Film score - Knowledge (XXG)

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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 time frame allowed.

1251:, 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." On the contrary, film historian James Wierzbicki asserts that early film showings (such as the 1478:, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof. A landmark event in music synchronization with the action in film was achieved in the score composed by 2549:

Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. 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

493:) 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. 4348: 4358: 763: 4338: 1108: 43: 4900: 2574: 142: 4368: 956:. These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif. 506:

the conductor has a perfectly spaced audible click playing. This can yield stiff and lifeless performances in slower more expressive cues. A standard BPM value can be converted to a written click where X represents the number of beats per bar and W represents time in seconds by using the following equation:

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require original music. During this process, composers will take precise timing notes so that they know 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".

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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

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In other scores you'll find not only original orchestration but also an incorporation of popular music, that represents the era and or the character being portrayed. Many films do this like " Guardians of the galaxy", or the " Back to the Future". In the Robert Zemeckis, Alan Silvestri orchestrates a

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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

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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

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Each composer has their own Inspirations and their own pragmatic impressions that create a unique and grabbing sound that create a memorable scene. One example of this is in the "Lord of The Rings" score where Howard Shore used specific melodic idea to refer to The Shire using a tin flute to evoke a

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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

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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

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has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian

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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)

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is a method of writing bars of music in consistent time values (e.g. 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 he or she planned to conduct live performers. When using other methods such as a metronome,

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In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. 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

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theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as

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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

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The actual material of the score depends on several different variables that factor into how a composer may write. Things like; the emotion the composer is trying to convey, the character on screen, the scenery and geography of the set, along with multiple more different variables. A composition

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without seeing the film itself and has 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

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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

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Many companies 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. Examples of firms include Warner Chappell Production

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Many scores often try to draw from worldly influence to create sound that cements itself into popular culture. An example of this would be the score from " The Good, The Bad, and The Ugly". In this score by Ennio Morricone he uses a culmination of post-tonal music theory, celtic song, gregorian

1231:, was formed to preserve the "byproducts" of creating a film score, including 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 1201:. 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 1205:

are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer

832:, 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 2561:

in 1927 with the advent of sound in film, the company originally scored music for use in silent film. Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. APM, the largest US library, has over 250,000 tracks.

1177:, 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 611:

Once the composer has identified the location in the film with which to sync musically, he or she must determine the musical beat this event occurs on. To find this, conductors use the following equation, where bpm is beats per minute,

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A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.

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composition that is accompanied by tracks such as; "The power of love", and "Back in Time" both by Huey Lewis and The News. This creates a sense of lightness that deviates from the fanfare-like main theme.( Lawson, Macdonald ,2018).

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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

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utopia that children of the future would be whistling 12-tone rows." Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform

2918:"Almost sure convergence rate of <mml:math xmlns:mml="http://www.w3.org/1998/Math/MathML" display="inline" overflow="scroll" altimg="si1.gif"><mml:mi>θ</mml:mi></mml:math>-EM scheme for neutral SDDEs" 433:: 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 pictures; Spielberg then re-edited the scene later to match the music. 1594: 749:

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

4211: 1255:' first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into 1235:. 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. 2553:

basis. 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.

161:, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more 863:

The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with

3969: 289:(e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as 263:, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using 485:

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 (

1421:(1924). Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, 1605:

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.).

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such as pop songs and rock songs are usually not considered part of the film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in

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shows. Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of

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A film score being recorded by the composer (conducting at the podium, with his back to the camera) and a small ensemble. The film is playing on the screen to act as a reference.

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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:

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Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in

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Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.

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Celtic feel. He does this many times through all three films in the trilogy to refer back when a character is feeling nostalgic or reminiscent ( Lawson, Macdonald ,2018).

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is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises (

2607: 1781: 281:, 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, 1494:

Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the

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The origins of film music are disputed, although they are generally considered to have aesthetic roots in various media forms associated with nineteenth-century

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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.

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Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director

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This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is

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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

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chant, and mariachi trumpets to create the sound of the spaghetti western, that is often associated with the wild west ( Kalinak 2010 ).

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Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations.

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The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by

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is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.

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written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.

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and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated

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The composer usually enters the creative process towards the end of filming at around the same time as the film is being

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Films often have different themes for important characters, events, ideas or objects, an idea often associated with

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Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more

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both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.

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score of brief, evocative motifs which could be repeated and varied in tempo as required. American composers

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were edited to Morricone's score as the composer had prepared it months before the film's production ended.

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eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l'œuvre électroacoustique

1350:, who also wrote piano-versions of his music, for playing in smaller cinemas. Friedrich W. Murnau's movies 836:). However, some films have recently begun crediting the contracted musicians on the albums under the name 616:

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).

