|
|
| Line 1: |
Line 1: |
| {{Use dmy dates|date=July 2013}}
| | Obtain it in excel, copy-paste this continued plan down into corpuscle B1. Merchandise in your articles again access an majority of time in abnormal located in corpuscle A1, the standard in treasures will occur in B1.<br><br> |
| {{Refimprove|date = July 2013}}
| |
|
| |
|
| A '''film score''' (also sometimes called '''film music''', '''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 [[music cue|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.<ref>Savage, Mark. "[http://news.bbc.co.uk/1/hi/entertainment/7525242.stm Where Are the New Movie Themes]?" ''BBC,'' 28 July 2008.</ref> Scores are written by one or more [[composer]]s, under the guidance of, or in collaboration with, the film's [[film director|director]] and/or [[film producer|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]].
| | Maintain a video game contest. These can be a lot amongst fun for you properly gaming friends. You can either do this online, at your house or at a colleguerrrs place. Serve some fun snacks and get several people as you has the potential to involved. This like way to enjoy ones game playing with buddies.<br><br>If you loved this posting and you would like to receive far more data concerning [http://prometeu.net clash of clans hack android no survey] kindly check out our web-page. Temperance is essential in virtually things, and enjoying clash of clans cheats is no special. Playing for hours on finish is simply not good-for-you, bodily or in your mind. There are some games out so there which know this and may [http://www.ehow.com/search.html?s=include+measures include measures] to remind in order to take rests. Take the initiative yourself, although! Place an alarm so you don't play for minimum an hour right.<br><br>Till now, there exists a minimum of social options / abilities with this game that i.e. there is not any chat, attempting to team track of all friends, etc but perhaps we could expect this excellent to improve soon as Boom Beach continues to stay their Beta Mode.<br><br>Waiting for game of this particular season editions of significant titles. These often come out per 12 month or higher after our initial headline, but also include a lot of all down-loadable and extra happy which was released with regard to steps once the primary headline. These pastime titles supply a good more bang for this particular buck.<br><br>Need different question the extent which it''s a 'strategy'" games. A good moron without strategy in nearly every respect will advance in the company of gamers over time. So long as you have sign in occasionally and be sure your personal 'builders'" are building something, your game power could increase. That''s nearly there's going without going for walks shoes. Individuals which have been the most effective each of us in the game are, typically, those who may very well be actually playing a long, plus those who gave real cash to invest in extra builders. (Applying two builders, an greater one can possibly may well be obtained for 550 gems which cost $4.99 and the next one costs 1000 gems.) When it comes to four builders, you 'll advance amongst people about doubly as fast given that a guy with a set of builders.<br><br>Unsurprisingly individuals who produced this Crack Clash of Family are true fans linked with the sport themselves, not to mention this is exactly what ensures the potency among our alternative, because experts needed to do the game ourselves. |
| | |
| 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 music|rock]], [[pop music|pop]], [[blues music|blues]], [[New Age music|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 [[Electronica|electronic elements]] as part of the score, and many scores written today feature a hybrid of [[Orchestra|orchestral]] and electronic instruments.<ref>{{Cite news| url=http://www.independent.co.uk/news/obituaries/bebe-barron-cocomposer-of-the-first-electronic-film-score-for-forbidden-planet-822755.html | work=The Independent | location=London | title=Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet' | date=8 May 2008 | accessdate=2 May 2010}}</ref>
| |
| | |
| Since the invention of [[Digital data|digital technology]] and [[Sampling (music)|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 [[Scorewriter|music composition software]].
| |
| | |
| [[Songs]] are usually not considered part of the film's score,<ref>{{Cite news|title= When the Soundtrack Makes the Film|work= The New York Times|date=21 May 1978|url= http://select.nytimes.com/gst/abstract.html?res=F30617F8355A11728DDDA80A94DD405B888BF1D3&scp=4&sq=film%20soundtrack&st=cse|accessdate=2010-08-10 | first=John | last=Rockwell}}</ref> although songs do also form part of the film's soundtrack. Although some songs, especially in [[Musical film|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 music|pop]] songs which are "[[Diegesis#Film sound and music|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 (1997 film)|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 [[Film editing|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".<ref>[http://books.google.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 Film scoring]</ref>
| |
| | |
| 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.<ref>[http://www.naqoy.com/naqoy/creators.asp The Creators<!-- Bot generated title -->]</ref> 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.<ref>[http://www.soundtrack.net/albums/database/?id=3475 SoundtrackNet: The Good, The Bad and The Ugly Soundtrack<!-- Bot generated title -->]</ref>
| |
| | |
| 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.
| |
| | |
| In some circumstances, a composer will be asked to write music based on his or her impressions of the [[script (recorded media)|script]] or [[storyboards]], without seeing the film itself, 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. 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, and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer [[Hans Zimmer]] was asked to write music in this way in 2010 for director [[Christopher Nolan]]'s film ''[[Inception]]'';<ref>[http://www.popmatters.com/pm/feature/128323-we-built-our-own-world-hans-zimmer-and-the-music-of-inception/ We Built Our Own World: Hans Zimmer and the Music of 'Inception']</ref> composer [[Gustavo Santaolalla]] did the same thing when he wrote his Oscar-winning score for ''[[Brokeback Mountain]]''.<ref>[http://www.thenitmustbetrue.com/gsantaolalla/gsantaolalla1.html TIMBT: Gustavo Santolalla interview]</ref>
| |
| | |
| ===Syncing===
| |
| When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using [[SMPTE timecode]] for syncing purposes.<ref>[http://artsites.ucsc.edu/EMS/music/equipment/video/smpte/smpte.html SMPTE<!-- Bot generated title -->]</ref>
| |
| | |
| When syncing music to picture, generally a leeway of 3-4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either ('''a''') a stop watch or studio size stopclock, or ('''b''') watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. 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.
| |
| | |
| ====Written click track====
| |
| A written click track is a method of writing bars of music in consistent time values (i.e. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if they planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced click playing in his ear which he conducts to. This can yield stiff and lifeless performances in slower more expressive cues. One can convert a standard BPM value to a written click where X represents the number of beats per bar, and W represents time in seconds, by using the following equation:
| |
| | |
| :<math>\frac{60}{bpm}(x)=W</math>
| |
| | |
| Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:
| |
| | |
| :<math>\frac{60}{88}(4)=2.72</math>
| |
| | |
| ''2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.''
| |
| | |
| Once the composer has identified the location in the film they wish to sync with musically, they must determine the musical beat this event occurs on. To find this, they use the following equation, where bpm is beats per minute, ''sp'' is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).
| |
| | |
| :<math>\frac{bpm(sp)}{60}+1=B</math>
| |
| | |
| ===Writing===
| |
| Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a [[staff (music)|staff]] and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated [[Scorewriter|music composition software]] such as [[Digital Performer]], [[Logic Pro]], [[Finale (software)|Finale]], [[Cubase]], or [[Protools]].<ref>Kompanek, Sonny. ''From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process''. Schirmer Trade Books, 2004. ISBN 978-0-8256-7308-5</ref> Working with software allows composers to create MIDI-based demos of cues, called [[MIDI mockup]]s, for review by the filmmaker prior to the final orchestral recording.
| |
| | |
| The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks, or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.
| |
| | |
| The actual musical content of a film score is wholly dependent on the type of film being scored, and the emotions the director wishes the music to convey. A film score can encompass literally thousands of different combinations of instruments, ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos, along with a multitude of ethnic and world music influences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project, and can be influenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. 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; as such, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles.
| |
| | |
| ===Orchestration===
| |
| Once the music has been written, it must then be [[Orchestration#Film_orchestration|arranged or orchestrated]] in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the [[Single-line (music)|single-line music]] written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.
| |
| | |
| Some composers, notably [[Ennio Morricone]], orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished, and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the timeframe allowed.
