Film_score WIKI 3

8/3/2019 Film_score WIKI 3

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Film scoreFrom Wikipedia, the free encyclopedia

A film score (also sometimes called background music orincidental music) is original musicwritten specifically to accompany a film, forming part of the film's soundtrack, which also usually

includes dialogue and sound effects. The score comprises a number of orchestral, instrumental orchoral 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]

Songs are usually not considered part of the film's score,[2] although songs do also form part of the

film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from thescore (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 addedemphasis are not considered part of the score, although occasionally the score's composer will writean original pop song based on his themes, such as James Horner's "My Heart Will Go On" from

Titanic, written for Celine Dion.

Scores are written by one or more composers, under the guidance of the film's director and/or

producer, and are then usually performed by an ensemble of musicians - most often comprising anorchestra 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, buta 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.[3]

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 andperformed wholly by the composers themselves, by programming sophisticated music composition

software.

Contents

1 Process of creation

1.1 Spotting 1.2 Syncing

1.2.1 Digital Sequencer 1.2.2 Written Click Track

1.3 Writing

1.4 Orchestration 1.5 Recording

2 Elements of a film score 2.1 Temp tracks 2.2 Structure

2.3 Source music

3 Historical notes 4 Composers

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20/11/2011http://en.wikipedia.org/wiki/Film_score


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4.1 Academy Award nominees and winners

4.2 Other award nominees and winners 4.3 Box office champions

5 Production music

6 See also 6.1 Film music organizations

6.2 Film music review sites 6.3 Independent specialist original soundtrack recording labels 6.4 Journals

7 References 8 Further reading

9 External links

Process of creation

Spotting

The composer usually enters the creative process towards the end of filming, at around the same timeas the film is being edited, although on some occasions the composer is on hand during the entirefilm 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 iscompleted, 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 whichscenes require original music. During this process the composer will take precise timing notes so thathe 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 processis 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 directorSergio Leone and composer Ennio Morricone was such that the finale ofThe Good, the Bad and the

Ugly[6] and the films Once Upon a Time in the Westand 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.Also, the finale of Steven Spielberg'sE.T. the Extra-Terrestrialwas edited to match the music of hislong-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 withoutpicture; Spielberg then re-edited the scene later to match the music.

Less frequently, a composer will be asked to write music based on his or her impressions of thescript or storyboards, without seeing the film itself, and is given more freedom to create musicwithout 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 commentspecifically 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 filmInception;[7] composerGustavo Santaolalla did the same thing when he wrote his Oscar-winning score forBrokeback

Mountain.[8]




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Syncing

When writing music for film, one goal is to sync dramatic events happening on screen with musicalevents in the score. There are many different methods for syncing music to picture. These includeusing sequencing software to calculate timings, using mathematic formulas and free timing with

reference timings. Composers work using SMPTE timecode for syncing purposes.[9]

When syncing music to picture, generally a leeway of 3-4 frames late or early allows the composerto be extremely accurate. using a technique called Free Timing. when using this technique, a

conductor will either use either (a) a stop watch or studio size stopclock, or (b) watch the film on ascreen or video monitor while conducting the musicians to predetermined timings. There arerepresented 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 theclock or lines scribed on the film have corresponding timings which are also at specific points (beats)

in the composer/conductor score.

Digital Sequencer

Using a digital sequencer such as Digital Performer, Logic, or Cubase, composers are able to syncmusic to picture with extreme accuracy using SMPTE timecode. Outlined below is one method using

Digital Performer[10]:

1. Import the video to score into Digital Performer

2. Place a marker in the sequencer timeline where you wish to "hit" the event in the scene withmusic.

3. Note the SMPTE timecode (i.e. 01:00:15:23)4. Note the start and end measure (bars+beats), and set it to an exact beat.5. If the "end time" (timecode) field is greyed out, click the options button to open it up.

6. Enter the timecode where the downbeat will hit in the "end time" field.

You now will have synchronized an event in the film with a musical event, in time.

Written Click Track

A written click track is a method of writing bars of music in consistent time values (i.e. 4 beats

in :02 seconds) to establish a constant tempo in lieu of a metronome value (i.e. 88 Bpm). Acomposer would use a written click if they planned to conduct live performers. When using othermethods 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. You canconvert a standard BPM value to a written click where X represents the number of beats per bar, andW represents time in seconds, by using the following equation:

Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal toeither 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:

2.72 rounds to 2.66, so the written click is 4 beats in :02 seconds.




