Film score in the context of Recording artists


Film score in the context of Recording artists

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⭐ Core Definition: Film score

A film score is original music written specifically to accompany a film or a television program. The score consists of 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. Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for media such as live theatre, television and radio programs, and video games, and that music is typically referred to as either the soundtrack or incidental music.

Film scores encompass an enormous variety of styles of music depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and 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, and many scores written today feature a hybrid of orchestral and electronic instruments.

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Film score in the context of Epic films

Epic films have large scale, sweeping scope, and spectacle. The term is slightly ambiguous, sometimes designating a film genre and at other times simply big-budget films. Like epics in the classical literary sense, it is often focused on a heroic character. An epic's ambitious nature helps to set it apart from other genres such as the period piece or adventure film.

Epic historical films would usually take a historical or a mythical event and add an extravagant setting, lavish costumes, an expansive musical score, and an ensemble cast, which would make them extremely expensive to produce. The most common subjects of epic films are royalty and important figures from various periods in world history.

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Film score in the context of Musician

A musician is someone who composes, conducts, or performs music. According to the United States Employment Service, "musician" is a general term used to designate a person who follows music as a profession. Musicians include songwriters, who write both music and lyrics for songs; conductors, who direct a musical performance; and performers, who perform for an audience. A music performer is generally either a singer (also known as a vocalist), who provides vocals, or an instrumentalist, who plays a musical instrument. Musicians may perform on their own or as part of a group, band or orchestra.

Musicians may specialize in a musical genre, although many perform across a variety of styles and often blend or cross genres. Their musical output is influenced by a range of factors, including culture, skill set, life experience, education, and creative preferences. A musician who records and releases music is often referred to as a recording artist; while a musician who primarily writes and records art music, media soundtracks , and scores—including for films, theatrical stage productions, and video games—or classical music is usually called a composer. A music producer, while not a musician outright, may themselves be a musician. A conductor, by way of gestures, leads and provides live direction for, or conducts, an ensemble, typically an orchestra or choral group.

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Film score in the context of Where Eagles Dare

Where Eagles Dare is a 1968 action adventure war film directed by Brian G. Hutton and starring Richard Burton, Clint Eastwood and Mary Ure. Set during World War II, it follows a Special Operations Executive team charged with saving a captured American General from the fictional Schloß Adler fortress, except the mission turns out not to be as it seems. It was filmed in Panavision using the Metrocolor process, and was distributed by Metro-Goldwyn-Mayer. Alistair MacLean wrote the screenplay, his first, at the same time that he wrote the novel of the same name. Both became commercial successes.

The film involved some of the top filmmakers of the day and was shot on location in Austria. Hollywood stuntman Yakima Canutt was the second unit director and shot most of the action scenes; British stuntman Alf Joint doubled for Burton in many sequences, including the fight on top of the cable car; award-winning conductor and composer Ron Goodwin wrote the film score; and future Oscar nominee Arthur Ibbetson worked on the cinematography.

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Film score in the context of Incidental music

Incidental music is music in a play, television program, radio program, video game, or some other presentation form that is not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as the film score or soundtrack.

Incidental music is often background music, and is intended to add atmosphere to the action. It may take the form of something as simple as a low, ominous tone suggesting an impending startling event or to enhance the depiction of a story-advancing sequence. It may also include pieces such as overtures, music played during scene changes, or at the end of an act, immediately preceding an interlude, as was customary with several nineteenth-century plays. It may also be required in plays that have musicians performing on-stage.

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Film score in the context of Diegetic music

Diegetic music, also called source music, is music that is part of the fictional world portrayed in a narrative (such as a film, show, play, or video game) and is thus knowingly performed or heard by the characters. This is in contrast to non-diegetic music, which is incidental music or a score that is heard by the viewer but not the characters, or in musical theater, when characters are singing in a manner that they would not do in a realistic setting.

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Film score in the context of Philip Glass

Philip Glass (born January 31, 1937) is an American composer and pianist. He is widely regarded as one of the most influential composers of the late 20th century. Glass's work has been associated with minimalism, being built up from repetitive phrases and shifting layers. He described himself as a composer of "music with repetitive structures", which he has helped to evolve stylistically.