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was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for

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by four months, but that was a mixture of interrelated stage and film performance in the tradition of old

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Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 199.

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music": already published pieces with a character that the director believes to fit specific scenes.

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When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from

1417: 1277: 460: 299: 294: 4357: 2865: 1346:(1927) which were accompanied by original full scale orchestral and leitmotific scores written by 1330:, which was highly influential in the era of silent movies, provided some original scores such as 4885: 4582: 4493: 4259: 2764: 2621: 2491: 2471: 1919: 1907: 1879: 1863: 1562: 1381: 1347: 1248: 1212: 857: 465: 436:

In some circumstances, a composer will be asked to write music based on their impressions of the

31: 2319: 3082:"Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)" 898:, where Kubrick opted for existing recordings of classical works, including pieces by composer 725:

could consist of different instrumentation, varying genres, and different influential styles.

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quoted in their Klingon motifs, and which was included on numerous occasions as a theme for

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composed what many consider the first "frame by frame" synchronous film score for director

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From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process

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featured recurring themes for many main characters and places. Another notable example is

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and are then most often performed by an ensemble of musicians – usually including an

3855: 3729: 2235: 1818:); Williams won all five of his Oscars in his collaborations with the two. Additionally, 1566:(1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star 3590: 100: 4755: 4745: 4693: 4617: 4515: 4483: 4429: 4020: 3959: 3642:. Scrutinizes film score practice at the turn from the 20th to 21st century. In German. 3096:"Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score" 2642: 2558: 2531: 2527: 2515: 2483: 2431: 2399: 2395: 2387: 2367: 2323: 2311: 2263: 2219: 2215: 2207: 2167: 2115: 2015: 1963: 1943: 1899: 1828: 1691: 1630: 1571: 1567: 1556: 1426: 1385: 1377: 1336: 1281: 1216: 1067: 1025: 979: 949: 479: 371: 286: 186: 182: 3167:"The Star Wars series and Wagner's Ring: Structural, thematic and musical connections" 3147: 2685: 4918: 4870: 4762: 4505: 4456: 4434: 4269: 3989: 3067: 2829: 2660:"Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet'" 2550: 2511: 2403: 2391: 2383: 2371: 2315: 2279: 2275: 2247: 2231: 2195: 2151: 2119: 2103: 2083: 2079: 2055: 2043: 2019: 1979: 1955: 1931: 1923: 1887: 1883: 1814: 1795: 1791: 1733: 1675: 1609: 1519: 1466: 1452: 1430: 1412: 1327: 1317: 1202: 1170: 1063: 983: 960: 907: 864: 829: 746: 686: 430: 376: 237: 233: 170: 166: 3053: 713:. Working with software allows composers to create MIDI-based demos of cues, called 157:. The score comprises a number of orchestral, instrumental, or choral pieces called 4802: 4750: 4715: 4675: 4627: 4488: 4446: 4296: 3994: 3810: 3703: 3468:. David Neumeyer, Rob Deemer. New York: Oxford University Press. pp. 290–293. 3233: 2523: 2479: 2439: 2427: 2363: 2359: 2303: 2291: 2283: 2267: 2239: 2211: 2187: 2175: 2163: 2147: 2139: 2099: 2095: 2075: 2039: 2035: 1999: 1991: 1947: 1871: 1833: 1819: 1803: 1715: 1357: 1232: 1047: 912: 391: 387: 359: 290: 278: 256: 3350: 3099: 1508:(1951) combined dissonance with elements of blues and jazz. Kazan also approached 3672: 3518: 3515: 2785: 4904: 4875: 4865: 4797: 4622: 4550: 4461: 4264: 4249: 3951: 2983: 2579: 2503: 2495: 2475: 2463: 2343: 2339: 2307: 2243: 2183: 2111: 2107: 2063: 2051: 1995: 1939: 1911: 1738: 1685: 1663: 1642: 1479: 1441: 1397: 1265: 1244: 1207: 1107: 1051: 975: 918: 714: 690: 502: 446: 441: 304: 264: 245: 241: 229: 42: 3443:

Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 244.

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Justin Wintle (ed.), "New Makers of Modern Culture", Routledge, 2016, p. 1342.

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with its "jazz-based harmonies and exciting additive rhythms." A year later,

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Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from

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Film in concert: film scores and their relation to classical concert music

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After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934.

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songs that are dropped into a specific scene in a film for emphasis or as

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as part of the score, and many scores written today feature a hybrid of

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employed character themes in the soundtrack for the 2009 animated film

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styles. Since the 1950s, a growing number of scores have also included

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Film, Television, and Stage Music on Phonograph Records: A Discography

3634:. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). 2830:"The Good, The Bad and The Ugly – Expanded Edition Soundtrack (1967)" 706: 607:

2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.

