Film scoreFilm score A film score (also sometimes called background music or incidental music) is original music written specifically to accompany a film. The score forms part of the film's soundtrack, which also usually includes dialogue and sound effects, and comprises a number of orchestral, instrumental or choral pieces called cues which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.[1] Scores are written by one or more composers, under the guidance of, or in collaboration with, the film's director and/or producer, and are then usually performed by an ensemble of musicians – most often comprising an orchestra or band, instrumental soloists, and choir or vocalists – and recorded by a sound engineer. Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. The majority of scores are orchestral works rooted in Western classical music, but a great number of scores also draw influence from jazz, rock, pop, blues, New Age ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.[2] Since the invention of digital technology and audio sampling, many low-budget films have been able to rely on digital samples to imitate the sound of live instruments, and many scores are created and performed wholly by the composers themselves, by using sophisticated music composition software. Songs are usually not considered part of the film's score,[3] although songs do also form part of the film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from the score (or vice-versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs which are "needle dropped" into a specific scene in film for added emphasis are not considered part of the score, although occasionally the score's composer will write an original pop song based on his themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion. Process of creation Spotting The composer usually enters the creative process towards the end of filming, at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film, before the editing is completed, and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process the composer will take precise timing notes so that he or she knows how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting".[4] Occasionally, a film maker will actually edit his film to fit the flow of music, rather than the other way around, which is the norm. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass's music.[5] Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone's score as the composer had prepared it months before the film's production ended.[6] In another notable example, the finale of Steven Spielberg's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without picture; Spielberg then re-edited the scene later to match the music. 1 6. in time. 5. 1/3. These include using sequencing software to calculate timings. or (b) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. and W represents time in seconds. Composers work using SMPTE timecode for syncing purposes. A composer would use a written click if they planned to conduct live performers.[9] When syncing music to picture.66. using mathematic formulas and free timing with reference timings. 4. You now will have synchronized an event in the film with a musical event. and set it to an exact beat. 01:00:15:23) Note the start and end measure (bars+beats).72 rounds to 2. This can yield stiff and lifeless performances in slower more expressive cues. Logic. If the "end time" (timecode) field is greyed out. generally a leeway of 3-4 frames late or early allows the composer to be extremely accurate. 3.e.[7] composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for Brokeback Mountain. so the next step is to round the decimal to either 0. Note the SMPTE timecode (i. one goal is to sync dramatic events happening on screen with musical events in the score. The following is an example for 88 BPM: 2. by using the following equation: Written clicks are expressed using 1/3 second increments. You can convert a standard BPM value to a written click where X represents the number of beats per bar. Using a technique called Free Timing. When using other methods such as a metronome. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e. and is given more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene.g. Enter the timecode where the downbeat will hit in the "end time" field. Outlined below is one method using Digital Performer:[10] 1. and which can instead be inserted into the film at any point the director wishes during the post-production process. Written Click Track A written click track is a method of writing bars of music in consistent time values (i. Import the video to score into Digital Performer Place a marker in the sequencer timeline where you wish to "hit" the event in the scene with music. or Cubase. a conductor will use either (a) a stop watch or studio size stopclock.e. the conductor has a perfectly spaced click playing in his ear which he conducts to. 88 Bpm). Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's film Inception. These are put on the film by the Music Editor at points specified by the composer. composers are able to sync music to picture with extreme accuracy using SMPTE timecode. In both instances the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score. a composer will be asked to write music based on his or her impressions of the script or storyboards. click the options button to open it up. or 2/3 of a second. There are many different methods for syncing music to picture. Digital Sequencer Using a digital sequencer such as Digital Performer. 2 .Film score In some circumstances. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film. These are represented visually by vertical lines (streamers) and bursts of light called punches. 2. without seeing the film itself.[8] Syncing When writing music for film. so the written click is 4 beats in :02⅔ seconds. To find this. Orchestration Once the music has been written. and even the musical tastes of the characters. and can be influenced by the time period in which the film is set. where bpm is beats per minute. Spencer. the geographic location of the film's action.[11] Working with software allows composers to create MIDI-based demos of cues. or as much as three months to write the score. Danny Elfman with Steve Bartek.e. sp is the sync point in real-time (i. The nature and level of orchestration varies from project to project and composer to composer. Other composers are less detailed. often to the point where one will not work without the other. 33. Writing Once the spotting session has been completed and the precise timings of each cue determined. depending on the post-production schedule. orchestrate their own scores themselves. Examples of enduring composer-orchestrator relationships include Jerry Goldsmith with Arthur Morton. time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores. Cubase. Logic Pro. without using an additional orchestrator. and even allowing them to introduce performance techniques and flourishes to enhance the score. David 3 . The methods of writing the score vary from composer to composer. Alfred Newman with Edward Powell. the actual writing process usually lasts around six weeks from beginning to end. the composer will then work on writing the score. soloists.7 seconds). providing their own creative input into the makeup of the ensemble. Finale. for review by the filmmaker prior to the final orchestral recording. or Protools. and will often ask orchestrators to "fill in the blanks". Miklos Rozsa with Eugene Zador. as it is often impossible for the composer to complete all the required tasks within the timeframe allowed.e. they must determine the musical beat this event occurs on. 49⅔). as such. As part of their preparations for writing the score the composer will often research different musical techniques and genres as appropriate for that specific project. writing notes by hand on a staff and performing works-in-progress for the director on a piano. A film score can encompass literally thousands of different combinations of instruments. a composer may have as little as two weeks. In normal circumstances. they use the following equation. giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Ken Darby and Hugo Friedhofer. vocalists. In many cases. and B is the beat number in 1/3 increments (i. while other composers write on computers using sophisticated music composition software such as Digital Performer. Some composers provide intricate details in how they want this to be accomplished. but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform. along with a multitude of ethnic and world music influences. Alexander Courage and Herbert W. it is not uncommon for established film composers to be proficient at writing music in dozens of different styles. called MIDI mockups. The length of time a composer has to write the score varies from project to project. notably Ennio Morricone. choirs and electronic textures. and the emotions the director wishes the music to convey. Some composers. and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes. ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos. Over the years several orchestrators have become linked to the work of one particular composer. it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The style of the music being written also varies massively from project to project. ensuring that each instrument is capable of performing the music as written. The actual musical content of a film score is wholly dependent on the type of film being scored. some composers prefer to work with a traditional pencil and paper.Film score Once the composer has identified the location in the film they wish to sync with musically. and Princess Leia Organa (see Star Wars music for more details). Bruce Fowler. and is ready for performance. ideas or objects. Other performing ensembles that are often employed include the London Symphony Orchestra (performing film music since 1935)[12] the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording). but well known among score enthusiasts. where Kubrick opted for existing recordings of classical works. Recording When the music has been composed and orchestrated. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so.A. an idea often associated with Wagner's use of leitmotif. John Neufeld. assisting the conductor to synchronize the music with the film. Others include Torn Curtain (Bernard Herrmann)[16]. Other examples are Italian composers Stefano Lentini and oscar's winner Ennio Morricone. and the Northwest Sinfonia. or his Klingon theme from Star Trek: The Motion Picture which other composers carry over into their Klingon motifs. the orchestra contractor is credited in the film or the soundtrack album). some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. the sheet music is physically printed onto paper by one or more music copyists. Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri)[18]. film composers have been asked by the director to imitate a specific composer or style present in the temp track. scattered amongst incidental music. with recurring themes for many main characters and places. Once the orchestration process has been completed. the orchestra or ensemble then performs it. and the numerous themes associated with characters like Darth Vader. so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score.C. Nic Raine and J. and he has brought back on numerous occasions as the theme for Worf.[14] On other occasions. Redford. However. Elements of a film score Temp tracks In some instances. and sometimes to a series of clicks called a "click-track" that changes with meter and tempo. and Elliot Goldenthal with Robert Elhai.[21] These may be played in different variations depending on the situation they represent. Star Trek: The Next Generation's most prominent Klingon. directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. Thomas Pasatieri.Film score Arnold with Nicholas Dodd.[citation needed] The orchestra performs in front of a large screen depicting the movie. Luke Skywalker. examples of prominent film music orchestrators include Pete Anthony. An example of this technique is John Williams' score for the Star Wars saga.[15] although Kubrick had also hired Frank Cordell to do a score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes. One of the most famous cases is Stanley Kubrick's 2001: A Space Odyssey. including pieces by composer György Ligeti rather than the score by Alex North.[13] More rarely.[20] Structure Films often have different themes for important characters.[22] The Lord of the Rings trilogy uses a similar technique. Troy (Gabriel Yared)[17]. Jeff Atmajian. the director will talk to the composer before shooting has started. often with the composer conducting. Others are less known by casual moviegoers. Peter Jackson's King Kong (Howard Shore)[19]. Conrad Pope. While North's 2001 is indeed a major example. Basil Poledouris with Greig McRitchie. it is not the sole case of well-known rejected scores. and work with many different composers over the course of their careers. Others have become orchestrators-for-hire. such as Jerry Goldsmith's underlying theme for the Borg in Star Trek: First Contact. and The Bourne Identity (Carter Burwell). events.[citation needed] 4 . Brad Dechter. but from a dire need of something which would drown the noise made by the projector. which were artistically included into the score by the composer. However. was formed to preserve the "byproducts" of creating a film score:[23] the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which. usually through the services of an in-house pianist or organist. In 1983. The written music must be kept to perform the music on concert programs and to make new recordings of it. These were often used to form catalogues of photoplay music.[26] In 1914.[27] Most accompaniments at this time. It was preceded by Nathaniel D. and it was the right way. also including studies. Other examples of this include Victor Herbert's score in 1915 to The Fall of a Nation (a sequel to The Birth of a Nation) and Camille Saint-Saëns' music for The Assassination of the Duke of Guise in 1908. provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz.[24] An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's "The Deer Hunter". the Society for the Preservation of Film Music. entire orchestras. a non-profit organization. The Oz Film Manufacturing Company sent full-length scores by Louis F. Lang's movie M . A pianist was present to perform at the Lumiere brother's first film screening in 1895. Murnau's movies Nosferatu (1922 . in some cases.music by Hans Erdmann) and Faust – eine deutsche Volkssage (1926 – music by Werner Richard Heymann) also had original scores written for them. This painful noise disturbed visual enjoyment to no small extent. suspense. Instinctively cinema proprietors had recourse to music. using an agreeable sound to neutralize one less agreeable. Source music Most films have between 40 and 120 minutes of music. and. which was highly influential in the era of silent movies. efforts were taken to provide suitable music for films.Film score Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up. etc. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes. When sound came to movies. Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever. sad. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. action. film music "began not as a result of any artistic urge. director Fritz Lang barely used music in his movies anymore. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes. Gottschalk for their films. typically given cue sheets as a guide. comprised pieces by famous composers. for which he received the Academy Award for Best Score. Mann's score for The Fairylogue and Radio-Plays by four months. such as from a radio or television. as it emanates from the "diegesis" or "story world"). History According to Kurt London. Sometimes only after decades has an archival recording of a film score been released on CD. Dogme 95 is a genre that has music only from sources within a film. for playing in smaller cinemas. Mabuse only included one original piece written for 5 . have been discarded by the movie studios. which had different subsections broken down by 'mood' and/or genre: dark. others may feature a score that plays almost continuously throughout. who also wrote piano-versions of his music. This is called "source music" (or a "source cue") because it comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music.[citation needed] Friedrich W. these examples notwithstanding. German cinema. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt. chase. in some instances. some films have very little or no music.Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and Das Testament des Dr."[25] Before the age of recorded sound in motion pictures. The use of non-diegetic jazz was another modernist innovation. inspired by Arnold Schoenberg. Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music. Salter • Lynn Ahrens • Stephen Flaherty • Joseph J. included song scores and arrangements. that Lang uses to put emphasis on the man's insanity. In his ten-year collaboration with Alfred Hitchcock. One of the rare occasions on which music occurs in the movie is a song one of the characters sings."[28] the 1950s saw the rise of the modernist film score. whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Lilley • Buck Sanders • Daniele Amfitheatrof • Lou Forbes • Andrew Lloyd Webber • Gustavo Santaolalla (2 wins) • Louis Applebaum • Ian Fraser • Frederick Loewe • Philippe Sarde • Robert Armbruster • Gerald Fried • Jeremy Lubbock • Walter Scharf • Leo Arnaud • Hugo Friedhofer (1 win) • Michel Magne • Victor Schertzinger (1 win) • Malcolm Arnold (1 win) • Douglas Gamley • Henry Mancini (2 wins) • Lalo Schifrin • Kenny Ascher • Joseph Gershenson • Dario Marianelli (1 win) • Stephen Schwartz (1 win) • Gil Askey • Michael Giacchino (1 win) • George Martin • Morton Scott • Luis Enríquez Bacalov (1 win) • Herschel Burke Gilbert • Muir Mathieson • Caiphus Semenya • Burt Bacharach (1 win) • Philip Glass • Peter Matz • Marc Shaiman • Constantin Bakaleinikoff • Lud Gluskin • Peter Maxwell Davies • Ravi Shankar • Buddy Baker • Ernest Gold (1 win) • Toshiro Mayuzumi • Artie Shaw • Victor Baravalle • Elliot Goldenthal (1 win) • Paul McCartney (1 win) • Al Shean • John Barry (4 wins) • Jerry Goldsmith (1 win) • Rod McKuen • Richard M. Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms. Note: Composers whose only Oscar nominations came in the Best Original Song category are not listed. • John Addison (1 win) • George Fenton • John Leipold (1 win) • Ryuichi Sakamoto (1 win) • Larry Adler • Cy Feuer • John Lennon (1 win) • Conrad Salinger • Peter Herman Adler • Jerry Fielding • Alan Jay Lerner • Hans J.Film score 6 the movie by Hans Erdmann played at the very beginning and end of the movie. had gone by a variety of names. and Best Original Song wins are not counted in the wins tally. similar to the use of the whistling in M. Sherman (1 win) • Richard Rodney Bennett • Johnny Green (4 wins) • Alan Menken (4 wins) • Nathaniel Shilkret • Robert Russell Bennett (1 win) • Walter Greene • Gian-Carlo Menotti • Howard Shore (2 wins) • Alan Bergman (1 win) • Peter Greenwell • Johnny Mercer • Dimitri Shostakovich • Marilyn Bergman (1 win) • Ferde Grofe • Mahlon Merrick • Leo Shuken (1 win) . over the years. Composers Academy Award nominees and winners The following list includes all composers who have been nominated for an Academy Award by the Academy of Motion Picture Arts and Sciences in the Best Original Score category (which. and been split into awards for scoring in dramas and comedies). experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955). Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North. Winners of the Award appear in bold. Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). Sherman (1 win) • Marco Beltrami • Michael Gore (1 win) • Bill Melendez • Robert B. Leonard Rosenman."[28] A year later. such as jazz star Duke Ellington's score for Otto Preminger's Anatomy of a Murder (1959). Dale Butts • Leigh Harline (1 win) • Javier Navarrete • Georgie Stoll (1 win) • David Byrne (1 win) • W. Rich • Kenneth Webb • Robert Emmett Dolan • Bronislau Kaper (1 win) • Nelson Riddle (1 win) • Roy Webb • Patrick Doyle • Fred Karlin • Hugo Riesenfeld • Kurt Weill • Carmen Dragon (1 win) • Marsha Karlin • Richard Robbins • Jerry Wexler • Anne Dudley (1 win) • Al Kasha • Milan Roder • Matthew Wilder • Tan Dun (1 win) • Edward Kay • Heinz Roemheld (1 win) • John Williams (5 wins) • George Duning • Roger Kellaway • Ann Ronell • Patrick Williams • Brian Easdale (1 win) • Randy Kerber • David Rose • Paul Williams • Roger Edens (3 wins) • Jerome Kern • Joel Rosenbaum • Meredith Willson • Hanns Eisler • Erich Wolfgang Korngold (2 wins) • Leonard Rosenman (2 wins) • Charles Wolcott • Danny Elfman • Irwin Kostal (2 wins) • Laurence Rosenthal • Albert Woodbury • Duke Ellington • Kris Kristofferson • Atticus Ross (1 win) • Gabriel Yared (1 win) • Jack Elliott • Francis Lai (1 win) • Nino Rota (1 win) • Victor Young (1 win) • Leo Erdody • Arthur Lange • Gennadi Rozhdestvensky • Hans Zimmer (1 win) . Rahman (1 win) • Oliver Wallace (1 win) • John Debney • Calvin Jackson • David Raksin • William Walton • Georges Delerue (1 win) • Werner Janssen • Sid Ramin (1 win) • Stephen Warbeck (1 win) • Jacques Demy • Maurice Jarre (3 wins) • Raymond Rasch (1 win) • Edward Ward • Alexandre Desplat • Quincy Jones • Joe Renzetti (1 win) • Ned Washington (1 win) • Adolph Deutsch (3 wins) • Jan A.P. Kaczmarek (1 win) • Trent Reznor (1 win) • Franz Waxman (2 wins) • Frank DeVol • Gus Kahn (1 win) • Frederic E. Hagen • Giorgio Moroder (1 win) • Paul J. Smith (1 win) • Phil Boutelje • Richard Hageman (1 win) • Jerome Moross • Herbert W. Spencer • Leslie Bricusse (1 win) • Karl Hajos • Ennio Morricone (Honorary Oscar) • Ringo Starr (1 win) • Bruce Broughton • Al Ham • John Morris • Fred Steiner • George Bruns • Marvin Hamlisch (2 win) • Boris Morros • Max Steiner (3 wins) • Ralph Burns (2 wins) • Herbie Hancock (1 win) • Jeff Moss • Leith Stevens • R. Mockridge • Alan Silvestri • Jay Blackton (1 win) • Vince Guaraldi • Lucien Moraweck • Marlin Skiles • Chris Boardman • Jonas Gwangwa • Angela Morley • Frank Skinner • Ludovic Bource (1 win) • Earle H. Plumb • Peter Townshend • Frank Cordell • Samuel Hoffenstein • Rachel Portman (1 win) • John Scott Trotter • John Corigliano (1 win) • Frederick Hollander • John Powell • Jonathan Tunick (1 win) • Alexander Courage • James Horner (1 win) • André Previn (5 wins) • Vangelis (1 win) • Andrae Crouch • James Newton Howard • Charles Previn • Tom Waits • Mychael Danna (1 win) • Alberto Iglesias • Prince (1 win) • Don Walker • Ken Darby (3 wins) • Mark Isham • A.R. Franke Harling (1 win) • Anthony Newley • Morris Stoloff (3 wins) • Jorge Calandrelli • George Harrison (1 win) • Alfred Newman (9 wins) • Robert Stolz • John Cameron • Marvin Hatley • David Newman • Gregory Stone • Gerard Carbonara • Isaac Hayes • Emil Newman • Herbert Stothart (1 win) • Charlie Chaplin (1 win) • Jack Hayes • Lionel Newman (1 win) • Cong Su (1 win) • Saul Chaplin (3 wins) • Lennie Hayton (1 win) • Randy Newman • Harry Sukman (1 win) • Frank Churchill (1 win) • Ray Heindorf (3 wins) • Thomas Newman • Alexander Tansman • Cy Coleman • Charles Henderson • Jack Nitzsche • Rod Temperton • Anthony Collins • Bernard Herrmann (1 win) • Alex North (Honorary Oscar) • Max Terr • Alberto Colombo • Jerry Hey • Edward Paul • Ken Thorne (1 win) • Bill Conti (1 win) • Werner Heymann • Frank Perkins • Dimitri Tiomkin (3 wins) • Aaron Copland (1 win) • David Hirschfelder • Nicola Piovani (1 win) • Ernst Toch • Carmine Coppola (1 win) • Joel Hirschhorn • Edward H.Film score 7 • Elmer Bernstein (1 win) • Louis Gruenberg • Michel Michelet • Louis Silvers (1 win) • Leonard Bernstein • Dave Grusin (1 win) • Cyril J. International Film Music Critics Association). but have never been nominated for an Oscar for their scores (Songwriting nominations are not included in the Oscar nominees list). Winners of an Award appear in bold. BAFTA Awards. Bacon • Randy Edelman • Mark Knopfler • Lior Rosner • Angelo Badalamenti • Paul Englishby • Krzysztof Komeda • William Ross • Klaus Badelt • Micky Erbe • Abel Korzeniowski • Arthur B. Grammy Awards.Film score 8 • Yuri Faier • Percy Faith • Michel Legrand (2 wins) • Miklós Rózsa (3 wins) • Larry Russell (1 win) • David Zippel Source: The Official Academy Awards Database [29] Other award nominees and winners The following list includes all composers who have been nominated for one of the other major film music awards (Golden Globes. Emmy Awards. Rubinstein • Lorne Balfe • Kolja Erdmann • Henry Krieger • Pete Rugolo • Roque Baños • Ilan Eshkeri • Kurt Kuenne • The RZA • Gato Barbieri • Harold Faltermeyer • Jesper Kyd • Arturo Sandoval • Lionel Bart • Allyn Ferguson • Robert Lane • Naoki Sato • Steve Bartek • Robert Folk • Christopher Lennertz • David Schwartz • Ben Bartlett • David Foster • Brian Lock • Garry Schyman • Stephen Barton • Charles Fox • Andrew Lockington • Theodore Shapiro • Arnau Bataller • David Michael Frank • Joseph LoDuca • Edward Shearmur • Tyler Bates • Benjamin Frankel • Henning Lohner • Freddy Sheinfeld • Jeff Beal • Dominic Frontiere • John Lunn • Philip Sheppard • Christophe Beck • Peter Gabriel • John Lurie • Kevin Shields • David Bell • Pascal Gaigne • Nuno Malo • David Shire • Richard Bellis • Brian Gascoigne • Johnny Mandel • Ryan Shore • Charles Bernstein • Lisa Gerrard • Chuck Mangione • Clinton Shorter • Howard Blake • Barry Gibb • Hummie Mann • Lawrence Shragge • Terence Blanchard • Scott Glasgow • Clint Mansell • Carlo Siliotto • Todd Boekelheide • Nick Glennie-Smith • David Mansfield • Carly Simon • Pieter Bourke • Murray Gold • Wynton Marsalis • Paul Simon • Simon Boswell • Nick Gold • Peter Martin • Cezary Skubiszewski • Perry Botkin Jr. • Panu Aaltio • Ramin Djawadi • Michael Kamen • Víctor Reyes • Neal Acree • Nicholas Dodd • John Kander • Jeff Richmond • Mark Adler • Jim Dooley • Laura Karpman • Max Richter • John Altman • Joel Douek • Victoria Kelly • Kevin Riepl • Elik Alvarez • Johnny Douglas • Rolfe Kent • Sonny Rollins • Armand Amar • Charles Dumont • Wojciech Kilar • Philippe Rombi • Benny Andersson • Robert Duncan • Kaki King • Harold Rome • Oscar Araujo • Bob Dylan • Grant Kirkhope • Dan Romer • Craig Armstrong • Clint Eastwood • Kitaro • Jeff Rona • David Arnold • Fred Ebb • Johnny Klimek • Brett Rosenberg • Chris P. • Billy Goldenberg • Cliff Martinez • Mark Snow • Steven Bramson • Joel Goldsmith • Rob Mathes • Johan Söderqvist • Jon Brion • Howard Goodall • Curtis Mayfield • Maribeth Solomon • Michael Brook • Miles Goodman • Dennis McCarthy • Jeremy Soule • Joseph Brooks • Ron Goodwin • Bear McCreary • Michael Stearns • Russell Brower • Gordon Goodwin • Mark McKenzie • Morton Stevens • Stephen Bruton • Christopher Gordon • Joel McNeely • Richard Stone • Velton Ray Bunch • Morton Gould • Gil Melle • Marc Streitenfeld . "Snuffy" Walden • Joseph Conlan • Joe Hisaishi • Karen Orzolek • Don Was • Ry Cooder • Wataru Hokoyama • John Ottman • Shirley Walker • Stewart Copeland • Lee Holdridge • Van Dyke Parks • Mark Watters • Normand Corbeil • Junior Homrich • Larry Paxton • Nigel Westlake • Jane Antonia Cornish • Nellee Hooper • James Peterson • Norman Whitfield • Bruno Coulais • Nicholas Hooper • Jean-Claude Petit • Frederik Wiedmann • Daft Punk • Richard Horowitz • Barrington Pheloung • Kristin Wilkinson • Burkhard Dallwitz • Dick Hyman • Stu Phillips • Nancy Wilson • Jeff Danna • Steve Jablonsky • Winifred Phillips • Stanley Wilson • Mason Daring • Henry Jackman • Martin Phipps • Austin Wintory • Martin Davich • Joe Jackson • Douglas Pipes • Debbie Wiseman • Caine Davidson • Richard Jacques • Michael Richard Plowman • Stevie Wonder • Carl Davis • Chaz Jankel • Basil Poledouris • Christopher Wong • Don Davis • Elton John • Jocelyn Pook • Alex Wurman • Paco de Lucía • Carl Johnson • Mike Post • Timothy Michael Wynn • Manuel De Sica • Adrian Johnston • Zbigniew Preisner • Christopher Young • Zacarías M. Hammond • Julian Nott • Bjorn Ulvaeus • George S.G. IFMCA Awards Archive [34] . Clinton • James Hannigan • Michael Nyman • Marc Vaíllo • Elia Cmiral • Richard Hartley • Hazel O'Connor • Eddie Vedder • Robert Cobert • Paul Haslinger • Mike Oldfield • Fernando Velázquez • Harvey Cohen • Knut Avenstroup Haugen • Miguel d'Oliveira • Lucas Vidal • Lisa Coleman • Neal Hefti • Riz Ortolani • Joseph Vitarelli • Michel Colombier • Reinhold Heil • Mark Orton • W. de la Riva • Nathan Johnson • Alan Price • Geoff Zanelli • Barry De Vorzon • Dan Jones • Michael Price • Marcelo Zarvos • Marius de Vries • Ron Jones • Nic Raine • Benh Zeitlin • Vince DiCola • Trevor Jones • Alfred Ralston • Aaron Zigman • James Di Pasquale • Federico Jusid • Brian Reitzell • Atli Örvarsson • Neil Diamond • Graeme Revell Sources: HFPA Award Search [30]. BAFTA Awards Database [31].Film score 9 • T-Bone Burnett • Gerald Gouriet • Wendy Melvoin • Charles Strouse • Carter Burwell • Ron Grainer • Sheldon Mirowitz • Marty Stuart • Edmund Butt • Jason Graves • Dudley Moore • Taj Mahal • Brian Byrne • Jonny Greenwood • Zeltia Montes • Tamiya Terajima • Sean Callery • Harry Gregson-Williams • Tony Morales • Mikis Theodorakis • John Cameron • Rupert Gregson-Williams • Andrea Morricone • Third Ear Band • Paul Cantelon • Mark Griskey • Trevor Morris • Mark Thomas • Sam Cardon • Herbert Grönemeyer • Mark Mothersbaugh • Yann Tiersen • Dick Cathcart • Guy Gross • Nico Muhly • Martin Tillmann • Bartosz Chajdecki • Larry Groupé • John Murphy • Chris Tilton • Jay Chattaway • Edo