Glass founded the Philip Glass Ensemble in 1968. He has written 15 operas, numerous chamber operas and musical theatre works, 14 symphonies, 12 concertos, nine string quartets, various other chamber music pieces, and many film scores. He has received nominations for four Grammy Awards, including two for Best Contemporary Classical Composition for Satyagraha (1987) and String Quartet No. 2 (1988). He has received three Academy Award for Best Original Score nominations for Martin Scorsese's Kundun (1997), Stephen Daldry's The Hours (2002), and Richard Eyre's Notes on a Scandal (2006). He also composed the scores for Mishima: A Life in Four Chapters (1985), Hamburger Hill (1987), The Thin Blue Line (1988), Candyman (1992), The Truman Show (1998), and The Illusionist (2006).

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Film score in the context of John Williams

John Towner Williams (born February 8, 1932) is an American composer and conductor. Over his seven-decade career, he has composed many of the best known scores in film history. His compositional style blends romanticism, impressionism, and atonal music with complex orchestration. Best known for his collaborations with George Lucas and Steven Spielberg, he has received numerous accolades, including 26 Grammy Awards, five Academy Awards, seven BAFTA Awards, three Emmy Awards, and four Golden Globe Awards. With a total of 54 Academy Award nominations, he is the second-most nominated person in the award's history, after Walt Disney. He is also the oldest Academy Award nominee in any category, receiving a nomination at 91 years old.

Williams's early work as a film composer includes None but the Brave (1965), Valley of the Dolls (1967), Goodbye, Mr. Chips (1969), Images and The Cowboys (both 1972), The Long Goodbye (1973) and The Towering Inferno (1974). He has collaborated with Spielberg since The Sugarland Express (1974), composing music for all but five of his feature films. He received five Academy Awards for Best Score/Best Score Adaptation for Fiddler on the Roof (1971); score adaptation of the original music by Jerry Bock), Jaws (1975), Star Wars (1977), E.T. the Extra-Terrestrial (1982) and Schindler's List (1993). Other memorable collaborations with Spielberg include Close Encounters of the Third Kind (1977), the Indiana Jones franchise (1981–2023), Hook (1991), Jurassic Park (1993) and its sequel The Lost World: Jurassic Park (1997), Saving Private Ryan (1998), Catch Me If You Can (2002), War Horse (2011), Lincoln (2012), and The Fabelmans (2022). He also scored Superman (1978) and two of its sequels, the first two Home Alone films (1990–1992), and the first three Harry Potter films (2001–2004). Outside of his long-term collaborations with Spielberg and Lucas, Williams has composed the scores for films directed by William Wyler, Clint Eastwood, Alfred Hitchcock, Brian De Palma, John Badham, George Miller, Oliver Stone, Chris Columbus, Ron Howard, Barry Levinson, John Singleton, Alan Parker, Alfonso Cuarón, and Rob Marshall.

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Film score in the context of Deep Blue Sea (1999 film)

Deep Blue Sea is a 1999 science fiction horror film directed by Renny Harlin. It stars Thomas Jane, Saffron Burrows, Samuel L. Jackson, Michael Rapaport, and LL Cool J. It is the first film of the film series of the same name. Set in an isolated underwater facility, the film follows a team of scientists and their research on mako sharks to help fight Alzheimer's disease. The situation plunges into chaos when multiple genetically engineered sharks go on a rampage and flood the facility. The film is an international co-production between the United States and Mexico.

Deep Blue Sea had a production budget of $60 million and represented a test for Harlin, who had not made a commercially successful film since Cliffhanger in 1993. The film was primarily shot at Fox Baja Studios in Rosarito, Mexico, where the production team constructed sets above the large water tanks that had been built for James Cameron's 1997 film Titanic. Although Deep Blue Sea features some shots of real sharks, most of the sharks used in the film were either animatronic or computer generated. Trevor Rabin composed the film score; LL Cool J contributed two songs to the film: "Deepest Bluest (Shark's Fin)" and "Say What".

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Film score in the context of Elliot Goldenthal

Elliot Goldenthal (born May 2, 1954) is an American composer of contemporary classical music and film and theatrical scores. A student of Aaron Copland and John Corigliano, he is best known for his distinctive style and ability to blend various musical styles and techniques in original and inventive ways. He won the Academy Award for Best Original Score in 2002 for his score to the motion picture Frida, directed by his longtime partner Julie Taymor.