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Source: Box Office Mojo – All-Time Domestic Box Office Grosses

1062:" or "story world"). An example of "source music" is the use of the 3841: 3785: 3334: 3764:

eContact! 8.4 — Ressources éducatives / Educational Resources

3533:"Are David Fincher And Trent Reznor The Next Leone and Morricone?" 2844:"We Built Our Own World: Hans Zimmer and the Music of 'Inception'" 2686:"Film Scores Facts, Worksheets, Definition & History For Kids" 1595:

List of Academy Award nominees and winners for Best Original Score

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also depended heavily on character and situation-specific themes.

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George Burt, The art of film music, Northeastern University Press

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in his operas were later picked up on by prominent film composer

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International School for Film Score Composition and Production

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Romanticism and Film: Franz Liszt and Audio-Visual Explanation

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contained a mixing of original compositions (in this case by

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such live musical accompaniment to films grew out naturally.

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and tempo, assisting to synchronize the music with the film.

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did the same thing when he wrote his Oscar-winning score for

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as a major influence on their own forays into film scoring.

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was edited to match the music of his long-time collaborator

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by composing the score for many films of a same director.

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was asked to write music in this way in 2010 for director

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under the guidance of or in collaboration with the film's

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Hearing the movies : music and sound in film history

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The Invisible Art of Film Music: A Comprehensive History

3335:"Synch Holes and Patchwork in Early Feature-Film Scores" 201:, and said music is typically referred to as either the 3856:"Terms of Art: Film Composer Lingo with Carter Burwell" 3617:

Electroacoustic Sound and Audiovisual Structure in Film

781: 390:'s music. Similarly, the relationship between director 3323:

Film music: a history By James Eugene Wierzbicki, p.20

3254:. London and New York: Bloomsbury Academic. pp. 41-77. 925:

Pirates of the Caribbean: The Curse of the Black Pearl

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is original music written specifically to accompany a

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UnderScores : le magazine de la musique de film

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as a guide. A pianist was present to perform at the