| |
| | |
| Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other. Examples of enduring composer-orchestrator relationships include [[Jerry Goldsmith]] with [[Arthur Morton (orchestrator)|Arthur Morton]], [[Alexander Courage]] and [[Herbert W. Spencer]]; [[Miklos Rozsa]] with [[Eugene Zador]]; [[Alfred Newman (composer)|Alfred Newman]] with [[Edward B. Powell (orchestrator)|Edward Powell]], [[Ken Darby]] and [[Hugo Friedhofer]]; [[Danny Elfman]] with [[Steve Bartek]]; [[David Arnold]] with [[Nicholas Dodd]]; [[Basil Poledouris]] with [[Greig McRitchie]]; and [[Elliot Goldenthal]] with [[Robert Elhai]]. Others have become orchestrators-for-hire, and work with many different composers over the course of their careers; examples of prominent film music orchestrators include [[Pete Anthony]], [[Jeff Atmajian]], [[Brad Dechter]], [[Bruce Fowler]], [[John Neufeld]], [[Thomas Pasatieri]], [[Conrad Pope]], [[Nic Raine]] and [[J.A.C. Redford]].
| |
| | |
| Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more [[music copyists]], and is ready for performance.
| |
| | |
| ===Recording===
| |
| When the music has been composed and [[Orchestration|orchestrated]], the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the [[soundtrack album]]). However, 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]]. Other performing ensembles that are often employed include the [[London Symphony Orchestra]] (performing film music since 1935)<ref>[http://lso.co.uk/page/3151/LSO-and-Film-Music London Symphony Orchestra and Film Music] LSO. Retrieved 30 June 2011</ref> the [[City of Prague Philharmonic Orchestra]] (an orchestra dedicated mostly to recording), the [[BBC Philharmonic]], and the [[Northwest Sinfonia]].{{Citation needed|date=July 2010}}
| |
| | |
| The orchestra performs in front of a large screen depicting the movie, and sometimes to a series of clicks called a "click-track" that changes with [[meter (music)|meter]] and tempo, assisting the conductor to synchronize the music with the film.<ref>[http://homerecording.about.com/od/recordingglossary/g/def_click_track.htm Home Recording Glossary: Click Track<!-- Bot generated title -->]</ref>
| |
| | |
| More rarely, the director will talk to the composer before shooting has started, 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. 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.
| |
| | |
| ==Elements of a film score==
| |
| | |
| ===Temp tracks===
| |
| In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track.<ref>George Burt, The art of film music, Northeastern University Press</ref> On other occasions, 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. One of the most famous cases is [[Stanley Kubrick]]'s ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'', where Kubrick opted for existing recordings of classical works, including pieces by composer [[György Ligeti]] rather than the score by [[Alex North]],<ref>[http://www.mfiles.co.uk/reviews/alex-norths-2001-a-space-odyssey.htm 2001 A Space Odyssey - Original soundtrack by Alex North, commissioned but unused by Stanley Kubrick, conducted by Jerry Goldsmith<!-- Bot generated title -->]</ref> although Kubrick had also hired [[Frank Cordell]] to do a score. While North's ''2001'' is indeed a major example, it is not the sole case of well-known rejected scores. Others include ''[[Torn Curtain]]'' (Bernard Herrmann),<ref>[http://www.soundtrack.net/albums/database/?id=841 SoundtrackNet: Torn Curtain Soundtrack<!-- Bot generated title -->]</ref> ''[[Troy (film)|Troy]]'' (Gabriel Yared),<ref>[http://www.soundtrack.net/features/article/?id=120 SoundtrackNet: Article - Gabriel Yared's Troy<!-- Bot generated title -->]</ref> ''[[Pirates of the Caribbean: The Curse of the Black Pearl]]'' (Alan Silvestri),<ref>[http://www.filmtracks.com/titles/pirates_caribbean.html]</ref> Peter Jackson's ''[[King Kong (2005 film)|King Kong]]'' (Howard Shore),<ref>[http://musiconfilm.net/community/read.php?2,161 Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score<!-- Bot generated title -->]</ref> and ''[[The Bourne Identity (2002 film)|The Bourne Identity]]'' (Carter Burwell).<ref>[http://www.moviemusicuk.us/bournecd.htm The Bourne Identity<!-- Bot generated title -->]</ref>
| |
| | |
| ===Structure===
| |
| Films often have different themes for important characters, events, ideas or objects, an idea often associated with [[Richard Wagner|Wagner]]'s use of [[leitmotif]].<ref>[http://www.merriam-webster.com/dictionary/leitmotif leitmotif - Definition from the Merriam-Webster Online Dictionary<!-- Bot generated title -->]</ref> These may be played in different variations depending on the situation they represent, scattered amongst incidental music. An example of this technique is [[John Williams]]' score for the ''Star Wars'' saga, and the numerous themes associated with characters like [[Darth Vader]], [[Luke Skywalker]], and [[Princess Leia Organa]] (see [[Star Wars music|''Star Wars'' music]] for more details).<ref>[http://www.trell.org/wagner/starwars.html Star Wars and Wagner's Ring<!-- Bot generated title -->]</ref> ''[[Music of The Lord of the Rings film trilogy|The Lord of the Rings trilogy]]'' uses a similar technique, with recurring themes for many main characters and places. Others are less known by casual moviegoers, but well known among score enthusiasts, such as Jerry Goldsmith's underlying theme for the [[Borg (Star Trek)|Borg]] in ''[[Star Trek: First Contact]]'', or his Klingon theme from ''[[Star Trek: The Motion Picture]]'' which other composers carry over into their Klingon motifs, and he has brought back on numerous occasions as the theme for [[Worf]], ''[[Star Trek: The Next Generation|Star Trek: The Next Generation's]]'' most prominent Klingon.{{Citation needed|date=July 2010}} [[Michael Giacchino]] employed character themes in the soundtrack for the 2009 animated film ''[[Up (2009 film)|Up]]'', for which he received the Academy Award for Best Score. His orchestral soundtrack for the [[television series]] ''[[Lost (TV series)|Lost]]'' also depended heavily on character and situation-specific themes.
| |
| | |
| In 1983, a non-profit organization, the [[The Film Music Society|Society for the Preservation of Film Music]], was formed to preserve the "byproducts" of creating a film score:<ref>[http://www.filmmusicsociety.org/about/about.html About The Film Music Society<!-- Bot generated title -->]</ref> the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by the [[movie studio]]s. The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.
| |
| | |
| ===Source music===
| |
| Most films have between 40 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout. [[Dogme 95]] is a genre that has music only from sources within a film, such as from a radio or television. 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 "[[diegesis|diegetic]]" music, as it emanates from the "[[diegesis]]" or "story world").<ref>[http://www.filmscoremonthly.com/features/functions.asp The Functions of Film Music<!-- Bot generated title -->]</ref> 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]]''. [[Alfred Hitchcock|Alfred Hitchcock's]] 1963 thriller ''[[The Birds (film)|The Birds]]'' is an example of a Hollywood film with no [[Diegesis#In film|non-diegetic]] music whatsoever.
| |
| | |
| ==Artistic merit==
| |
| {{Refimprove section|date=September 2013}}
| |
| The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by [[Erich Wolfgang Korngold]], [[Aaron Copland]], [[Bernard Herrmann]], and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of [[european classical music|classical music]]. These are mostly works from already noted composers who have done scores, for instance [[Sergei Prokofiev]]'s score to ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' or [[Ralph Vaughan Williams|Vaughan Williams]]' score to ''[[Scott of the Antarctic (1948 film)|Scott of the Antarctic]]''. Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as [[John Williams]] and [[Danny Elfman]] are still far from entering the accepted canon. Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music.
| |
| | |
| ==History==
| |
| According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable."<ref>London. ''Film Music'', p.28. Faber and Faber. Cited in Albright, Daniel, ed. (2004). ''Modernism and Music'', p.96n40. ISBN 0-226-01267-0.</ref>
| |
| | |
| Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given [[sheet music|cue sheets]] as a guide. A pianist was present to perform at the Lumiere brother's first film screening in 1895.<ref>Film music: a history By James Eugene Wierzbicki, p.20</ref> In 1914, [[The Oz Film Manufacturing Company]] sent full-length scores by [[Louis F. Gottschalk]] for their films. 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. It was preceded by [[Nathaniel D. Mann]]'s score for ''[[The Fairylogue and Radio-Plays]]'' by four months, but that was a mixture of interrelated stage and film performance in the tradition of old [[magic lantern]] shows.<ref>''Fairylogue'' was released 24 September 1908; ''Assassinat'' was released 17 November 1908</ref> Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of [[photoplay music]], which had different subsections broken down by 'mood' and/or genre: dark, sad, suspense, action, chase, etc.