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Film score in the context of Wizarding World

The Wizarding World (previously known as J. K. Rowling's Wizarding World) is a fantasy media franchise and shared fictional universe centred on the Harry Potter novel series by J. K. Rowling. A series of films have been in production since 2000, and in that time eleven films have been produced—eight are adaptations of the Harry Potter novels and three are part of the Fantastic Beasts series. The films are owned and distributed by Warner Bros. Pictures. The series has collectively grossed over $9.6 billion at the global box office, making it the fourth-highest-grossing film franchise of all time (behind the Marvel Cinematic Universe, Spider-Man and Star Wars).

David Heyman and his company Heyday Films have produced every film in the Wizarding World series. Chris Columbus and Mark Radcliffe served as producers on Harry Potter and the Prisoner of Azkaban, David Barron began producing the films with Harry Potter and the Order of the Phoenix in 2007 and ending with Harry Potter and the Deathly Hallows – Part 2 in 2011, and Rowling produced the final two films in the Harry Potter series. Heyman, Rowling, Steve Kloves and Lionel Wigram have produced all three films in the Fantastic Beasts series. The films are written and directed by several individuals and feature large, often ensemble, casts. Many of the actors, including Daniel Radcliffe, Rupert Grint, Emma Watson, Tom Felton, Michael Gambon, Ralph Fiennes, Alan Rickman, Maggie Smith, Helena Bonham Carter, Gary Oldman, Eddie Redmayne, Katherine Waterston, Alison Sudol, and Dan Fogler star in numerous films. Additionally, Jude Law and Johnny Depp feature in two films each. Soundtrack albums have been released for each of the films. The franchise also includes a stage production (Harry Potter and the Cursed Child), a digital publication, a video game label and The Wizarding World of Harry Potter–themed areas at several Universal Destinations & Experiences amusement parks around the world.

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Film score in the context of Andrew Lloyd Webber

Andrew Lloyd Webber, Baron Lloyd-Webber (born 22 March 1948), commonly referred to as "Lloyd Webber", is an English composer and impresario of musical theatre. Several of his musicals have run for more than a decade both in the West End and on Broadway. He has composed 21 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass.

Several of Lloyd Webber's songs have been widely recorded and widely successful outside their parent musicals, such as "Memory" from Cats, "The Music of the Night" and "All I Ask of You" from The Phantom of the Opera, "I Don't Know How to Love Him" from Jesus Christ Superstar, "Don't Cry for Me Argentina" from Evita, and "Any Dream Will Do" from Joseph and the Amazing Technicolor Dreamcoat. In 2001, The New York Times referred to him as "the most commercially successful composer in history". The Daily Telegraph named him in 2008 the fifth-most powerful person in British culture, on which occasion lyricist Don Black said that "Andrew more or less single-handedly reinvented the musical."

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Film score in the context of City Lights

City Lights is a 1931 American synchronized sound romantic comedy-drama film written, produced, directed by, and starring Charlie Chaplin. While the film has no audible dialog, it was released with a synchronized musical score with sound effects. The story follows the misadventures of Chaplin's Tramp as he falls in love with a blind woman (Virginia Cherrill) and develops a turbulent friendship with an alcoholic millionaire (Harry Myers).

Although talking pictures (or films with recorded dialogue) were on the rise when Chaplin started developing the script in 1928, he decided to continue working without dialogue only incorporating sound with the use of a synchronized musical score with sound effects. Filming started in December 1928 and ended in September 1930. City Lights marked the first time Chaplin composed the film score to one of his productions and it was written in six weeks with Arthur Johnston. The main theme, used as a leitmotif for the blind flower girl, is the song "La Violetera" ("Who'll Buy my Violets") from Spanish composer José Padilla. Chaplin lost a lawsuit to Padilla for not crediting him.

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Film score in the context of Once Upon a Time in the West

Once Upon a Time in the West (Italian: C'era una volta il West) is a 1968 epic spaghetti Western film directed by Sergio Leone from a screenplay he co-wrote with Sergio Donati. It stars Claudia Cardinale, Henry Fonda, Jason Robards, Charles Bronson, Gabriele Ferzetti, Woody Strode, Jack Elam, Lionel Stander, Paolo Stoppa, Frank Wolff, and Keenan Wynn. The widescreen cinematography was by Tonino Delli Colli and the film score was composed and conducted by Ennio Morricone.