1019:, the franchise's most prominent Klingon character. 4838: 4776: 4706: 4648: 4593: 4514: 4420: 4237: 4199: 4153: 4073: 4036: 3980: 3950: 3943: 3922: 67:. Unsourced material may be challenged and removed. 2787:On the Track: A Guide to Contemporary Film Scoring 852:(an orchestra dedicated mostly to recording), the 669: 596: 550: 3370:was released November 17, 1908. Dienstfrey, p 53. 2784:Karlin, Fred; Wright, Rayburn (January 1, 2004). 2608:List of film director and composer collaborations 1782:List of film director and composer collaborations 1456:was lacking musical accompaniment completely and 745:Once the music has been written, it must then be 2922:Journal of Computational and Applied Mathematics 1534:, experimented with atonality in his scores for 1280:for their films. Other examples of this include 30:"Film Music" redirects here. For the album, see 3632:Tonspuren. Musik im Film: Fallstudien 1994–2001 3190:"Music for Klingons, part one: Jerry Goldsmith" 3760:Films with Significant Electroacoustic Content 3747:. Jefferson, N.C.: McFarland & Co., 1991. 3660:. Jefferson, N.C.: McFarland & Co., 1988. 1839:Sweeney Todd: The Demon Barber of Fleet Street 974:associated with individual characters such as 4398: 3900: 3720:. Glückstadt: Verlag Werner Hülsbusch, 2014. 3495: 3493: 2739:Reel music: exploring 100 years of film music 1822:did the score for all the movies directed by 489:) a stopwatch or studio size stop clock, or ( 8: 3791:International Film Music Critics Association 3704:"The Three Regimes – A Theory of Film Music" 3386:. John Irons. London: Reaktion. p. 95. 1457: 1444:whistling a short piece from Edvard Grieg's 3004:"5 RTAS Plug-Ins You Can Download for Free" 2617:, a 2016 documentary film about film scores 1546:(1955). In his ten-year collaboration with 4645: 4405: 4391: 4383: 3947: 3907: 3893: 3885: 3699:New York: Columbia University Press, 2014. 3222:. Vol. 2, no. 3. pp. 56–67. 2769:: CS1 maint: location missing publisher ( 1229:Society for the Preservation of Film Music 1086:is an example of a Hollywood film with no 3645:Elal, Sammy and Kristian Dupont (eds.). " 2933: 1407:In France, before the advent of talkies, 1148:Learn how and when to remove this message 670:{\displaystyle {\frac {bpm(sp)}{60}}+1=B} 625: 623: 569: 567: 515: 513: 127:Learn how and when to remove this message 3692:. Oxford: Oxford University Press, 2017. 3690:The Music and Sound of Experimental Film 3563:Boosey & Hawkes The Publishing Story 3520:, All-Time Worldwide Box Office Grosses 2984:London Symphony Orchestra and Film Music 1227:In 1983, a non-profit organization, the 597:{\displaystyle {\frac {60}{88}}(4)=2.72} 3504:. New York: Cambridge University Press. 3295:. New York: Routledge. pp. 26–27. 2634: 1272:first film screening in 1895. In 1914, 848:(performing film music since 1935) the 2762: 1303:The Assassination of the Duke of Guise 910:to do a score. Other examples include 551:{\displaystyle {\frac {60}{bpm}}(x)=W} 3216:"Interview with Composer Marcus Paus" 2911: 2909: 1066:song "Can't Take My Eyes Off You" in 1008:(1979), which later composers in the 850:City of Prague Philharmonic Orchestra 828:When the music has been composed and 216:, many scores are also influenced by 7: 2713:"When the Soundtrack Makes the Film" 1130:adding citations to reliable sources 65:adding citations to reliable sources 4367: 3154:(online ed.). August 3, 2023. 1727:National Treasure: Book of Secrets 1589:Academy Award nominees and winners 1058:" music, as it emanates from the " 928:(Alan Silvestri), Peter Jackson's 906:, although Kubrick had also hired 419:In another example, the finale of 315:A film score may also be called a 25: 3366:was released September 24, 1908; 3289:Wierzbicki, James Eugene (2009). 1798:' professional relationship with 1453:M – Eine Stadt sucht einen Mörder 1274:The Oz Film Manufacturing Company 967:saga, and the numerous themes in 240:, and a wide range of ethnic and 27:Music written to accompany a film 4898: 4366: 4356: 4347: 4346: 4336: 3688:Holly Rogers and Jeremy Barham, 3068:"Gabriel Yared's Troy – Article" 3054:"Torn Curtain Soundtrack (1966)" 2957:Kalinak, Kathryn (May 1, 2010). 