| |
| | |
| [[German cinema]], which was highly influential in the era of silent movies, provided some original scores such as [[Fritz Lang]]'s movies ''[[Die Nibelungen]]'' (1924) and ''[[Metropolis (1927 film)|Metropolis]]'' (1927) which were accompanied by original full scale orchestral and leitmotific scores written by [[Gottfried Huppertz]], who also wrote piano-versions of his music, for playing in smaller cinemas.{{Citation needed|date=July 2010}} Friedrich W. Murnau's movies ''[[Nosferatu]]'' (1922 - music by [[Hans Erdmann]]) and ''[[Faust – eine deutsche Volkssage]]'' (1926 – music by [[Werner Richard Heymann]]) also had original scores written for them. Other films like Murnau's ''[[The Last Laugh|Der letzte Mann]]'' contained a mixing of original compositions (in this case by [[Giuseppe Becce]]) and library music / folk tunes, which were artistically included into the score by the composer.
| |
| | |
| When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from [[Peter Lorre]] whistling a short piece from Edvard Grieg's [[Peer Gynt]], Lang's movie ''[[M (1931 film)|M - Eine Stadt sucht einen Mörder]]'' was lacking musical accompaniment completely and ''[[The Testament of Dr. Mabuse|Das Testament des Dr. Mabuse]]'' only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in [[M (1931 film)|''M'']].
| |
| | |
| Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music,"<ref name="Cooke 2008">{{Cite book|title=A History of Film Music |last=Cooke |first=Mervyn |year=2008 |publisher=Cambridge University Press |location=New York }} {{Citation needed|date=November 2009}}</ref> the 1950s saw the rise of the [[modernist]] film score. Director [[Elia Kazan]] was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for ''[[A Streetcar Named Desire (1951 film)|A Streetcar Named Desire]]'' (1951) combined dissonance with elements of blues and jazz. 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."<ref name="Cooke 2008"/> A year later, [[Leonard Rosenman]], inspired by [[Arnold Schoenberg]], experimented with atonality in his scores for ''[[East of Eden (film)|East of Eden]]'' (1955) and ''[[Rebel Without a Cause]]'' (1955). In his ten-year collaboration with [[Alfred Hitchcock]], [[Bernard Herrmann]] experimented with ideas in ''[[Vertigo (film)|Vertigo]]'' (1958) and ''[[Psycho (1960 film)|Psycho]]'' (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star [[Duke Ellington]]'s score for [[Otto Preminger]]'s ''[[Anatomy of a Murder]]'' (1959).
| |
| | |
| ==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 [[Academy Award for Best Original Score|Best Original Score]] category (which, over the years, had gone by a variety of names, included song scores and arrangements, and been split into awards for scoring in dramas and comedies). Winners of the Award appear in bold. ''Note: Composers whose only Oscar nominations came in the [[Academy Award for Best Original Song|Best Original Song]] category are not listed, and [[Academy Award for Best Original Song|Best Original Song]] wins are not counted in the wins tally.''
| |
| | |
| {{col-start}}
| |
| {{col-4}}
| |
| * '''[[John Addison]]''' (1 win)
| |
| * [[Larry Adler]]
| |
| * [[Peter Herman Adler]]
| |
| * [[Lynn Ahrens]]
| |
| * [[Daniele Amfitheatrof]]
| |
| * [[Louis Applebaum]]
| |
| * [[Robert Armbruster]]
| |
| * [[Leo Arnaud]]
| |
| * '''[[Malcolm Arnold]]''' (1 win)
| |
| * [[Kenny Ascher]]
| |
| * [[Gil Askey]]
| |
| * '''[[Luis Enríquez Bacalov]]''' (1 win)
| |
| * '''[[Burt Bacharach]]''' (1 win)
| |
| * [[Constantin Bakaleinikoff]]
| |
| * [[Buddy Baker (composer)|Buddy Baker]]
| |
| * [[Victor Baravalle]]
| |
| * '''[[John Barry (composer)|John Barry]]''' (4 wins)
| |
| * [[Marco Beltrami]]
| |
| * [[Richard Rodney Bennett]]
| |
| * '''[[Robert Russell Bennett]]''' (1 win)
| |
| * '''[[Alan Bergman]]''' (1 win)
| |
| * '''[[Marilyn Bergman]]''' (1 win)
| |
| * '''[[Elmer Bernstein]]''' (1 win)
| |
| * [[Leonard Bernstein]]
| |
| * '''[[Jay Blackton]]''' (1 win)
| |
| * [[Chris Boardman (composer)|Chris Boardman]]
| |
| * '''[[Ludovic Bource]]''' (1 win)
| |
| * [[Phil Boutelje]]
| |
| * '''[[Leslie Bricusse]]''' (1 win)
| |
| * [[Bruce Broughton]]
| |
| * [[George Bruns]]
| |
| * '''[[Ralph Burns]]''' (2 wins)
| |
| * [[William Butler (musician)|William Butler]]
| |
| * [[R. Dale Butts]]
| |
| * '''[[David Byrne]]''' (1 win)
| |
| * [[Jorge Calandrelli]]
| |
| * [[John Cameron (musician)|John Cameron]]
| |
| * [[Gerard Carbonara]]
| |
| * '''[[Charlie Chaplin]]''' (1 win)
| |
| * '''[[Saul Chaplin]]''' (3 wins)
| |
| * '''[[Frank Churchill]]''' (1 win)
| |
| * [[Cy Coleman]]
| |
| * [[Anthony Collins (composer)|Anthony Collins]]
| |
| * [[Alberto Colombo]]
| |
| * '''[[Bill Conti]]''' (1 win)
| |
| * '''[[Aaron Copland]]''' (1 win)
| |
| * '''[[Carmine Coppola]]''' (1 win)
| |
| * [[Frank Cordell]]
| |
| * '''[[John Corigliano]]''' (1 win)
| |
| * [[Alexander Courage]]
| |
| * [[Andrae Crouch]]
| |
| * '''[[Mychael Danna]]''' (1 win)
| |
| * '''[[Ken Darby]]''' (3 wins)
| |
| * [[John Debney]]
| |
| * '''[[Georges Delerue]]''' (1 win)
| |
| * [[Jacques Demy]]
| |
| * [[Alexandre Desplat]]
| |
| * '''[[Adolph Deutsch]]''' (3 wins)
| |