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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, wherebpm is beats per minute,sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beatnumber in 1/3 increments (i.e. 49).

Writing

Once the spotting session has been completed and the precise timings of each cue determined, thecomposer 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 byhand on a staff and performing works-in-progress for the director on a piano, while other composerswrite on computers using sophisticated music composition software such as Digital Performer, Logic

Pro, Cubase or Protools.[11]

Working with software allows composers to create MIDI-based demos o

cues, called MIDI mockups, 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 towrite the score. In normal circumstances, the actual writing process usually lasts around six weeksfrom beginning to end.

The actual musical content of a film score is wholly dependent on the type of film being scored, andthe emotions the director wishes the music to convey. A film score can encompass literally

thousands of different combinations of instruments, ranging from full symphony orchestralensembles 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 musicbeing written also varies massively from project to project, and can be influenced by the time periodin 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 researchdifferent musical techniques and genres as appropriate for that specific project; as such, it is notuncommon 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 arranged or orchestrated in order for the ensembleto be able to perform it. The nature and level of orchestration varies from project to project andcomposer to composer, but in its basic form the orchestrator's job is to take the single-line musicwritten by the composer and "flesh it out" in to 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 beaccomplished, 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




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into the makeup of the ensemble, ensuring that each instrument is capable of performing the music

as written, and even allowing then to introduce performance techniques and flourishes to enhance thescore.

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, Alexander Courage and

Herbert W. Spencer; Miklos Rozsa with Eugene Zador; Alfred Newman with Edward Powell, KenDarby 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 theircareers; 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 orchestrated, the orchestra or ensemble then performs it,

often with the composer conducting. Musicians for these ensembles are often uncredited in the filmor on the album and are contracted individually (and if so, the orchestra contractor is credited in thefilm 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 theAmerican Federation of Musicians. 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 exclusively to recording), and the Northwest

Sinfonia.[citation needed]

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 and tempo, assisting the conductor to

synchronize the music with the film.[13]

More rarely, the director will talk to the composer before shooting has started, so as to give moretime 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.[14] On other occasions, directors have become so attached to the tempscore 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, where Kubrick opted for existing

recordings of classical works, including pieces by composer Gyrgy Ligeti rather than the score byAlex North,[15] although Kubrick had also hired Frank Cordell to do a score. While North's 2001 is




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indeed a major example, it is not the sole case of well-known rejected scores. Others include Torn

Curtain (Bernard Herrmann),[16] Troy (Gabriel Yared),[17] Peter Jackson's King Kong (Howard

Shore)[18] and The Bourne Identity (Carter Burwell).[19]

Structure

Films often have different themes for important characters, events, ideas or objects, an idea oftenassociated with Wagner's use of leitmotif.[20] These may be played in different variations dependingon 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 characterslike Darth Vader, Luke Skywalker, and Princess Leia Organa (see Star Wars music for more details).

Other examples are Italian composers Stefano Lentini and oscar's winner Ennio Morricone.[21] The

Lord of the Rings trilogy uses a similar technique, with recurring themes for many main charactersand places. Others are less known by casual moviegoers, but well known among score enthusiasts,such as Jerry Goldsmith's underlying theme for the 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 NextGeneration's most prominent Klingon.[citation needed] Michael Giacchino employed character themes in

the soundtrack for the 2009 animated film Up, for which he received the Academy Award for BestScore. His orchestral soundtrack for the television seriesLostalso depended heavily on character and

situation-specific themes.

In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to

preserve the "byproducts" of creating a film score:[22] the music manuscripts (written music) andother documents and studio recordings generated in the process of composing and recording scores

which, in some instances, have been discarded by the movie studios. The written music must be keptto 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 nomusic; 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 "diegetic" music, as it

emanates from the "diegesis" or "story world").[23] 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". AlfredHitchcock's 1963 thrillerThe Birds is an example of a Hollywood film with no non-diegetic musicwhatsoever.

Historical notes

Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music forfilms, usually through the services of an in-house pianist or organist, and, in some cases, entire

orchestras, typically given cue sheets as a guide. In 1914, The Oz Film Manufacturing Company sentfull-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-Sans' music forThe Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D.