2572: 1106: 842:American Federation of Musicians 761: 41: 4337: 2711:Rockwell, John (May 21, 1978). 1400:. Steiner and his contemporary 1363:Faust – Eine deutsche Volkssage 1117:needs additional citations for 52:needs additional citations for 3671:MacDonald, Laurence E. (1998) 3647:The Essentials of Scoring Film 3234:"About the Film Music Society" 2896:. Schirmer Trade Books, 2004. 2643:Where Are the New Movie Themes 2593:AFI's 100 Years of Film Scores 1313:The Fairylogue and Radio-Plays 820:and is ready for performance. 646: 637: 585: 579: 539: 533: 478:timings. Composers work using 401:The Good, the Bad and the Ugly 267:, synthesizers, samplers, and 1: 3548:de wolfe millennium catalogue 3351:10.5406/musimoviimag.7.1.0040 2741:(Second ed.). New York. 1005:Star Trek: The Motion Picture 3766:(September 2006). Montréal: 2993:LSO. Retrieved June 30, 2011 2603:List of film score composers 1460:Das Testament des Dr. Mabuse 1306:in 1908. It was preceded by 840:after an agreement with the 784:or discuss the issue on the 407:Once Upon a Time in the West 398:was such that the finale of 252:and electronic instruments. 3797:Journals (online and print) 3730:doi:10.25969/mediarep/16802 3292:Film music : a history 2989:September 30, 2011, at the 2963:. Oxford University Press. 2812:"About the Naqoyqatsi team" 1554:experimented with ideas in 1276:sent full-length scores by 413:Once Upon a Time in America 4941: 3866:Public Radio International 3709:November 17, 2021, at the 3565:. London: B&H London. 3339:Music and the Moving Image 3165:Evensen, Kristian (2008). 3152:Merriam-Webster Dictionary 2541: 1779: 1648:Terminator 2: Judgment Day 1592: 776:towards certain viewpoints 691:music composition software 426:E.T. the Extra-Terrestrial 265:music composition software 29: 4894: 4310: 3818:The Journal of Film Music 3630:Dorschel, Andreas (ed.). 3623:(August 2010). Montréal: 3550:. London: De Wolfe Music. 3546:De Wolfe, Warren (1988). 3353:– via academia.edu. 3333:Dienstfrey, Eric (2014). 2935:10.1016/j.cam.2018.04.007 2916:Tan, Li (November 2018). 2800:– via Google Books. 902:rather than the score by 888:the most famous cases is 846:London Symphony Orchestra 838:Hollywood Studio Symphony 4212:Unruly audience response 3780:Film music organizations 3758:Various contributors . " 3615:Andersen, Martin Stig. " 3188:FilmChat (May 7, 2013). 1826:, with the exception of 1766:My Big Fat Greek Wedding 1657:My Big Fat Greek Wedding 1505:A Streetcar Named Desire 1433:cited Satie's music for 875:Elements of a film score 747:arranged or orchestrated 3916:Western classical music 3735:Stubblevine, Donald J. 3716:Stoppe, Sebastian, ed. 3561:Wallace, Helen (2007). 3502:A History of Film Music 3171:Richard Wagner Web Site 2737:Hickman, Roger (2017). 1776:Relation with directors 1654:Alexander Janko – 1167:Erich Wolfgang Korngold 721:from beginning to end. 255:Since the invention of 214:Western classical music 4014:Transition to Romantic 3944:Major periods and eras 3653:. Copenhagen, Denmark. 3500:Cooke, Mervyn (2008). 3462:Buhler, James (2010). 3380:Larsen, Peter (2007). 3250:Kitchen, Will. (2020) 3214:Green, Edward (2020). 2008:Harry Gregson-Williams 1681:The Day After Tomorrow 1621:Joseph DeBeasi – 1458: 1368:Werner Richard Heymann 1366:(1926 – music by 1213:concerts of such music 1198:Scott of the Antarctic 1054:such music is called " 671: 598: 552: 482:for syncing purposes. 146: 4613:Principal photography 3970:Transition to Baroque 3122:"The Bourne Identity" 2858:"Gustavo Santaolalla" 2818:on December 26, 2008. 