| * [[Frank DeVol]]
| |
| * [[Robert Emmett Dolan]]
| |
| * [[Patrick Doyle]]
| |
| * '''[[Carmen Dragon]]''' (1 win)
| |
| * '''[[Anne Dudley]]''' (1 win)
| |
| * '''[[Tan Dun]]''' (1 win)
| |
| * [[George Duning]]
| |
| * '''[[Brian Easdale]]''' (1 win)
| |
| * '''[[Roger Edens]]''' (3 wins)
| |
| * [[Hanns Eisler]]
| |
| * [[Danny Elfman]]
| |
| * [[Duke Ellington]]
| |
| * [[Jack Elliott (composer)|Jack Elliott]]
| |
| * [[Leo Erdody]]
| |
| * [[Yuri Faier]]
| |
| * [[Percy Faith]]
| |
| {{col-4}}
| |
| * [[George Fenton]]
| |
| * [[Cy Feuer]]
| |
| * [[Jerry Fielding]]
| |
| * [[Stephen Flaherty]]
| |
| * [[Lou Forbes]]
| |
| * [[Ian Fraser (composer)|Ian Fraser]]
| |
| * [[Gerald Fried]]
| |
| * '''[[Hugo Friedhofer]]''' (1 win)
| |
| * [[Douglas Gamley]]
| |
| * [[Joseph Gershenson]]
| |
| * '''[[Michael Giacchino]]''' (1 win)
| |
| * [[Herschel Burke Gilbert]]
| |
| * [[Philip Glass]]
| |
| * [[Lud Gluskin]]
| |
| * '''[[Ernest Gold (composer)|Ernest Gold]]''' (1 win)
| |
| * '''[[Elliot Goldenthal]]''' (1 win)
| |
| * '''[[Jerry Goldsmith]]''' (1 win)
| |
| * '''[[Michael Gore]]''' (1 win)
| |
| * '''[[Johnny Green]]''' (4 wins)
| |
| * [[Walter Greene]]
| |
| * [[Peter Greenwell]]
| |
| * [[Ferde Grofe]]
| |
| * [[Louis Gruenberg]]
| |
| * '''[[Dave Grusin]]''' (1 win)
| |
| * [[Vince Guaraldi]]
| |
| * [[Jonas Gwangwa]]
| |
| * [[Earle H. Hagen]]
| |
| * '''[[Richard Hageman]]''' (1 win)
| |
| * [[Karl Hajos]]
| |
| * [[Al Ham]]
| |
| * '''[[Marvin Hamlisch]]''' (2 win)
| |
| * '''[[Herbie Hancock]]''' (1 win)
| |
| * '''[[Leigh Harline]]''' (1 win)
| |
| * '''[[W. Franke Harling]]''' (1 win)
| |
| * '''[[George Harrison]]''' (1 win)
| |
| * [[Marvin Hatley]]
| |
| * [[Isaac Hayes]]
| |
| * [[Jack Hayes]]
| |
| * '''[[Lennie Hayton]]''' (1 win)
| |
| * '''[[Ray Heindorf]]''' (3 wins)
| |
| * [[Charles E. Henderson|Charles Henderson]]
| |
| * '''[[Bernard Herrmann]]''' (1 win)
| |
| * [[Jerry Hey]]
| |
| * [[Werner Heymann]]
| |
| * [[David Hirschfelder]]
| |
| * [[Joel Hirschhorn]]
| |
| * [[Samuel Hoffenstein]]
| |
| * [[Frederick Hollander]]
| |
| * '''[[James Horner]]''' (1 win)
| |
| * [[James Newton Howard]]
| |
| * [[Alberto Iglesias]]
| |
| * [[Mark Isham]]
| |
| * [[Calvin Jackson]]
| |
| * [[Werner Janssen]]
| |
| * '''[[Maurice Jarre]]''' (3 wins)
| |
| * [[Quincy Jones]]
| |
| * '''[[Jan A.P. Kaczmarek]]''' (1 win)
| |
| * '''[[Gus Kahn]]''' (1 win)
| |
| * '''[[Bronislau Kaper]]''' (1 win)
| |
| * [[Fred Karlin]]
| |
| * [[Marsha Karlin]]
| |
| * [[Al Kasha]]
| |
| * [[Edward J. Kay|Edward Kay]]
| |
| * [[Roger Kellaway]]
| |
| * [[Randy Kerber]]
| |
| * [[Jerome Kern]]
| |
| * '''[[Erich Wolfgang Korngold]]''' (2 wins)
| |
| * '''[[Irwin Kostal]]''' (2 wins)
| |
| * [[Kris Kristofferson]]
| |
| * '''[[Francis Lai]]''' (1 win)
| |
| * [[Arthur Lange]]
| |
| * '''[[Michel Legrand]]''' (2 wins)
| |
| * '''[[John Leipold]]''' (1 win)
| |
| {{col-4}}
| |
| * '''[[John Lennon]]''' (1 win)
| |
| * [[Alan Jay Lerner]]
| |
| * [[Joseph J. Lilley]]
| |
| * [[Andrew Lloyd Webber]]
| |
| * [[Frederick Loewe]]
| |
| * [[Jeremy Lubbock]]
| |
| * [[Michel Magne]]
| |
| * '''[[Henry Mancini]]''' (2 wins)
| |
| * '''[[Dario Marianelli]]''' (1 win)
| |
| * [[George Martin]]
| |
| * [[Muir Mathieson]]
| |
| * [[Peter Matz]]
| |
| * [[Peter Maxwell Davies]]
| |
| * [[Toshiro Mayuzumi]]
| |
| * '''[[Paul McCartney]]''' (1 win)
| |
| * [[Rod McKuen]]
| |
| * [[Bill Melendez]]
| |
| * '''[[Alan Menken]]''' (4 wins)
| |
| * [[Gian-Carlo Menotti]]
| |
| * [[Johnny Mercer]]
| |
| * [[Mahlon Merrick]]
| |
| * [[Michel Michelet]]
| |
| * [[Cyril J. Mockridge]]
| |
| * [[Lucien Moraweck]]
| |
| * [[Angela Morley]]
| |
| * '''[[Giorgio Moroder]]''' (1 win)
| |
| * [[Jerome Moross]]
| |
| * '''[[Ennio Morricone]]''' (Honorary Oscar)
| |
| * [[John Morris (composer)|John Morris]]
| |
| * [[Boris Morros]]
| |
| * [[Jeff Moss]]
| |
| * [[Javier Navarrete]]
| |
| * [[Anthony Newley]]
| |
| * '''[[Alfred Newman (composer)|Alfred Newman]]''' (9 wins)
| |
| * [[David Newman (composer)|David Newman]]
| |
| * [[Emil Newman]]
| |
| * '''[[Lionel Newman]]''' (1 win)
| |
| * [[Randy Newman]]
| |
| * [[Thomas Newman]]
| |
| * [[Jack Nitzsche]]
| |
| * '''[[Alex North]]''' (Honorary Oscar)
| |
| * [[Owen Pallett]]
| |
| * [[Edward Paul]]
| |
| * [[Frank Perkins (composer)|Frank Perkins]]
| |
| * '''[[Nicola Piovani]]''' (1 win)
| |
| * [[Edward H. Plumb]]
| |
| * '''[[Rachel Portman]]''' (1 win)
| |
| * [[John Powell]]
| |
| * '''[[André Previn]]''' (5 wins)
| |
| * [[Charles Previn]]
| |
| * [[Steven Price (composer)|Steven Price]]
| |
| * '''[[Prince (musician)|Prince]]''' (1 win)
| |
| * '''[[A.R. Rahman]]''' (1 win)
| |
| * [[David Raksin]]
| |
| * '''[[Sid Ramin]]''' (1 win)
| |
| * '''[[Raymond Rasch]]''' (1 win)
| |
| * '''[[Joe Renzetti]]''' (1 win)
| |
| * '''[[Trent Reznor]]''' (1 win)
| |
| * [[Frederic E. Rich]]
| |
| * '''[[Nelson Riddle]]''' (1 win)
| |
| * [[Hugo Riesenfeld]]
| |
| * [[Richard Robbins (composer)|Richard Robbins]]
| |
| * [[Milan Roder]]
| |
| * '''[[Heinz Roemheld]]''' (1 win)
| |
| * [[Ann Ronell]]
| |
| * [[David Rose (musician)|David Rose]]
| |
| * [[Joel Rosenbaum]]
| |
| * '''[[Leonard Rosenman]]''' (2 wins)