After directing The Good, the Bad and the Ugly, Leone decided to retire from Westerns and aimed to produce his film based on the novel The Hoods, which eventually became Once Upon a Time in America. However, Leone accepted an offer from Paramount Pictures providing Henry Fonda and a budget to produce another Western. He recruited Bertolucci and Argento to devise the plot, researching other Westerns in the process. After Clint Eastwood turned down an offer to play the protagonist, Bronson was offered the role. During production, Leone recruited Donati to rewrite the script due to concerns over time limitations. The film is the first installment in Leone's Once Upon a Time trilogy, followed by Duck, You Sucker! and Once Upon a Time in America, though the films do not share any characters.

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Film score in the context of Ennio Morricone

Ennio Morricone OMRI (/ˈɛnj ˌmɒrɪˈkni, -n/ EN-yoh MORR-ih-KOH-nee, -⁠nay, Italian: [ˈɛnnjo morriˈkoːne]; 10 November 1928 – 6 July 2020) was an Italian composer, orchestrator, conductor, trumpeter, and pianist who wrote music in a wide range of styles. With more than 400 scores for cinema and television, as well as more than 100 classical works, Morricone is widely considered one of the most prolific and greatest film composers of all time. He received numerous accolades including two Academy Awards, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d'Argento, two European Film Awards, the Golden Lion Honorary Award, and the Polar Music Prize in 2010.

His filmography includes more than 70 award-winning films, all of Sergio Leone's films since A Fistful of Dollars, all of Giuseppe Tornatore's films since Cinema Paradiso, Dario Argento's Animal Trilogy, as well as The Battle of Algiers (1966), 1900 (1976), La Cage aux Folles (1978), Le Professionnel (1981), The Thing (1982), The Key (1983) by Tinto Brass and Tie Me Up! Tie Me Down! (1989). He received the Academy Award for Best Original Score nominations for Days of Heaven (1978), The Mission (1986), The Untouchables (1987), Bugsy (1991), Malèna (2000) and The Hateful Eight (2015), winning for the last. He won the Academy Honorary Award in 2007. His score to The Good, the Bad and the Ugly (1966) is regarded as one of the most recognizable soundtracks in history. It was inducted into the Grammy Hall of Fame in 2008.

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Film score in the context of Synthwave

Synthwave (also called retrowave, or futuresynth) is an electronic music microgenre that is based predominantly on the music associated with the soundtracks of action, science fiction, and horror films of the 1970s and 1980s. Other influences are drawn from the decade's art and video games. Synthwave musicians often espouse nostalgia for 1980s culture and attempt to capture the era's atmosphere and celebrate it.

The genre developed in the mid-to late 2000s through French house producers, as well as younger artists who were inspired by the 2002 video game Grand Theft Auto: Vice City. Other reference points included composers John Carpenter, Jean-Michel Jarre, Vangelis (especially his score for the 1982 film Blade Runner), and Tangerine Dream. Synthwave reached wider popularity after being featured in the soundtracks of the 2011 film Drive (which included some of the genre's best-known songs), the 2012 video game Hotline Miami as well as its 2015 sequel, the 2017 film Thor: Ragnarok, and the Netflix series Stranger Things.

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Film score in the context of Daniel Lopatin

Daniel Lopatin (born July 25, 1982), best known as Oneohtrix Point Never or OPN, is an American electronic music producer, composer, singer, and songwriter. His work experiments with tropes from an eclectic range of musical genres and eras, and has featured sample-based composition and complex MIDI production. He began releasing music in the 2000s, and received early acclaim for the synthesizer-based compilation Rifts (2009) as well as the influential vaporwave side-project Chuck Person's Eccojams Vol. 1 (2010).

Lopatin signed with Warp in 2013, and has since released studio albums on the label to positive critical reception. He has also contributed production work to various artists, most extensively the Weeknd, Moses Sumney, and Soccer Mommy. He has composed scores for films such as Good Time (2017), Uncut Gems (2019), and Marty Supreme (2025); the first won him the Soundtrack Award at the 2017 Cannes Film Festival.

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