2666:. London. May 8, 2008 2132:Christopher McQuarrie 1968:Joel & Ethan Coen 1669:Smokey and the Bandit 1615:Swiss Family Robinson 1543:Rebel Without a Cause 1498:film score. Director 1415:'s avant-garde short 1293:The Birth of a Nation 895:2001: A Space Odyssey 672: 599: 553: 144: 4851:Guerrilla filmmaking 4825:Digital distribution 4768:Digital intermediate 4608:Cinematic techniques 4302:Worldwide traditions 4255:Classical music blog 3128:on 19 September 2008 2862:thenitmustbetrue.com 2460:Paul Thomas Anderson 2420:Krzysztof Kieślowski 2336:Arthur B. Rubinstein 2252:Richard Attenborough 1601:Box office champions 1287:The Fall of a Nation 1284:'s score in 1915 to 1223:Preservation efforts 1126:improve this article 934:(Howard Shore), and 916:(Bernard Herrmann), 805:Some composers like 622: 566: 512: 61:improve this article 4573:Production schedule 4154:Students by teacher 3804:Film Music Magazine 3677:. Scarecrow Press. 3593:on January 31, 2008 3269:Modernism and Music 3102:on 12 December 2007 3010:on January 10, 2016 1916:James Newton Howard 1577:Anatomy of a Murder 1298:Camille Saint-Saëns 1278:Louis F. Gottschalk 937:The Bourne Identity 782:improve the article 497:Written click track 461:Gustavo Santaolalla 349:Process of creation 295:My Heart Will Go On 246:electronic elements 4886:First-dollar gross 3872:. August 31, 2017 3786:Film Music Society 3713:Minneapolis, 1996. 3535:. October 4, 2014. 3238:Film Music Society 2868:on April 12, 2005. 2717:The New York Times 2622:Film Score Monthly 2492:Guillermo del Toro 2472:Sylvester Stallone 1920:M. Night Shyamalan 1908:Angelo Badalamenti 1880:Giuseppe Tornatore 1864:Franklin Schaffner 1348:Gottfried Huppertz 1090:music whatsoever. 940:(Carter Burwell). 858:Northwest Sinfonia 667: 594: 548: 466:Brokeback Mountain 386:based on composer 333:screen composition 257:digital technology 179:symphony orchestra 147: 32:Film Music (album) 4912: 4911: 4702: 4701: 4578:Shooting schedule 4380: 4379: 4275:Progressive music 4069: 4068: 3811:Film Music Review 3695:Slowik, Michael. 3587:"PRWeb July 2007" 3572:978-0-85162-514-0 3475:978-0-19-532779-3 3430:Royal Opera House 3393:978-1-86189-341-3 3302:978-0-203-88447-8 2970:978-0-19-537087-4 2902:978-0-8256-7308-5 2892:Kompanek, Sonny. 2748:978-0-393-93766-4 2520:Alexandre Desplat 2416:Zbigniew Preisner 2300:Elliot Goldenthal 2228:Steven Soderbergh 2136:Michael Giacchino 2124:Anthony Minghella 2068:Terence Blanchard 2004:Christopher Nolan 1896:François Truffaut 1790:may unite with a 1746:Pharrell Williams 1532:Arnold Schoenberg 1515:On the Waterfront 1510:Leonard Bernstein 1484:David O. Selznick 1356:(1922 – music by 1308:Nathaniel D. Mann 1270:Lumière brothers' 1158: 1157: 1150: 1080:'s 1963 thriller 1031:television series 1021:Michael Giacchino 990:Lord of the Rings 986:. Similarly, the 922:(Gabriel Yared), 803: 802: 752:single-line music 695:Digital Performer 653: 577: 531: 451:Christopher Nolan 374:edited his films 137: 136: 129: 111: 16:(Redirected from 4932: 4903: 4902: 4901: 4856:Development hell 4786:Film distributor 4689:Costume designer 4666:Daily production 4646: 4640:Dailies (rushes) 4635:Daily call sheet 4563:Production board 4524:Script breakdown 4407: 4400: 4393: 4384: 4370: 4369: 4360: 4350: 4349: 4340: 4339: 4325:Composers by era 4290:Video game music 4224:Musical ensemble 4026:Post-romanticism 3948: 3909: 3902: 3895: 3886: 3881: 3879: 3877: 3825: 3726:978-3-86488060-5 3702:Spande, Robert. 3603: 3602: 3600: 3598: 3589:. 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Avildsen 1952:David Cronenberg 1852:Alfred Hitchcock 1848:Bernard Herrmann 1844:Stephen Sondheim 1800:Steven Spielberg 1552:Bernard Herrmann 1548:Alfred Hitchcock 1528:Leonard Rosenman 1463: 1384:forms of music. 