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Mann's score forThe Fairylogue and Radio-Playsby four months, but that was a mixture of

interrelated stage and film performance in the tradition of old magic lantern shows.[24] Most

accompaniments at this time, these examples notwithstanding, comprised pieces by famouscomposers, 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 moviesDie Nibelungen (1924) and Metropolis (1927) which wereaccompanied 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] Friedrich W.

Murnau's moviesNosferatu (1922 - music by Hans Erdmann) andFaust eine deutsche Volkssage(1926 - music by Werner Richard Heymann) also had original scores written for them. Other filmslike Murnau'sDer 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 thecomposer. Nevertheless fully developed original scores were quite rare in the silent movie era. When

sound came to movies, director Fritz Lang barely used musical scores in his movies anymore. Apart

from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie M - EineStadt sucht einen Mrderwas lacking musical accompaniment completely andDas Testament des

Dr. Mabuse only included one original piece written for the movie by Hans Erdmann played at thevery 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 tothe use of the whistling in M.

Though "the scoring of narrative features during the 1940s lagged decades behind technical

innovations in the field of concert music,"[25] 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 withAlex North, whose score forA Streetcar Named Desire (1951) combined dissonance with elements

of blues and jazz. Kazan also approached Leonard Bernstein to score On the Waterfront(1954) andthe result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-

based harmonies and exciting additive rhythms."[25] A year later, Leonard Rosenman, inspired by

Arnold Schoenberg, experimented with atonality in his scores forEast of Eden (1955) andRebelWithout a Cause (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmannexperimented with ideas in Vertigo (1958),Psycho (1960), and The Birds (1963). The use of non-

diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for OttoPreminger'sAnatomy of a Murder(1959).

A full film score widely regarded[citation needed]as the first made by a popular artist came in 1973 with

the filmPat Garret and Billy the Kid, by Bob Dylan. However the album received very little criticalacclaim. This had not been done before in popular film history as featured bands had films writtenaround their music such as in the animation Yellow Submarine with music by The Beatles.

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 Score category (which, over the years, had

gone by a variety of names, included song scores and arrangements, and been split into awards for




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scoring in dramas and comedies). Winners of the Award appear in bold.Note: Composers whose

only Oscar nominations came in the Best Original Song category are not listed, and Best OriginalSong wins are not counted in the wins tally.

John

Addison (1win)

Larry Adler Peter Herman

Adler

Lynn Ahrens Daniele

Amfitheatrof Louis

Applebaum

Robert

Armbruster Leo Arnaud Malcolm

Arnold (1

win) Kenny Ascher Gil Askey

LuisEnrquez

Bacalov (1win)

BurtBacharach (1win)

ConstantinBakaleinikoff

Buddy Baker

VictorBaravalle

John Barry(4 wins)

Marco

Beltrami Richard

RodneyBennett

Robert

RussellBennett (1

win) Alan

Bergman (1

win)

MarilynBergman (1

win)

Cy Feuer

Jerry Fielding Stephen

Flaherty Lou Forbes Ian Fraser

Gerald Fried Hugo

Friedhofer (1win)

Douglas

Gamley

JosephGershenson Michael

Giacchino (1

win) Herschel

Burke Gilbert

Philip Glass Lud Gluskin

Ernest Gold(1 win)

ElliotGoldenthal (1win)

JerryGoldsmith (1win)

Michael Gore(1 win)

JohnnyGreen (4wins)

Walter Greene Peter

Greenwell Ferde Grofe Louis

Gruenberg Dave Grusin

(1 win) Vince

Guaraldi

Jonas

Gwangwa Earle H.

Hagen

John Lennon

(1 win) Alan Jay Lerner

Joseph J. Lilley Andrew Lloyd

Webber

FrederickLoewe

JeremyLubbock

Michel Magne

Henry Mancini

(2 wins) Dario

Marianelli (1win)

George Martin Muir Mathieson Peter Matz

Peter MaxwellDavies

ToshiroMayuzumi

PaulMcCartney (1win)

Rod McKuen Bill Melendez Alan Menken

(4 wins) Gian-Carlo

Menotti Johnny Mercer Mahlon

Merrick Michel

Michelet Cyril J.