| |
| * [[Laurence Rosenthal]]
| |
| * '''[[Atticus Ross]]''' (1 win)
| |
| * '''[[Nino Rota]]''' (1 win)
| |
| * [[Gennadi Rozhdestvensky]]
| |
| * '''[[Miklós Rózsa]]''' (3 wins)
| |
| {{col-4}}
| |
| * '''[[Larry Russell]]''' (1 win)
| |
| * '''[[Ryuichi Sakamoto]]''' (1 win)
| |
| * [[Conrad Salinger]]
| |
| * [[Hans J. Salter]]
| |
| * [[Buck Sanders]]
| |
| * '''[[Gustavo Santaolalla]]''' (2 wins)
| |
| * [[Philippe Sarde]]
| |
| * [[Walter Scharf]]
| |
| * '''[[Victor Schertzinger]]''' (1 win)
| |
| * [[Lalo Schifrin]]
| |
| * '''[[Stephen Schwartz (composer)|Stephen Schwartz]]''' (1 win)
| |
| * [[Morton Scott]]
| |
| * [[Caiphus Semenya]]
| |
| * [[Marc Shaiman]]
| |
| * [[Ravi Shankar]]
| |
| * [[Artie Shaw]]
| |
| * [[Al Shean]]
| |
| * '''[[Richard M. Sherman]]''' (1 win)
| |
| * '''[[Robert B. Sherman]]''' (1 win)
| |
| * [[Nathaniel Shilkret]]
| |
| * '''[[Howard Shore]]''' (2 wins)
| |
| * [[Dimitri Shostakovich]]
| |
| * '''[[Leo Shuken]]''' (1 win)
| |
| * '''[[Louis Silvers]]''' (1 win)
| |
| * [[Alan Silvestri]]
| |
| * [[Marlin Skiles]]
| |
| * [[Frank Skinner (composer)|Frank Skinner]]
| |
| * '''[[Paul Smith (film and television composer)|Paul J. Smith]]''' (1 win)
| |
| * [[Herbert W. Spencer]]
| |
| * '''[[Ringo Starr]]''' (1 win)
| |
| * [[Fred Steiner]]
| |
| * '''[[Max Steiner]]''' (3 wins)
| |
| * [[Leith Stevens]]
| |
| * '''[[Georgie Stoll]]''' (1 win)
| |
| * '''[[Morris Stoloff]]''' (3 wins)
| |
| * [[Robert Stolz]]
| |
| * [[Gregory Stone]]
| |
| * '''[[Herbert Stothart]]''' (1 win)
| |
| * '''[[Cong Su]]''' (1 win)
| |
| * '''[[Harry Sukman]]''' (1 win)
| |
| * [[Alexander Tansman]]
| |
| * [[Rod Temperton]]
| |
| * [[Max Terr]]
| |
| * '''[[Ken Thorne]]''' (1 win)
| |
| * '''[[Dimitri Tiomkin]]''' (3 wins)
| |
| * [[Ernst Toch]]
| |
| * [[Peter Townshend]]
| |
| * [[John Scott Trotter]]
| |
| * '''[[Jonathan Tunick]]''' (1 win)
| |
| * '''[[Vangelis]]''' (1 win)
| |
| * [[Tom Waits]]
| |
| * [[Don Walker (composer)|Don Walker]]
| |
| * '''[[Oliver Wallace]]''' (1 win)
| |
| * [[William Walton]]
| |
| * '''[[Stephen Warbeck]]''' (1 win)
| |
| * [[Edward Ward (composer)|Edward Ward]]
| |
| * '''[[Ned Washington]]''' (1 win)
| |
| * '''[[Franz Waxman]]''' (2 wins)
| |
| * [[Kenneth Webb]]
| |
| * [[Roy Webb]]
| |
| * [[Kurt Weill]]
| |
| * [[Jerry Wexler]]
| |
| * [[Matthew Wilder]]
| |
| * '''[[John Williams]]''' (5 wins)
| |
| * [[Patrick Williams (composer)|Patrick Williams]]
| |
| * [[Paul Williams (songwriter)|Paul Williams]]
| |
| * [[Meredith Willson]]
| |
| * [[Charles Wolcott]]
| |
| * [[Albert Woodbury]]
| |
| * '''[[Gabriel Yared]]''' (1 win)
| |
| * '''[[Victor Young]]''' (1 win)
| |
| * '''[[Hans Zimmer]]''' (1 win)
| |
| * [[David Zippel]]
| |
| {{col end}}
| |
| Source: The Official Academy Awards Database [http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp]
| |
| | |
| ===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]], [[BAFTA Awards]], [[Grammy Awards]], [[Emmy Awards]], [[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.
| |
| | |
| {{col-start}}
| |
| {{col-4}}
| |
| *'''[[Panu Aaltio]]''' (IFMCA)
| |
| *[[Neal Acree]]
| |
| *[[Mark Adler (composer)|Mark Adler]]
| |
| *'''[[John Altman (composer)|John Altman]]''' (Emmy)
| |
| *[[Elik Alvarez]]
| |
| *'''[[Armand Amar]]''' (IFMCA)
| |
| *[[Benny Andersson]]
| |
| *'''[[Oscar Araujo (composer)|Oscar Araujo]]''' (IFMCA)
| |
| *'''[[Craig Armstrong (composer)|Craig Armstrong]]''' (Globe, BAFTA, Grammy)
| |
| *'''[[David Arnold]]''' (Grammy)
| |
| *'''[[Bruce Babcock]]''' (Emmy)
| |
| *[[Chris P. Bacon]]
| |
| *[[Angelo Badalamenti]]
| |
| *[[Klaus Badelt]]
| |
| *[[Lorne Balfe]]
| |
| *[[Richard Band]]
| |
| *[[Roque Baños]]
| |
| *[[Gato Barbieri]]
| |
| *[[Nathan Barr]]
| |
| *[[Lionel Bart]]
| |
| *'''[[Steve Bartek]]''' (IFMCA)
| |
| *[[Ben Bartlett]]
| |
| *[[Stephen Barton]]
| |
| *'''[[Arnau Bataller]]''' (IFMCA)
| |
| *[[Tyler Bates]]
| |
| *'''[[Jeff Beal]]''' (Emmy)
| |
| *'''[[Christophe Beck]]''' (Emmy)
| |
| *[[David Bell (composer)|David Bell]]
| |
| *'''[[Richard Bellis]]'''
| |
| *[[Charles Bernstein (composer)|Charles Bernstein]]
| |
| *[[Howard Blake]]
| |
| *[[Terence Blanchard]]
| |
| *[[Todd Boekelheide]]
| |
| *[[Pieter Bourke]]
| |
| *[[Simon Boswell]]
| |
| *[[Perry Botkin Jr.]]
| |
| *[[Steven Bramson]]
| |
| *[[Jon Brion]]
| |
| *[[Michael Brook]]
| |
| *[[Joseph Brooks (songwriter)|Joseph Brooks]]
| |
| *[[Dirk Brossé]]
| |
| *[[Russell Brower]]
| |
| *[[Stephen Bruton]]
| |
| *'''[[Velton Ray Bunch]]''' (Emmy)
| |
| *'''[[T-Bone Burnett]]''' (BAFTA)
| |
| *'''[[Carter Burwell]]''' (Emmy, IFMCA)
| |
| *[[Edmund Butt]]
| |
| *[[Brian Byne (composer)|Brian Byrne]]
| |
| *[[John Cacavas]]
| |
| *'''[[Sean Callery]]''' (Emmy)
| |
| *[[John Cameron (musician)|John Cameron]]
| |
| *[[Paul Cantelon]]
| |
| *[[Sam Cardon]]
| |
| *[[Kristopher Carter]]
| |
| *[[Dick Cathcart]]
| |
| *[[Bartosz Chajdecki]]
| |
| *'''[[Jay Chattaway]]''' (Emmy)
| |
| *[[The Chemical Brothers]]
| |
| *[[Sylvain Chomet]]
| |
| *[[The Cinematic Orchestra]]
| |
| *[[Eric Clapton]]
| |
| *[[Alf Clausen]]
| |
| *[[George S. Clinton]]
| |
| *'''[[Elia Cmiral]]''' (IFMCA)
| |