1253:Lumière brothers 1193:Vaughan Williams 1188:Alexander Nevsky 1183:Sergei Prokofiev 1175:Bernard Herrmann 1153: 1146: 1142: 1139: 1133: 1110: 1102: 1078:Alfred Hitchcock 963:' score for the 854:BBC Philharmonic 834:soundtrack album 798: 795: 789: 765: 764: 757: 676: 674: 673: 668: 654: 649: 626: 603: 601: 600: 595: 578: 570: 557: 555: 554: 549: 532: 530: 516: 421:Steven Spielberg 342:incidental music 321:background music 317:background score 269:MIDI controllers 207:incidental music 132: 125: 121: 118: 112: 110: 69: 45: 37: 21: 4940: 4939: 4935: 4934: 4933: 4931: 4930: 4929: 4915: 4914: 4913: 4908: 4905:Film portal 4899: 4897: 4890: 4834: 4830:Streaming media 4772: 4746:Special effects 4708:Post-production 4698: 4644: 4589: 4568:Day out of days 4536:Shooting script 4510: 4467:film adaptation 4416: 4411: 4381: 4376: 4306: 4233: 4195: 4149: 4065: 4032: 3982:Common practice 3976: 3939: 3918: 3913: 3875: 3873: 3854: 3823: 3777: 3711:Wayback Machine 3656:Harris, Steve. 3612: 3610:Further reading 3607: 3606: 3596: 3594: 3585: 3584: 3580: 3573: 3560: 3559: 3555: 3545: 3544: 3540: 3531: 3530: 3526: 3513: 3509: 3499: 3498: 3491: 3476: 3461: 3460: 3456: 3451: 3447: 3442: 3438: 3423: 3422: 3418: 3413: 3409: 3394: 3379: 3378: 3374: 3362: 3358: 3332: 3331: 3327: 3322: 3318: 3303: 3288: 3287: 3283: 3262: 3258: 3249: 3245: 3232: 3231: 3227: 3213: 3212: 3208: 3198: 3196: 3187: 3186: 3182: 3164: 3163: 3159: 3146: 3145: 3141: 3131: 3129: 3120: 3119: 3115: 3105: 3103: 3094: 3093: 3089: 3080: 3079: 3075: 3066: 3065: 3061: 3052: 3051: 3047: 3038:Paterson, Jim. 3037: 3036: 3032: 3027: 3023: 3013: 3011: 3002: 3001: 2997: 2991:Wayback Machine 2982: 2978: 2971: 2956: 2955: 2951: 2915: 2914: 2907: 2891: 2887: 2878: 2877: 2873: 2856: 2855: 2851: 2842: 2841: 2837: 2828: 2827: 2823: 2810: 2809: 2805: 2798: 2783: 2782: 2778: 2761: 2749: 2736: 2735: 2731: 2721: 2719: 2710: 2709: 2705: 2695: 2693: 2684: 2683: 2679: 2669: 2667: 2664:The Independent 2658: 2657: 2653: 2641:Savage, Mark. " 2640: 2636: 2631: 2598:Fictional music 2578: 2573: 2571: 2568: 2546: 2540: 2452:Jonny Greenwood 2448:Joseph Kosinski 2408:Jorge Arriagada 2376:Roland Emmerich 2356:Paul Greengrass 2328:Christophe Beck 2320:Lasse Hallström 2272:Ernst Reijseger 2256:Nicholas Hynter 2192:Robert Mulligan 2180:Elmer Bernstein 2048:Steve Jablonsky 1960:Martin Scorsese 1936:Kenneth Branagh 1904:Robert Zemeckis 1892:Georges Delerue 1876:Mauro Bolognini 1868:Ennio Morricone 1856:Jerry Goldsmith 1784: 1778: 1763:Chris Wilson – 1757:Despicable Me 2 1709:Despicable Me 2 1624:American Sniper 1603: 1598: 1591: 1586: 1524:Igor Stravinsky 1450:, Lang's movie 1390:Gesamtkunstwerk 1382:German Romantic 1373:Der letzte Mann 1322:photoplay music 1247:. According to 1241: 1225: 1217:pops orchestras 1179:classical music 1163: 1161:Music criticism 1154: 1143: 1137: 1134: 1123: 1111: 1100: 1073:The Deer Hunter 1044: 996:Jerry Goldsmith 946: 890:Stanley Kubrick 885: 877: 826: 807:Ennio Morricone 799: 793: 790: 779: 766: 762: 743: 682: 627: 620: 619: 564: 563: 520: 510: 509: 499: 475: 396:Ennio Morricone 356: 351: 325:film soundtrack 313: 177:(most likely a 133: 122: 116: 113: 70: 68: 58: 46: 35: 28: 23: 22: 15: 12: 11: 5: 4938: 4936: 4928: 4927: 4917: 4916: 4910: 4909: 4895: 4892: 4891: 4889: 4888: 4883: 4878: 4873: 4868: 4863: 4858: 4853: 4848: 4842: 4840: 4836: 4835: 4833: 4832: 4827: 4822: 4817: 4816: 4815: 4810: 4805: 4795: 4794: 4793: 4782: 4780: 4774: 4773: 4771: 4770: 4765: 4760: 4759: 4758: 4753: 4743: 4738: 4733: 4728: 4723: 4718: 4712: 4710: 4704: 4703: 4700: 4699: 4697: 4696: 4694:Make-up artist 4691: 4686: 4681: 4678: 4673: 4668: 4663: 4658: 4656:Film inventory 4652: 4650: 4643: 4642: 4637: 4632: 4631: 4630: 4625: 4620: 4618:Cinematography 4610: 4605: 4599: 4597: 4591: 4590: 4588: 4587: 4586: 4585: 4575: 4570: 4565: 4560: 4559: 4558: 4553: 4543: 4538: 4533: 4532: 4531: 4520: 4518: 4516:Pre-production 4512: 4511: 4509: 4508: 4503: 4498: 4497: 4496: 4486: 4484:Film budgeting 4481: 4480: 4479: 4474: 4469: 4464: 4459: 4449: 4444: 4443: 4442: 4432: 4430:Film treatment 4426: 4424: 4418: 4417: 4412: 4410: 4409: 4402: 4395: 4387: 4378: 4377: 4375: 4374: 4364: 4354: 4344: 4333: 4332: 4327: 4322: 4317: 4311: 4308: 4307: 4305: 4304: 4299: 4294: 4293: 4292: 4287: 4277: 4272: 4267: 4262: 4257: 4252: 4247: 4241: 4239: 4235: 4234: 4232: 4231: 4226: 4221: 4216: 4215: 4214: 4203: 4201: 4197: 4196: 4194: 4193: 4188: 4183: 4178: 4173: 4168: 4163: 4157: 4155: 4151: 