Mockridge

LucienMoraweck

Angela Morley Giorgio

Moroder (1

win)

Jerome Moross Ennio

Morricone

Ryuichi

Sakamoto (1win)

ConradSalinger

Hans J. Salter

Buck Sanders Gustavo

Santaolalla (2wins)

Philippe Sarde

Walter Scharf

VictorSchertzinger(1 win)

Lalo Schifrin

StephenSchwartz (1win)

Morton Scott Caiphus

Semenya Marc Shaiman

Ravi Shankar Artie Shaw Al Shean

Richard M.Sherman (1win)

Robert B.Sherman (1

win) Nathaniel

Shilkret

HowardShore (2

wins) Dimitri

Shostakovich

Leo Shuken(1 win)

Louis Silvers(1 win)

Alan Silvestri

Marlin Skiles

Frank Skinner Paul J. Smith

(1 win)




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Elmer

Bernstein (1win)

Leonard

Bernstein Jay Blackton

(1 win) Chris

Boardman

Phil Boutelje Leslie

Bricusse (1win)

Bruce

Broughton George Bruns

Ralph Burns

(2 wins) Dale Butts

David Byrne(1 win)

JorgeCalandrelli

John Cameron

GerardCarbonara

Charlie

Chaplin (1

win) Saul Chaplin

(3 wins) Frank

Churchill (1win)

Cy Coleman Anthony

Collins

AlbertoColombo

Bill Conti (1win)

Aaron

Copland (1win)

CarmineCoppola (1win)

Frank Cordell John

Corigliano (1

win) Alexander

Courage

Richard

Hageman (1win)

Karl Hajos

Al Ham Marvin

Hamlisch (2win) Herbie

Hancock (1win)

LeighHarline (1win)

W. FrankeHarling (1

win)

GeorgeHarrison (1

win) Marvin Hatley

Isaac Hayes Jack Hayes Lennie

Hayton (1win)

Ray Heindorf

(3 wins)

CharlesHenderson

BernardHerrmann (1

win) Jerry Hey

WernerHeymann

David

Hirschfelder Joel

Hirschhorn Samuel

Hoffenstein

FrederickHollander

JamesHorner (1win)

James NewtonHoward

Alberto

Iglesias Mark Isham

(Honorary

Oscar) John Morris Boris Morros

Jeff Moss Javier

Navarrete Anthony

Newley

AlfredNewman (9

wins) David Newman Emil Newman

LionelNewman (1

win)

Randy Newman Thomas

Newman Jack Nitzsche

Alex North(HonoraryOscar)

Edward Paul Frank Perkins Nicola Piovani

(1 win)

Edward H.Plumb

RachelPortman (1

win) John Powell

Andr Previn(5 wins)

Charles Previn

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)

Herbert W.

Spencer Ringo Starr

(1 win)

Fred Steiner Max Steiner

(3 wins) Leith Stevens Georgie Stoll

(1 win) Morris

Stoloff(3wins)

Robert Stolz

Gregory Stone Herbert

Stothart (1

win) Cong Su (1

win) Harry

Sukman (1win)

Alexander

Tansman Rod

Temperton

Max Terr

Ken Thorne(1 win)

DimitriTiomkin (3

wins) Ernst Toch

PeterTownshend

John Scott

Trotter Jonathan

Tunick (1win)

Vangelis (1

win) Tom Waits

Don Walker Oliver

Wallace (1

win) William

Walton

StephenWarbeck (1

win)




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Andrae

Crouch Ken Darby (3

wins)

John Debney Georges

Delerue (1win) Jacques Demy

AlexandreDesplat

AdolphDeutsch (3wins)

Frank DeVol Robert

Emmett Dolan

Patrick Doyle Carmen

Dragon (1win)

Anne Dudley(1 win)

Tan Dun (1

win) George

Duning

Brian

Easdale (1win)

Roger Edens(3 wins)

Hanns Eisler Danny Elfman

DukeEllington

Jack Elliott

Leo Erdody Yuri Faier

Percy Faith George

Fenton

Calvin

Jackson Werner

Janssen

MauriceJarre (3

wins) Quincy Jones Jan A.P.