Guidotti • Walter Murphy • Pinar Toprak • The Chemical Brothers • Christopher Gunning • Stanley Myers • Joseph Trapanese • Sylvain Chomet • Arlo Guthrie • Blake Neely • Ernest Troost • The Cinematic Orchestra • Andrew Hale • Garth Neustadter • Tom Tykwer • Eric Clapton • Simon Hale • Lennie Niehaus • Brian Tyler • Alf Clausen • John P. Grammy Awards Archive [33]. Primetime Emmy Award Database [32]. Angelo Badalamenti and David Lynch. Other examples are John Williams and Steven Spielberg. Production music libraries will typically offer a broad range of musical styles and genres. Night Shyamalan. The Smurfs (2011) Trevor Rabin – Armageddon (1998). enabling producers and editors to find much of what they need in the same library. television. the company originally scored music for use in silent film. Golden Globe etc.Film score Box office champions The following list includes all composers who have scored one of the 100 Highest Grossing Films of All Time. The first production music library was set up by De Wolfe in 1927 with the advent of sound in film. Harry Gregson-Williams and Tony Scott or Clint Mansell and Darren Aronofsky. VideoHelper and Extreme Music provide music to various film. radio and other media. but have never been nominated for a major award (Oscar. Patrick Doyle and Kenneth Brannagh. the largest US library. All-Time Domestic Box Office Grosses Adjusted for Inflation [36].[38] Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. music production libraries own all of the copyrights of their music. Danny Elfman did the score for all the movies directed by Tim Burton. TV and commercial projects for a fee. meaning that it can be licensed without seeking the composer's permission.[citation needed] Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate. who typically own less than 50 percent of the copyright in a composition. the music is owned by production music libraries and licensed to customers for use in film. Jerry Goldsmith and Joe Dante. Music libraries vary in size from a few hundred tracks up to many thousands.[39] APM. James Newton Howard and M. This is because virtually all music created for music libraries is done on a work for hire basis. as is necessary in licensing music from normal publishers. Éric Serra and Luc Besson.) • • • • • • • • • • • William Alwyn – Swiss Family Robinson (1960) David Buttolph – House of Wax (1953) Brad Fiedel – Terminator 2: Judgment Day (1991) Alexander Janko – My Big Fat Greek Wedding (2002) Bill Justis – Smokey and the Bandit (1977) Harald Kloser – The Day After Tomorrow (2004). Howard Shore and David Cronenberg. National Treasure: Book of Secrets (2007) Pharrell Williams – Despicable Me (2010) Chris Wilson – My Big Fat Greek Wedding (2002) Source: Box Office Mojo – All-Time Domestic Box Office Grosses [35].[40] 10 . has over 250. a composer may unite with a director by composing the score for many films of a same director. Production music Many companies such as Jingle Punks. For example. Associated Production Music.000 tracks. with the exception of Ed Wood (score by Howard Shore) and Sweeney Todd: The Demon Barber of Fleet Street (score by Stephen Sondheim). All-Time Worldwide Box Office Grosses [37] Relation with directors Sometimes. Sometimes called library music. 2012 (2009) Mark Mancina – Twister (1996) Heitor Pereira – Despicable Me (2010). Unlike popular and classical music publishers. Christopher Nolan and Hans Zimmer. Alan Silvestri and Robert Zemeckis. Carter Burwell and Joel & Ethan Cohen. asp) [6] SoundtrackNet: The Good. edu/ EMS/ music/ equipment/ video/ smpte/ smpte.96n40.minimumnoise. 28 July 2008. ISBN 3-7024-2885-2. us/ bournecd.New York 2005 (Studien zur Wertungsforschung 46). htm [36] http:/ / boxofficemojo. uk/ page/ 3151/ LSO-and-Film-Music) LSO. com/ alltime/ world/ Further reading • Andersen. stm)?" BBC. goldenglobes. soundtrack. jsp [30] http:/ / www.aspx).” Minimum Noise. [4] Film scoring (http:/ / books.Overview (http:/ / www.ca/ econtact/12_4/Andersen_audiovisual. com/ nominees/ search [34] http:/ / filmmusiccritics. Cited in Albright. Martin Stig.concordia. Tonspuren. org/ wagner/ starwars. net/ features/ article/ ?id=120) [18] (http:/ / www. html) [23] About The Film Music Society (http:/ / www.com . The art of film music. trell. net/ albums/ database/ ?id=841) [17] SoundtrackNet: Article . Montréal: CEC. net/ community/ read. Mark. htm) [16] SoundtrackNet: Torn Curtain Soundtrack (http:/ / www. " Where Are the New Movie Themes (http:/ / news. [26] Film music: a history By James Eugene Wierzbicki. emmys.html). • Elal. ISBN 0-226-01267-0.html). Film Music. motu. ISBN 978-0-8256-7308-5 [12] London Symphony Orchestra and Film Music (http:/ / lso. p. co. merriam-webster.20 [27] Fairylogue was released 24 September 1908. soundtrack. “ Electroacoustic Sound and Audiovisual Structure in Film (http://cec. grammy.). org/ awards-archive/ [35] http:/ / boxofficemojo. In German.ca/cec/econtact/8_4/ films. uk/ 1/ hi/ entertainment/ 7525242. com/ alltime/ domestic. 