| *[[Robert Cobert]]
| |
| *[[Adam Cohen (musician)|Adam Cohen]]
| |
| *[[Harvey Cohen]]
| |
| *'''[[Lisa Coleman (musician)|Lisa Coleman]]''' (Emmy)
| |
| *[[Michel Colombier]]
| |
| *[[Joseph Conlan]]
| |
| *[[Ry Cooder]]
| |
| *[[Stewart Copeland]]
| |
| *[[Normand Corbeil]]
| |
| *[[Jane Antonia Cornish]]
| |
| *'''[[Bruno Coulais]]''' (IFMCA)
| |
| *'''[[Daft Punk]]''' (IFMCA)
| |
| *'''[[Burkhard Dallwitz]]''' (Globe)
| |
| *[[Jeff Danna]]
| |
| *[[Mason Daring]]
| |
| *[[Martin Davich]]
| |
| *[[Caine Davidson]]
| |
| *'''[[Carl Davis]]''' (BAFTA)
| |
| *'''[[Don Davis (composer)|Don Davis]]''' (Emmy)
| |
| *[[Dean DeBenedictis]]
| |
| *[[Dick DeBenedictis]]
| |
| *[[Paco de Lucía]]
| |
| *[[Manuel De Sica]]
| |
| *[[Zacarías M. de la Riva]]
| |
| *[[Barry De Vorzon]]
| |
| *'''[[Marius de Vries]]''' (BAFTA)
| |
| *[[Jason Derlatka]]
| |
| *[[Vince DiCola]]
| |
| *'''[[James Di Pasquale]]'''
| |
| *'''[[Neil Diamond]]''' (Globe, Grammy)
| |
| {{col-4}}
| |
| *[[Ramin Djawadi]]
| |
| *[[Nicholas Dodd]]
| |
| *'''[[Jim Dooley]]''' (Emmy)
| |
| *[[Joel Douek]]
| |
| *[[Johnny Douglas (conductor)|Johnny Douglas]]
| |
| *[[Charles Dumont]]
| |
| *[[Robert Duncan (composer)|Robert Duncan]]
| |
| *[[Bob Dylan]]
| |
| *[[Clint Eastwood]]
| |
| *[[Fred Ebb]]
| |
| *'''[[Alex Ebert]]''' (Globe)
| |
| *[[Randy Edelman]]
| |
| *[[Jon Ehrlich]]
| |
| *'''[[Paul Englishby]]''' (Emmy)
| |
| *[[Micky Erbe]]
| |
| *[[Kolja Erdmann]]
| |
| *'''[[Ilan Eshkeri]]''' (IFMCA)
| |
| *'''[[Harold Faltermeyer]]''' (Grammy)
| |
| *'''[[Louis Febre]]''' (Emmy)
| |
| *[[Allyn Ferguson]]
| |
| *[[Robert Folk]]
| |
| *[[David Foster]]
| |
| *[[Charles Fox (composer)|Charles Fox]]
| |
| *[[David Michael Frank]]
| |
| *[[Benjamin Frankel]]
| |
| *'''[[Dominic Frontiere]]''' (Globe)
| |
| *[[Peter Gabriel]]
| |
| *[[Pascal Gaigne]]
| |
| *[[Brian Gascoigne]]
| |
| *'''[[Lisa Gerrard]]''' (Globe)
| |
| *[[Barry Gibb]]
| |
| *[[Norman Gimbel]]
| |
| *[[Scott Glasgow]]
| |
| *[[Nick Glennie-Smith]]
| |
| *'''[[Murray Gold]]''' (IFMCA)
| |
| *[[Nick Gold]]
| |
| *'''[[Billy Goldenberg]]''' (Emmy)
| |
| *[[Joel Goldsmith]]
| |
| *[[William Goldstein]]
| |
| *'''[[Howard Goodall]]''' (Emmy, BAFTA)
| |
| *[[Miles Goodman]]
| |
| *[[Ron Goodwin]]
| |
| *[[Gordon Goodwin]]
| |
| *[[Christopher Gordon (composer)|Christopher Gordon]]
| |
| *[[Morton Gould]]
| |
| *[[Gerald Gouriet]]
| |
| *[[Ron Grainer]]
| |
| *[[Jason Graves]]
| |
| *[[Jonny Greenwood]]
| |
| *[[Harry Gregson-Williams]]
| |
| *[[Rupert Gregson-Williams]]
| |
| *[[Mark Griskey]]
| |
| *[[Herbert Grönemeyer]]
| |
| *[[Guy Gross (Australian composer)|Guy Gross]]
| |
| *[[Larry Groupé]]
| |
| *[[Jay Gruska]]
| |
| *[[Ivor Guest, 4th Viscount Wimborne|Ivor Guest]]
| |
| *[[Edo Guidotti]]
| |
| *'''[[Christopher Gunning]]''' (BAFTA)
| |
| *[[Arlo Guthrie]]
| |
| *[[Andrew Hale]]
| |
| *[[Simon Hale]]
| |
| *[[David Hamilton (composer)|David Hamilton]]
| |
| *[[Jan Hammer]]
| |
| *[[John P. Hammond]]
| |
| *'''[[James Hannigan]]''' (IFMCA)
| |
| *[[Joe Harnell]]
| |
| *'''[[Richard Hartley]]'''
| |
| *[[Paul Haslinger]]
| |
| *'''[[Knut Avenstroup Haugen]]''' (IFMCA)
| |
| *[[Alex Heffes]]
| |
| *[[Neal Hefti]]
| |
| *[[Reinhold Heil]]
| |
| *'''[[Joe Hisaishi]]''' (IFMCA)
| |
| *[[Christopher Hoag]]
| |
| *[[Wataru Hokoyama]]
| |
| *'''[[Lee Holdridge]]''' (Emmy)
| |
| *[[Junior Homrich]]
| |
| *'''[[Nellee Hooper]]''' (BAFTA)
| |
| *[[Nicholas Hooper]]
| |
| *'''[[Richard Horowitz]]''' (Globe)
| |
| *[[Dick Hyman]]
| |
| *[[Jerrold Immel]]
| |
| *[[Steve Jablonsky]]
| |
| *[[Henry Jackman]]
| |
| *[[Joe Jackson (musician)|Joe Jackson]]
| |
| *[[Richard Jacques]]
| |
| *[[Chaz Jankel]]
| |
| *[[Elton John]]
| |
| *'''[[Carl Johnson (composer)|Carl Johnson]]''' (Emmy)
| |
| *'''[[Adrian Johnston]]''' (Emmy)
| |
| *'''[[Nathan Johnson (musician)|Nathan Johnson]]''' (IFMCA)
| |
| *[[Dan Jones (composer)|Dan Jones]]
| |
| *[[Ron Jones (composer)|Ron Jones]]
| |
| {{col-4}}
| |
| *[[Trevor Jones (composer)|Trevor Jones]]
| |
| *[[Federico Jusid]]
| |
| *[[Michael Kamen]]
| |
| *[[John Kander]]
| |
| *[[Laura Karpman]]
| |
| *[[Brian Keane]]
| |
| *[[The Keane Brothers|John M. Keane]]
| |
| *[[Victoria Kelly]]
| |
| *[[Rolfe Kent]]
| |
| *[[Wojciech Kilar]]
| |
| *[[Kaki King]]
| |
| *[[Grant Kirkhope]]
| |
| *'''[[Kitaro]]''' (Globe)
| |
| *[[Johnny Klimek]]
| |
| *[[Mark Knopfler]]
| |
| *[[Krzysztof Komeda]]
| |
| *'''[[Abel Korzeniowski]]''' (IFMCA)
| |
| *[[Henry Krieger]]
| |
| *[[Kurt Kuenne]]
| |
| *[[Jesper Kyd]]
| |
| *'''[[Russ Landau]]''' (Emmy)
| |
| *'''[[Robert Lane (composer)|Robert Lane]]''' (IFMCA)
| |
| *[[Christopher Lennertz]]
| |
| *[[Brian Lock]]
| |
| *'''[[Andrew Lockington]]''' (IFMCA)
| |
| *'''[[Joseph LoDuca]]''' (Emmy)
| |
| *[[Robert Logan (composer)|Robert Logan]]
| |
| *[[Henning Lohner]]
| |
| *'''[[John Lunn]]''' (Emmy)
| |
| *[[John Lurie]]
| |
| *'''[[Nuno Malo]]''' (IFMCA)
| |
| *'''[[Johnny Mandel]]''' (Grammy)
| |
| *[[Chuck Mangione]]
| |
| *'''[[Hummie Mann]]''' (Emmy)
| |
| *[[Clint Mansell]]
| |
| *[[David Mansfield]]
| |
| *[[Wynton Marsalis]]
| |
| *[[Peter Martin (jazz pianist)|Peter Martin]]
| |
| *'''[[Cliff Martinez]]''' (IFMCA)
| |
