD menus. "Sensemayá" by Silvestre Revueltas is also used on the end sequence of "That Yellow Bastard". Fluke's track "Absurd" is also used when Hartigan first enters Kadie's.
Title: Veigar Margeirsson
Content:  Veigar Margeirsson (born 1972) is a film score composer from Iceland. He composed the original score for Eric Schaeffer's 2004 film Mind the Gap. He was also one of the composers who arranged and orchestrated Clint Mansell's Lux Aeterna from Requiem for a Dream for full orchestra and choir for The Lord of the Rings: The Two Towers trailer. The piece, named "Requiem for a Tower", was made exclusively for the trailer and was featured in neither Requiem for a Dream nor The Lord of the Rings film trilogy.
Title: Stargate (film)
Content:  The film's score was composed by David Arnold, played by the Sinfonia of London and conducted by Nicholas Dodd. It was the second motion picture score that Arnold had composed and his first major one. At the time of production, Arnold had recently started to work in a local video store in London. Once hired, he spent several months in a hotel room working on the soundtrack, spending more time rewriting the music and improving it, during delays due to film companies trying to get the rights to distribution. According to Arnold, "when I first read the script for Stargate, I knew what approach to take, which was to be as big and bold as possible," saying: "Every time there was an amazing sight, the characters would stand back and say, 'Oh my God!' But James would just smile and walk towards it. That was the basis for the Stargate score, moving forward with a sense of majesty instead of being frightened by what's around the corner."
Title: Siren (TV series)
Content:  Michael A. Levine is the former composer of Siren's score. The haunting and seductive Siren Call was written and composed by Levine and performed by singer/songwriter Mariana Barreto. Throughout the composition cycle, Levine incorporated the sounds of the tenor violin, octave viola (ciola), and the gusli. A soundtrack release date has yet to be announced by Freeform.
Title: Signs (2002 film)
Content:  All music was composed by James Newton Howard. The score was conducted by Pete Anthony and performed by the Hollywood Studio Symphony.
Title: 13 Sentinels: Aegis Rim
Content:  The music and sound design for the game were handled by Basiscape, a music company led by Hitoshi Sakimoto who had collaborated on other Vanillaware projects. The music was composed and arranged by a team led by Sakimoto, and included Yukinori Kikuchi, Mitsuhiro Kaneda, Yoshimi Kudo, Rikako Watanabe, Kazuki Higashihara and Azusa Chiba. All other aspects of the game's sound design were handled by Masaaki Kaneko. Sakimoto was contacted by Kamitani at the beginning of development when the New Year image was designed. The first track composed was the opening theme "Brat Overflow", which featured in the reveal trailer and would inform the game's musical style from that point on. He wrote the theme as 
Title: StarCraft (video game)
Content:  The musical score to StarCraft was composed by Blizzard Entertainment's composers. Glenn Stafford composed the Terran and Protoss in-game themes, while Derek Duke, who was a contracted composer at the time, wrote all the in-game music for the Zerg. The cinematic scores were composed by Stafford and Hayes. Hayes also collaborated with Stafford on one of the Protoss in-game tracks. Tracy W. Bush provided additional support in composing. The musical score of the game was received well by reviewers, who have described it as "appropriately melodic and dark" and "impressive", with one reviewer noting that some of the music owed much of 

Question: Who was the composer of Signal?
Answer: Kanon Wakeshima.