Kaczmarek(1 win)

Gus Kahn (1win)

Bronislau

Kaper (1win)

Fred Karlin

Marsha Karlin Al Kasha

Edward Kay Roger

Kellaway Randy Kerber Jerome Kern

ErichWolfgangKorngold (2

wins)

Irwin Kostal(2 wins)

KrisKristofferson

Francis Lai(1 win)

Arthur Lange Michel

Legrand (2

wins) John Leipold

(1 win)

Hugo

Riesenfeld Richard

Robbins

Milan Roder Heinz

Roemheld (1win) Ann Ronell

David Rose Joel

Rosenbaum Leonard

Rosenman (2

wins) Laurence

Rosenthal

Atticus Ross (1win)

Nino Rota (1win)

GennadiRozhdestvensky

Mikls Rzsa

(3 wins) Larry Russell

(1 win)

Edward Ward

NedWashington(1 win)

FranzWaxman (2

wins) Kenneth

Webb

Roy Webb Kurt Weill

Jerry Wexler Matthew

Wilder

JohnWilliams (5

wins)

PatrickWilliams

Paul Williams Meredith

Willson Charles

Wolcott

AlbertWoodbury

Gabriel

Yared (1 win)

Victor Young(1 win)

HansZimmer (1

win) David Zippel

Source: The Official Academy Awards Database [1](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, InternationalFilm Music Critics Association), but have never been nominated for an Oscar. Winners of an Award

appear in bold.




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John Altman (BAFTA)

Armand Amar(IFMCA)

Benny Andersson

(BAFTA) Oscar Araujo (IFMCA)

Craig Armstrong(Globe, BAFTA,Grammy)

David Arnold (BAFTA,Grammy, Emmy)

Angelo Badalamenti(Globe, BAFTA,Grammy)

Lionel Bart (Globe) Jeff Beal (Emmy)

Christophe Beck(Emmy)

Richard Bellis (Emmy)

Howard Blake(BAFTA)

Terence Blanchard

(Globe) Pieter Bourke (Globe)

Jon Brion (Grammy) Michael Brook(Globe) Stephen Bruton

(BAFTA) Velton Ray Bunch

(Emmy) T-Bone Burnett

(BAFTA)

Carter Burwell(Globe, BAFTA,

Emmy) Sean Callery (Emmy) Jay Chattaway (Emmy)

Eric Clapton

(Grammy) Alf Clausen (Emmy) Michel Colombier

(Globe, Grammy)

Ry Cooder(BAFTA) Stewart Copeland

(Globe) Bruno Coulais

(BAFTA)

Daft Punk(IFMCA) Burkhard Dallwitz

(Globe)

Jeff Danna (Emmy)

Barry Gibb (Globe)

Nick Gold (BAFTA) Billy Goldenberg

(Emmy)

Howard Goodall(Emmy)

Miles Goodman(Globe)

Ron Goodwin (Globe)

Gerald Gouriet (Globe) Jonny Greenwood

(BAFTA, Grammy) Harry Gregson-

Williams (Globe,

BAFTA) Guy Gross (BAFTA)

Christopher Gunning(BAFTA)

James Hannigan

(IFMCA) Richard Hartley

(Emmy)

Knut AvenstroupHaugen (IFMCA)

Joe Hisaishi (IFMCA) Lee Holdridge (Emmy) Junior Homrich

(BAFTA) Nellee Hooper

(BAFTA) Nicholas Hooper

(Grammy)

Richard Horowitz(Globe)

Dick Hyman (BAFTA) Joe Jackson (Grammy) Chaz Jankel (BAFTA)

Carl Johnson (Emmy)

Adrian Johnston(Emmy)

Dan Jones (Emmy) Ron Jones (Emmy)

Trevor Jones (Globe,BAFTA)

Michael Kamen(Globe, Grammy)

John Kander(Globe,

BAFTA) Rolfe Kent (Globe) Wojciech Kilar

(BAFTA) Kaki King (Globe)

Joel McNeely (Emmy)

Gil Melle (Globe) Dudley Moore (Globe) Trevor Morris

(Emmy) Stanley Myers

(BAFTA) Garth Neustadter

(Emmy)

Lennie Niehaus(BAFTA)

Julian Nott (IFMCA) Michael Nyman

(Globe, BAFTA)

Mike Oldfield (Globe) Riz Ortolani (Globe)

Karen Orzolek(Globe) Larry Paxton (Globe) James Peterson

(IFMCA) Jean-Claude Petit

(BAFTA)