2004. Retrieved 30 June 2011 [13] Home Recording Glossary: Click Track (http:/ / homerecording. “ Films with Significant Electroacoustic Content (http://cec2. co. uk/ reviews/ alex-norths-2001-a-space-odyssey. filmtracks. com/ gsantaolalla/ gsantaolalla1. org/ browse/ categories [31] http:/ / www.4 — Ressources éducatives / Educational Resources (September 2006). p. php?2.28. com/ dictionary/ leitmotif) [22] Star Wars and Wagner's Ring (http:/ / www. com/ pm/ feature/ 128323-we-built-our-own-world-hans-zimmer-and-the-music-of-inception/ ) [8] TIMBT: Gustavo Santolalla interview (http:/ / www. com/ products/ software/ dp/ film-scoring/ ) [11] Kompanek. com/ titles/ pirates_caribbean. • Various contributors [wiki]. html) [9] SMPTE (http:/ / artsites. co. htm [37] http:/ / boxofficemojo. Montréal: CEC. bbc. net/ albums/ database/ ?id=3475) [7] We Built Our Own World: Hans Zimmer and the Music of 'Inception' (http:/ / www.Film score References [1] Savage. Modernism and Music.Original soundtrack by Alex North. filmscoremonthly. From Score To Screen: Sequencers. bafta. mfiles. moviemusicuk. html) [24] The Functions of Film Music (http:/ / www.Gabriel Yared's Troy (http:/ / www. Universal Edition. popmatters. html) [19] Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score (http:/ / musiconfilm. ed. google. p.” eContact! 8. naqoy. Scores And Second Thoughts: The New Film Scoring Process. Scrutinizes film score practice at the turn from the 20th to 21st century.com/ Articles/The-Essentials-Of-Scoring-Film. com/ naqoy/ creators.” eContact! 12. html) [10] MOTU. Schirmer Trade Books. org/ about/ about. conducted by Jerry Goldsmith (http:/ / www. com/ books?id=plJ5gEhhnrcC& dq=film+ scoring+ process& pg=PP1& ots=1a0x_Y2I-C& source=citation& sig=LxfILeN928oa-9edfHlx9DsJgS8& hl=en& sa=X& oi=book_result& resnum=11& ct=result) [5] The Creators (http:/ / www. com/ award_history_search [33] http:/ / www. htm) [21] leitmotif . Vienna London . (2004).Definition from the Merriam-Webster Online Dictionary (http:/ / www. Assassinat was released 17 November 1908 [29] http:/ / awardsdatabase. Sammy and Kristian Dupont (Eds. thenitmustbetrue. org/ awards-database. soundtrack. htm) [14] George Burt.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010). Sonny. Copenhagen.). com/ features/ functions. Musik im Film: Fallstudien 1994 . com/ alltime/ adjusted. • Dorschel. ucsc. com/ od/ recordingglossary/ g/ def_click_track. org/ ampas_awards/ BasicSearchInput. oscars. html?sq= [32] http:/ / www. Daniel. Northeastern University Press [15] 2001 A Space Odyssey . filmmusicsociety. Faber and Faber. 11 . Denmark. “ The Essentials of Scoring Film (http://www. The Bad and The Ugly Soundtrack (http:/ / www.2001. asp) [25] London. about. Andreas (ed. commissioned but unused by Stanley Kubrick.161) [20] The Bourne Identity (http:/ / www. americanmusicpreservation.ifms-jfm.net) MusicWeb International: Film Music on the Web (http://www.us) Movie Wave (http://www.com/) (filmtracks.filmmusicsociety.moviecues.com/fmr.filmtracks.com/) (scorenotes.net/) (maintitles.com) (filmmusicsite.movie-wave.com/) (moviecues.Film score External links Film music organizations • Film Music Society (http://www.com) Filmtracks (http://www.com/) Film Music Review (http://www.com/film/index.net) MovieCues (http://www.moviemusicuk.cinemusic.net) Filmmusicsite (http://www.org/) (French) UnderScores : le magazine de la musique de film (http://www.com) Movie Music UK (http://www.org/) Film music review sites • • • • • • • • Cinemusic (http://www.tracksounds.net/) (movie-wave.underscores.com) • Tracksounds (http://www.com/) (tracksounds.maintitles.filmmusicmag.musicweb-international.org/) • International Film Music Critics Association (http://filmmusiccritics.htm) (site closed in December 2006 and remains for archive purposes only) • ScoreNotes (http://www.com) Journals (online and print) • • • • Film Music Magazine (http://www.filmmusicsite.com) MainTitles (http://www.net/) (cinemusic.us/) (moviemusicuk.scorenotes.fr/) 12 .htm) The Journal of Film Music (http://www. 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Moviescore. Belovedfreak. Nehrams2020. Dillard421. Emoscopes. Exir Kamalabadi. Ianblair23. Yllosubmarine. Bobblewik. Kudpung. Hinrik.php?oldid=562035890 Contributors: 93JC. Rlfb. Tuneman42. SirEbenezer. FlorisGroen. Fbv65edel. JnB987. Softssa. Antrophica. DeansFA. Gingermint. Dreamster. Ulric1313. Egotripped22. Ali Magassouba. DT28. Xpelliars. Chris 42. Tempodivalse. Garyhayton. JonBroxton. Brooks McCray. John of Reading. Magioladitis. Pegah. Robert Elliott. Mpmmusic. Noiselull. Beyond silence. Ciphers. EdOByrne. Lradrama. Shadowjams. Butros. Bansp. Ssilvers. Alai. Film Music Lover. Doprendek. Rjwilmsi. Skpstein. Timwi. Niceguyedc. Karol Langner. Ian Dunster. Scanlan. JoeShmoe64. Khazar2. Foober. Lovely Chris. Subwayguy. Laputamusic. Jwy. WikiBob47. Jbinder. Norar. Artihcus022. Bacteria. Yworo.