| *[[Rob Mathes]]
| |
| *[[Curtis Mayfield]]
| |
| *[[Dennis McCarthy (composer)|Dennis McCarthy]]
| |
| *'''[[Bear McCreary]]''' (Emmy, IFMCA)
| |
| *[[Michael McCuistion]]
| |
| *[[Mark McKenzie]]
| |
| *'''[[Joel McNeely]]''' (Emmy)
| |
| *[[Gil Melle]]
| |
| *'''[[Wendy Melvoin]]''' (Emmy)
| |
| *[[Philip Miller (composer)|Philip Miller]]
| |
| *[[Sheldon Mirowitz]]
| |
| *[[Dudley Moore]]
| |
| *[[Charlie Mole]]
| |
| *[[Zeltia Montes]]
| |
| *[[Tony Morales]]
| |
| *'''[[Andrea Morricone]]''' (BAFTA)
| |
| *'''[[Trevor Morris (musician)|Trevor Morris]]''' (Emmy)
| |
| *[[Mark Mothersbaugh]]
| |
| *[[Nico Muhly]]
| |
| *[[John Murphy (composer)|John Murphy]]
| |
| *[[Walter Murphy]]
| |
| *[[Stanley Myers]]
| |
| *[[Blake Neely]]
| |
| *'''[[Garth Neustadter]]''' (Emmy)
| |
| *[[Joey Newman]]
| |
| *[[Lennie Niehaus]]
| |
| *'''[[Julian Nott]]''' (IFMCA)
| |
| *[[Michael Nyman]]
| |
| *[[Hazel O'Connor]]
| |
| *[[Mike Oldfield]]
| |
| *[[Miguel d'Oliveira]]
| |
| *[[Riz Ortolani]]
| |
| *[[Mark Orton]]
| |
| *[[Karen Orzolek]]
| |
| *[[John Ottman]]
| |
| *[[John Parker (composer)|John Parker]]
| |
| *[[Van Dyke Parks]]
| |
| *[[Larry Paxton]]
| |
| *[[Danny Pelfrey]]
| |
| *'''[[James Peterson (composer)|James Peterson]]''' (IFMCA)
| |
| *'''[[Jean-Claude Petit]]''' (BAFTA)
| |
| *[[Barrington Pheloung]]
| |
| *[[Stu Phillips (composer)|Stu Phillips]]
| |
| *[[Winifred Phillips]]
| |
| *[[Martin Phipps]]
| |
| *[[Douglas Pipes]]
| |
| *[[Michael Richard Plowman]]
| |
| *'''[[Basil Poledouris]]''' (Emmy)
| |
| *[[Jocelyn Pook]]
| |
| *[[Mike Post]]
| |
| *[[Zbigniew Preisner]]
| |
| *'''[[Alan Price]]''' (BAFTA)
| |
| *[[Michael Price (composer)|Michael Price]]
| |
| *[[Nic Raine]]
| |
| *[[Alfred Ralston]]
| |
| {{col-4}}
| |
| *[[Ron Ramin]]
| |
| *[[J.A.C. Redford]]
| |
| *[[Brian Reitzell]]
| |
| *[[Graeme Revell]]
| |
| *[[Víctor Reyes]]
| |
| *[[Jeff Richmond]]
| |
| *[[Max Richter]]
| |
| *[[Kevin Riepl]]
| |
| *[[Lolita Ritmanis]]
| |
| *[[Sonny Rollins]]
| |
| *[[Philippe Rombi]]
| |
| *[[Harold Rome]]
| |
| *[[Dan Romer]]
| |
| *[[Jeff Rona]]
| |
| *'''[[Brett Rosenberg]]''' (IFMCA)
| |
| *[[Lior Rosner]]
| |
| *[[William Ross (composer)|William Ross]]
| |
| *'''[[Arthur B. Rubinstein]]''' (Emmy)
| |
| *[[Pete Rugolo]]
| |
| *[[The RZA]]
| |
| *'''[[Arturo Sandoval]]''' (Emmy)
| |
| *[[Anton Sanko]]
| |
| *[[Naoki Sato]]
| |
| *[[David Schwartz]]
| |
| *[[Nan Schwartz]]
| |
| *[[Garry Schyman]]
| |
| *[[Theodore Shapiro (composer)|Theodore Shapiro]]
| |
| *'''[[Edward Shearmur]]''' (Emmy, IFMCA)
| |
| *[[Freddy Sheinfeld]]
| |
| *[[Philip Sheppard (composer)|Philip Sheppard]]
| |
| *[[Kevin Shields]]
| |
| *[[David Shire]]
| |
| *[[Ryan Shore]]
| |
| *[[Clinton Shorter]]
| |
| *[[Lawrence Shragge]]
| |
| *[[Carlo Siliotto]]
| |
| *[[Carly Simon]]
| |
| *[[Paul Simon]]
| |
| *[[Cezary Skubiszewski]]
| |
| *[[Mark Snow]]
| |
| *[[Johan Söderqvist]]
| |
| *[[Maribeth Solomon]]
| |
| *[[Jeremy Soule]]
| |
| *[[Michael Stearns]]
| |
| *[[Morton Stevens]]
| |
| *[[Richard Stone (composer)|Richard Stone]]
| |
| *[[Marc Streitenfeld]]
| |
| *[[Charles Strouse]]
| |
| *[[Marty Stuart]]
| |
| *[[Taj Mahal (musician)|Taj Mahal]]
| |
| *[[Tamiya Terajima]]
| |
| *[[Mikis Theodorakis]]
| |
| *[[Third Ear Band]]
| |
| *[[Mark Thomas (composer)|Mark Thomas]]
| |
| *[[Yann Tiersen]]
| |
| *[[Martin Tillmann]]
| |
| *[[Chris Tilton]]
| |
| *'''[[Pinar Toprak]]''' (IFMCA)
| |
| *[[Joseph Trapanese]]
| |
| *'''[[Ernest Troost]]'''
| |
| *[[Tom Tykwer]]
| |
| *[[Brian Tyler (composer)|Brian Tyler]]
| |
| *[[Bjorn Ulvaeus]]
| |
| *[[Jack Urbont]]
| |
| *[[Marc Vaíllo]]
| |
| *[[Eddie Vedder]]
| |
| *'''[[Fernando Velázquez]]''' (IFMCA)
| |
| *[[Lucas Vidal]]
| |
| *'''[[Joseph Vitarelli]]''' (IFMCA)
| |
| *'''[[W. G. Walden|W.G. "Snuffy" Walden]]''' (Emmy)
| |
| *'''[[Don Was]]''' (BAFTA)
| |
| *[[Shirley Walker]]
| |
| *[[Mark Watters]]
| |
| *[[Nigel Westlake]]
| |
| *'''[[Norman Whitfield]]''' (Grammy)
| |
| *[[Frederik Wiedmann]]
| |
| *[[Kristin Wilkinson]]
| |
| *'''[[Patrick Williams (composer)|Patrick Williams]]''' (Emmy)
| |
| *[[Nancy Wilson (rock musician)|Nancy Wilson]]
| |
| *[[Stanley Wilson (musician)|Stanley Wilson]]
| |
| *'''[[Austin Wintory]]''' (IFMCA)
| |
| *[[Debbie Wiseman]]
| |
| *[[Stevie Wonder]]
| |
| *[[Christopher Wong]]
| |
| *[[John Robert Wood]]
| |
| *'''[[Alex Wurman]]''' (Emmy)
| |
| *[[Timothy Michael Wynn]]
| |
| *'''[[Christopher Young]]''' (IFMCA)
| |
| *'''[[Geoff Zanelli]]''' (Emmy)
| |
| *[[Marcelo Zarvos]]
| |
| *[[Benh Zeitlin]]
| |
| *[[Aaron Zigman]]
| |
| *[[Atli Örvarsson]]
| |
| {{col end}}
| |
| | |
| Sources: HFPA Award Search [http://www.goldenglobes.org/browse/categories], BAFTA Awards Database [http://www.bafta.org/awards-database.html?sq=], Primetime Emmy Award Database [http://www.emmys.com/award_history_search], Grammy Awards Archive [http://www.grammy.com/nominees/search], IFMCA Awards Archive [http://filmmusiccritics.org/awards-archive/]
| |
| | |
| ===Box office champions===
| |
| The following list includes all composers who have scored one of the 100 Highest Grossing Films of All Time, but have never been nominated for a major award (Oscar, Golden Globe etc.)