Barrington Pheloung(BAFTA)

Basil Poledouris(Emmy)

Jocelyn Pook(Globe)

Mike Post (Emmy) Zbigniew Preisner

(Globe) Alan Price (Globe) Michael Price (Emmy)

Jeff Richmond (Emmy) Harold Rome (Globe)

David Rose (Emmy) Brett Rosenberg

(IFMCA)

Arthur B. Rubinstein

(Emmy) Pete Rugolo (Emmy) The RZA (BAFTA) Arturo Sandoval

(Grammy) David Schwartz

(Grammy) Edward Shearmur

(Emmy)

Kevin Shields(BAFTA)

David Shire (BAFTA)

Carlo Siliotto (Globe) Carly Simon (BAFTA)




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Mychael Danna

(Emmy) Carl Davis (BAFTA,

Grammy)

Don Davis (Emmy) Paco de Luca

(BAFTA) Marius de Vries

(BAFTA)

Vince DiCola(Grammy)

James Di Pasquale(Emmy)

Neil Diamond (Globe,

Grammy) Ramin Djawadi

(Grammy)

Jim Dooley (Emmy) Clint Eastwood

(Globe, Grammy) Fred Ebb (Globe)

Randy Edelman(Globe, BAFTA)

Ilan Eshkeri (IFMCA)

Harold Faltermeyer(Globe)

Allyn Ferguson

(Emmy)

David Foster(Grammy)

Charles Fox (Globe,Grammy)

Benjamin Frankel(Globe)

Dominic Frontiere(Globe)

Peter Gabriel (Globe,

Grammy) Brian Gascoigne

(BAFTA) Lisa Gerrard (Globe,

Grammy)

Kitaro (Globe)

Mark Knopfler(BAFTA, Grammy)

Krzysztof Komeda

(Globe) Abel Korzeniowski

(Globe, IFMCA) Henry Krieger

(BAFTA)

Robert Lane (IFMCA) Andrew Lockington

(IFMCA) Joseph LoDuca

(Emmy)

John Lurie (Grammy) Nuno Malo (IFMCA)

Johnny Mandel

(Globe) Chuck Mangione

(Globe) Hummie Mann

(Emmy) Clint Mansell (Globe) David Mansfield

(Globe) Wynton Marsalis

(Grammy)

Peter Martin (BAFTA)

Cliff Martinez(Grammy)

Rob Mathes (Emmy) Dennis McCarthy

(Emmy) Bear McCreary

(IFMCA)

Morton Stevens

(Emmy) Marc Streitenfeld

(BAFTA)

Marty Stuart (Globe) Mikis Theodorakis

(Globe) Mark Thomas (Emmy) Yann Tiersen (BAFTA)

Pinar Toprak(IFMCA) Ernest Troost (Emmy)

Bjorn Ulvaeus(BAFTA)

Eddie Vedder(Globe)

Joseph Vitarelli(IFMCA)

W.G. "Snuffy" Walden

(Emmy) Don Was (BAFTA)

Norman Whitfield(Grammy)

Kristin Wilkinson(Globe)

Nancy Wilson

(BAFTA) Christopher Young

(Globe)

Geoff Zanelli (Emmy)

Sources: HFPA Award Search [2] (http://www.goldenglobes.org/browse/categories) , BAFTAAwards Database [3] (http://www.bafta.org/awards-database.html?sq=) , Primetime Emmy Award

Database [4] (http://www.emmys.com/award_history_search) , Grammy Awards Archive [5](http://www.grammy.com/nominees/search) , IFMCA Awards Archive [6](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




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All Time, but have never been nominated for a major award (Oscar, Golden Globe etc.)

William Alwyn Swiss Family Robinson (1960) Klaus Badelt Pirates of the Caribbean: The Curse of the Black Pearl (2003) Tyler Bates 300 (2007)

David Buttolph House of Wax (1953) George S. Clinton Austin Powers in Goldmember (2002)

Brad Fiedel Terminator 2: Judgment Day (1991) Steve Jablonsky Transformers (2007), Transformers: Revenge of the Fallen (2009),

Transformers: Dark of the Moon (2011)

Alexander Janko My Big Fat Greek Wedding (2002) Bill Justis Smokey and the Bandit (1977)

Harald Kloser The Day After Tomorrow (2004), 2012 (2009) Christopher Lennertz Alvin and the Chipmunks (2007) Mark Mancina Twister (1996)

John Ottman X2: X-Men United (2003) Heitor Pereira Despicable Me (2010)

Trevor Rabin Armageddon (1998), National Treasure: Book of Secrets (2007) William Ross Harry Potter and the Chamber of Secrets (2002) Brian Tyler Fast Five (2011)

Pharrell Williams Despicable Me (2010) Chris Wilson My Big Fat Greek Wedding (2002)

Source: Box Office Mojo All-Time Domestic Box Office Grosses [7]

(http://boxofficemojo.com/alltime/domestic.htm) , All-Time Domestic Box Office Grosses Adjustedfor Inflation [8] (http://boxofficemojo.com/alltime/adjusted.htm) , All-Time Worldwide Box Office

Grosses [9] (http://boxofficemojo.com/alltime/world/)

Production music

Main article: Production music

Many companies such as Jingle Punks, Associated Production Music and Extreme Music providemusic 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 formusic libraries is done on a work for hire basis.[citation needed] Production music is therefore a very

convenient medium for media producers they can be assured that they will be able to license anypiece of music in the library at a reasonable rate.

Production music libraries will typically offer a broad range of musical styles and genres, enablingproducers and editors to find much of what they need in the same library. Music libraries vary in sizefrom a few hundred tracks up to many thousands. The first production music library was setup by De

Wolfe in 1927 with the advent of sound in film, the company originally scored music for use in

silent film.[26] Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music

Publishers in the 1930s.[27] APM, the largest US library, has over 250,000 tracks.[28]




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See also

AFI's 100 Years of Film Scores Filmi, Bollywood film music List of film score composers

Musivisual Language

Film music organizations

ASCAP - Performing rights organization

BMI - Performing rights organization Film Musicians Secondary Markets Fund Society of Composers and Lyricists

Film music review sites

Filmtracks.com SoundtrackNet

Independent specialist original soundtrack recording labels

1M1 Records Digitmovies AE Film Score Monthly

Intrada Records La-La Land Records

Milan Records MovieScore Media Perseverance Records

Prometheus Records Trunk Records

Varse Sarabande

Journals

Film Score Monthly

References

1. ^ Savage, Mark. "Where Are the New Movie Themes

(http://news.bbc.co.uk/1/hi/entertainment/7525242.stm) ?"BBC, 28 July 2008.2. ^ Rockwell, John (21 May 1978). "When the Soundtrack Makes the

Film" (http://select.nytimes.com/gst/abstract.html?

res=F30617F8355A11728DDDA80A94DD405B888BF1D3&scp=4&sq=film%20soundtrack&st=cse) .The New York Times. http://select.nytimes.com/gst/abstract.html?

res=F30617F8355A11728DDDA80A94DD405B888BF1D3&scp=4&sq=film%20soundtrack&st=cse.Retrieved 2010-08-10.

3. ^ "Bebe Barron: Co-composer of the first electronic film score, for 'ForbiddenPlanet'" (http://www.independent.co.uk/news/obituaries/bebe-barron-cocomposer-of-the-first-electronic-

film-score-for-forbidden-planet-822755.html) . The Independent(London). 8 May 2008.




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http://www.independent.co.uk/news/obituaries/bebe-barron-cocomposer-of-the-first-electronic-film-score-for-forbidden-planet-822755.html. Retrieved 2 May 2010.

4. ^ Film scoring (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)5. ^ The Creators (http://www.naqoy.com/naqoy/creators.asp)

6. ^ SoundtrackNet: The Good, The Bad and The Ugly Soundtrack(http://www.soundtrack.net/albums/database/?id=3475)

7. ^ We Built Our Own World: Hans Zimmer and the Music of'Inception' (http://www.popmatters.com/pm/feature/128323-we-built-our-own-world-hans-zimmer-and-

the-music-of-inception/)8. ^ TIMBT: Gustavo Santolalla interview

(http://www.thenitmustbetrue.com/gsantaolalla/gsantaolalla1.html)

9. ^ SMPTE (http://artsites.ucsc.edu/EMS/music/equipment/video/smpte/smpte.html)10. ^ MOTU.com - Overview (http://www.motu.com/products/software/dp/film-scoring/)

11. ^ Kompanek, Sonny.From Score To Screen: Sequencers, Scores And Second Thoughts: The New FilmScoring Process. Schirmer Trade Books, 2004. ISBN 978-0825673085

12. ^ London Symphony Orchestra and Film Music (http://lso.co.uk/page/3151/LSO-and-Film-Music) LSO.