| |
| | |
| * [[William Alwyn]] – ''[[Swiss Family Robinson (film)|Swiss Family Robinson]] (1960)''
| |
| * [[David Buttolph]] – ''[[House of Wax (1953 film)|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), [[2012 (film)|2012]] (2009)''
| |
| * [[Mark Mancina]] – ''[[Twister (1996 film)|Twister]] (1996)''
| |
| * [[Heitor Pereira]] – ''[[Despicable Me]] (2010)'', ''[[The Smurfs (film)|The Smurfs]] (2011)'', ''[[Despicable Me 2]] (2013)''
| |
| * [[Trevor Rabin]] – ''[[Armageddon (1998 film)|Armageddon]] (1998), [[National Treasure: Book of Secrets]] (2007)''
| |
| * [[Pharrell Williams]] – ''[[Despicable Me]] (2010)'', ''[[Despicable Me 2]] (2013)''
| |
| * [[Chris Wilson (composer)|Chris Wilson]] – ''[[My Big Fat Greek Wedding]] (2002)''
| |
| | |
| Source: Box Office Mojo – All-Time Domestic Box Office Grosses [http://boxofficemojo.com/alltime/domestic.htm], All-Time Domestic Box Office Grosses Adjusted for Inflation [http://boxofficemojo.com/alltime/adjusted.htm], All-Time Worldwide Box Office Grosses [http://boxofficemojo.com/alltime/world/]
| |
| | |
| ==Relation with directors==
| |
| Sometimes, a [[composer]] may unite with a [[Film director|director]] by composing the score for many films of a same director. For example, [[Danny Elfman]] did the score for all the movies directed by [[Tim Burton]], with the exception of ''[[Ed Wood]]'' (score by [[Howard Shore]]) and ''[[Sweeney Todd: The Demon Barber of Fleet Street]]'' (score by [[Stephen Sondheim]]). Other examples are [[John Williams]] and [[Steven Spielberg]], [[Jerry Goldsmith]] with [[Joe Dante]] and [[Franklin Schaffner]], [[Ennio Morricone]] with [[Sergio Leone]], [[Mauro Bolognini]] and [[Giuseppe Tornatore]], [[Alan Silvestri]] and [[Robert Zemeckis]], [[Angelo Badalamenti]] and [[David Lynch]], [[James Newton Howard]] and [[M. Night Shyamalan]], [[Éric Serra]] and [[Luc Besson]], [[Patrick Doyle]] and [[Kenneth Brannagh]], [[Howard Shore]] and [[David Cronenberg]], [[Carter Burwell]] and [[Joel & Ethan Coen]], [[Harry Gregson-Williams]] and [[Tony Scott]], and [[Clint Mansell]] and [[Darren Aronofsky]].
| |
| | |
| ==Production music==
| |
| {{Main|Production music}}
| |
| Many companies such as Jingle Punks, Associated Production Music, VideoHelper and Extreme Music provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a [[work for hire]] basis.{{Citation needed|date=July 2010}} 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.
| |
| | |
| Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe in 1927 with the advent of sound in film, the company originally scored music for use in silent film.<ref>{{Cite book|title=de wolfe millennium catalogue |last=De Wolfe |first= Warren |year=1988 |publisher=De Wolfe Music |location=London }}</ref> Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s.<ref>{{Cite book|title=Boosey & Hawkes The Publishing Story |last=Wallace |first=Helen |year=2007 |publisher=B&H London |location=London |isbn=978-0-85162-514-0 }} {{Citation needed|date=August 2007}}</ref> APM, the largest US library, has over 250,000 tracks.<ref>{{Cite news| title=PRWeb July 2007 | url =http://www.prweb.com/releases/2007/07/prweb539516.htm | accessdate = 2007-07-20 }}</ref>
| |
| | |
| ==See also==
| |
| {{Portal|film}}
| |
| * [[AFI's 100 Years of Film Scores]]
| |
| * [[Filmi]], Bollywood film music
| |
| * [[List of film score composers]]
| |
| * [[List of film director and composer collaborations]]
| |
| * [[Musivisual Language]]
| |
| * [[Sheet music]]
| |
| * [[Theatre music]]
| |
| | |
| ===Film music organizations===
| |
| * [[ASCAP]] - Performing rights organization
| |
| * [[Broadcast Music, Inc.|BMI]] - Performing rights organization
| |
| * [[PRS for Music]] - Performing rights organization (UK)
| |
| * [[Film Musicians Secondary Markets Fund]]
| |
| * [[Society of Composers and Lyricists]]
| |
| | |
| ===Film music review sites===
| |
| * [[Filmtracks.com]]
| |
| * [[Soundtrack.net]]
| |
| | |
| ===Independent specialist original soundtrack recording labels===
| |
| * [[1M1 Records]]
| |
| * [[Digitmovies AE]]
| |
| * [[Entr'acte Recording Society]]
| |
| * [[Film Score Monthly]]
| |
| * [[Intrada Records]]
| |
| * [[La-La Land Records]]
| |
| * [[Milan Records]]
| |
| * [[MovieScore Media]]
| |
| * [[Perseverance Records]]
| |
| * [[Prometheus Records]]
| |
| * [[Trunk Records]]
| |
| * [[Varèse Sarabande]]
| |
| | |
| ===Journals===
| |
| *''[[Film Score Monthly]]''
| |
| | |
| ==References==
| |
| {{Reflist|2}}
| |
| | |
| ==Further reading==
| |
| *Andersen, Martin Stig. “[http://cec.concordia.ca/econtact/12_4/Andersen_audiovisual.html Electroacoustic Sound and Audiovisual Structure in Film].” ''eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique'' (August 2010). Montréal: [[Canadian Electroacoustic Community|CEC]].
| |
| *Dorschel, Andreas (ed.). ''Tonspuren. Musik im Film: Fallstudien 1994 - 2001.'' Universal Edition, Vienna - London - New York 2005 (Studien zur Wertungsforschung 46). ISBN 3-7024-2885-2. Scrutinizes film score practice at the turn from the 20th to 21st century. In German.
| |
| *Elal, Sammy and Kristian Dupont (Eds.). “[http://www.minimumnoise.com/Articles/The-Essentials-Of-Scoring-Film.aspx The Essentials of Scoring Film].” ''Minimum Noise''. Copenhagen, Denmark.
| |
| *Harris, Steve. ''Film, Television, and Stage Music on Phonograph Records: a Discography''. Jefferson, N.C.: McFarland & Co., 1988. ISBN 0-89950-251-2
| |
| * MacDonald, Laurence E. (1998) [http://books.google.com/books?id=clPmzY4YNNYC ''The Invisible Art of Film Music: A Comprehensive History''] Scarecrow Press ISBN 9781461673040
| |
| *Sherk, Warren., ed. ''Film and Television Music: A Guide to Books, Articles, and Composer Interviews'' Scarecrow Press, 2011. ISBN 978-0-8108-7686-6
| |
| *Stubblevine, Donald J. ''Cinema Sheet Music: a Comprehensive Listing of Published Film Music, from Squaw Man (1914) to Batman (1989)''. Jefferson, N.C.: McFarland & Co., 1991. ISBN 0-89950-569-4
| |
| *Various contributors [wiki]. “[http://cec2.ca/cec/econtact/8_4/films.html Films with Significant Electroacoustic Content].” ''eContact! 8.4 — Ressources éducatives / Educational Resources'' (September 2006). Montréal: [[Canadian Electroacoustic Community|CEC]].
| |
| | |
| ==External links==
| |
| ;Film music organizations
| |
| * [http://www.filmmusicsociety.org/ Film Music Society]
| |
| * [http://filmmusiccritics.org/ International Film Music Critics Association]
| |
| ;Film music review sites
| |
| * [http://www.cinemusic.net/ Cinemusic] ''(cinemusic.net)''
| |
| * [http://www.filmmusicsite.com Filmmusicsite] ''(filmmusicsite.com)''
| |
| * [http://www.filmtracks.com/ Filmtracks] ''(filmtracks.com)
| |
| * [http://www.maintitles.net/ MainTitles] ''(maintitles.net)''
| |
| * [http://www.moviecues.com/ MovieCues] ''(moviecues.com)''
| |
| * [http://www.moviemusicuk.us/ Movie Music UK] ''(moviemusicuk.us)''
| |
| * [http://www.movie-wave.net/ Movie Wave] ''(movie-wave.net)''
| |
| * [http://www.musicweb-international.com/film/index.htm MusicWeb International: Film Music on the Web] (site closed in December 2006 and remains for archive purposes only)
| |
| * [http://www.scorenotes.com/ ScoreNotes] ''(scorenotes.com)''
| |
| * [http://www.tracksounds.com/ Tracksounds] ''(tracksounds.com)''
| |
| | |
| ;Journals (online and print)
| |
| * ''[http://www.filmmusicmag.com/ Film Music Magazine]''
| |
| * ''[http://www.americanmusicpreservation.com/fmr.htm Film Music Review]''
| |
| * ''[http://www.ifms-jfm.org/ The Journal of Film Music]''
| |
| * {{fr icon}} ''[http://www.underscores.fr/ UnderScores : le magazine de la musique de film]''
| |
| | |
| {{Filmmaking}}
| |
| | |
| {{DEFAULTSORT:Film Score}}
| |
| [[Category:Film scores| ]]
| |
| [[Category:Album types]]
| |