Retrieved 30 June 201113. ^ Home Recording Glossary: Click Track

(http://homerecording.about.com/od/recordingglossary/g/def_click_track.htm)

14. ^ George Burt, The art of film music, Northeastern University Press

15. ^ 2001 A Space Odyssey - Original soundtrack by Alex North, commissioned but unused by StanleyKubrick, conducted by Jerry Goldsmith (http://www.mfiles.co.uk/reviews/alex-norths-2001-a-space-

odyssey.htm)16. ^ SoundtrackNet: Torn Curtain Soundtrack (http://www.soundtrack.net/albums/database/?id=841)

17. ^ SoundtrackNet: Article - Gabriel Yared's Troy (http://www.soundtrack.net/features/article/?id=120)18. ^ Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score

(http://musiconfilm.net/community/read.php?2,161)19. ^ The Bourne Identity (http://www.moviemusicuk.us/bournecd.htm)

20. ^ leitmotif - Definition from the Merriam-Webster Online Dictionary (http://www.merriam-webster.com/dictionary/leitmotif)

21. ^ Star Wars and Wagner's Ring (http://www.trell.org/wagner/starwars.html)

22. ^ About The Film Music Society (http://www.filmmusicsociety.org/about/about.html)23. ^ The Functions of Film Music (http://www.filmscoremonthly.com/features/functions.asp)

24. ^Fairylogue was released 24 September 1908;Assassinatwas released 17 November 1908

25. ^a b

Cooke, Mervyn (2008).A History of Film Music. New York: Cambridge University Press.[citation needed]

26. ^ De Wolfe, Warren (1988). de wolfe millennium catalogue. London: De Wolfe Music.27. ^ Wallace, Helen (2007).Boosey & Hawkes The Publishing Story. London: B&H London.

ISBN 9780851625140.[citation needed]

28. ^ "PRWeb July 2007" (http://www.prweb.com/releases/2007/07/prweb539516.htm) .

http://www.prweb.com/releases/2007/07/prweb539516.htm. Retrieved 2007-07-20.

Further reading

Andersen, Martin Stig. Electroacoustic Sound and Audiovisual Structure in Film(http://cec.concordia.ca/econtact/12_4/Andersen_audiovisual.html) . eContact! 12.4

Perspectives on the Electroacoustic Work / Perspectives sur luvre lectroacoustique

(August 2010). Montral: CEC. Elal, Sammy and Kristian Dupont (Eds.). The Essentials of Scoring Film

(http://www.minimumnoise.com/Articles/The-Essentials-Of-Scoring-Film.aspx) .

Minimum Noise. Copenhagen, Denmark.




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Various contributors [wiki]. Films with Significant Electroacoustic Content

(http://cec2.ca/cec/econtact/8_4/films.html) . eContact! 8.4 Ressources ducatives /Educational Resources (September 2006). Montral: CEC.

External links

Film music organizations

Film Music Society (http://www.filmmusicsociety.org/)

International Film Music Critics Association (http://filmmusiccritics.org/)

Film music review sites

Cinemusic (http://www.cinemusic.net/) (cinemusic.net)

MusicWeb International: Film Music on the Web (http://www.musicweb-international.com/film/index.htm) (site closed in December 2006 and remains for archive

purposes only)

MainTitles (http://www.maintitles.net/) (maintitles.net) Movie Music UK (http://www.moviemusicuk.us/) (moviemusicuk.us)

Movie Wave (http://www.movie-wave.net/) (movie-wave.net ) ScoreNotes (http://www.scorenotes.com/) (scorenotes.com)

Journals (online and print)

Film Music Magazine (http://www.filmmusicmag.com/) Film Music Review (http://www.americanmusicpreservation.com/fmr.htm)

The Journal of Film Music (http://www.ifms-jfm.org/) (French) UnderScores : le magazine de la musique de film (http://www.underscores.fr/)

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