4150: 4148: 4147: 4142: 4141: 4140: 4133:United Kingdom 4130: 4125: 4120: 4115: 4110: 4105: 4100: 4095: 4094: 4093: 4083: 4077: 4075: 4071: 4070: 4067: 4066: 4064: 4063: 4058: 4053: 4048: 4042: 4040: 4034: 4033: 4031: 4030: 4029: 4028: 4018: 4017: 4016: 4006: 4005: 4004: 4001:Empfindsamkeit 3997: 3986: 3984: 3978: 3977: 3975: 3974: 3973: 3972: 3962: 3956: 3954: 3945: 3941: 3940: 3938: 3937: 3932: 3926: 3924: 3920: 3919: 3914: 3912: 3911: 3904: 3897: 3889: 3883: 3882: 3851: 3850: 3846: 3845: 3837: 3836: 3832: 3831: 3821: 3814: 3807: 3799: 3798: 3794: 3793: 3788: 3782: 3781: 3776: 3775:External links 3773: 3772: 3771: 3756: 3733: 3714: 3700: 3693: 3686: 3669: 3654: 3643: 3628: 3611: 3608: 3605: 3604: 3578: 3571: 3553: 3538: 3524: 3507: 3489: 3474: 3454: 3445: 3436: 3416: 3407: 3392: 3372: 3356: 3325: 3316: 3301: 3281: 3256: 3243: 3225: 3206: 3180: 3157: 3139: 3113: 3087: 3073: 3059: 3045: 3030: 3021: 2995: 2976: 2969: 2949: 2905: 2885: 2871: 2849: 2835: 2821: 2803: 2796: 2776: 2747: 2729: 2703: 2692:. 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1162: 1159: 1156: 1155: 1138:September 2013 1114: 1112: 1105: 1099: 1098:Artistic merit 1096: 1068:Michael Cimino 1043: 1040: 980:Luke Skywalker 945: 942: 884: 881: 876: 873: 825: 822: 818:music copyists 801: 800: 794:September 2021 769: 767: 760: 742: 739: 681: 678: 666: 663: 660: 657: 652: 648: 645: 642: 639: 636: 633: 630: 593: 590: 587: 584: 581: 576: 573: 547: 544: 541: 538: 535: 529: 526: 523: 519: 498: 495: 480:SMPTE timecode 474: 471: 404:and the films 372:Godfrey Reggio 355: 352: 350: 347: 312: 309: 303:, written for 287:diegetic music 261:audio sampling 197:programs, and 183:sound engineer 135: 134: 49: 47: 40: 26: 24: 18:Original Score 14: 13: 10: 9: 6: 4: 3: 2: 4937: 4926: 4923: 4922: 4920: 4907: 4906: 4893: 4887: 4884: 4882: 4879: 4877: 4874: 4872: 4871:Film industry 4869: 4867: 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4843: 4841: 4837: 4831: 4828: 4826: 4823: 4821: 4818: 4814: 4811: 4809: 4806: 4804: 4801: 4800: 4799: 4796: 4792: 4789: 4788: 4787: 4784: 4783: 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Routledge. 2789: 2788: 2780: 2777: 2772: 2766: 2758: 2754: 2750: 2744: 2740: 2733: 2730: 2718: 2714: 2707: 2704: 2691: 2687: 2681: 2678: 2665: 2661: 2655: 2652: 2648: 2644: 2638: 2635: 2628: 2624: 2623: 2619: 2616: 2615: 2611: 2609: 2606: 2604: 2601: 2599: 2596: 2594: 2591: 2589: 2586: 2585: 2581: 2570: 2565: 2563: 2560: 2554: 2552: 2551:work for hire 2545: 2537: 2535: 2533: 2529: 2525: 2521: 2517: 2513: 2512:Pino Donaggio 2509: 2505: 2501: 2497: 2493: 2489: 2485: 2481: 2477: 2473: 2469: 2465: 2461: 2457: 2453: 2449: 2445: 2441: 2437: 2433: 2429: 2425: 2421: 2417: 2413: 2409: 2405: 2404:Terry Gilliam 2401: 2397: 2393: 2392:Michael Kamen 2389: 2385: 2384:Michael Apted 2381: 2377: 2373: 2372:Harald Kloser 2369: 2365: 2361: 2357: 2353: 2349: 2345: 2341: 2337: 2333: 2329: 2325: 2321: 2317: 2316:Beeban Kidron 2313: 2309: 2305: 2301: 2297: 2293: 2289: 2285: 2281: 2280:Randy Edelman 2277: 2276:Werner Herzog 2273: 2269: 2265: 2261: 2257: 2253: 2249: 2248:George Fenton 2245: 2241: 2237: 2233: 2232:Akira Ifukube 2229: 2225: 2221: 2217: 2213: 2209: 2205: 2201: 2197: 2196:Maurice Jarre 2193: 2189: 2185: 2181: 2177: 2173: 2172:Terence Young 2169: 2165: 2161: 2157: 2153: 2152:James Cameron 2149: 2145: 2141: 2137: 2133: 2129: 2125: 2121: 2120:Gabriel Yared 2117: 2113: 2109: 2105: 2104:Stephen Herek 2101: 2097: 2093: 2089: 2085: 2084:Thomas Newman 2081: 2080:John Lasseter 2077: 2073: 2069: 2065: 2061: 2057: 2056:Mychael Danna 2053: 2049: 2045: 2044:David Fincher 2041: 2037: 2033: 2029: 2025: 2021: 2020:Clint Mansell 2017: 2013: 2009: 2005: 2001: 1997: 1993: 1989: 1985: 1981: 1980:Lalo Schifrin 1977: 1973: 1969: 1965: 1961: 1957: 1956:Peter Jackson 1953: 1949: 1945: 1941: 1937: 1933: 1932:Patrick Doyle 1929: 1925: 1921: 1917: 1913: 1909: 1905: 1901: 1897: 1893: 1889: 1888:Blake Edwards 1885: 1884:Henry Mancini 1881: 1877: 1873: 1869: 1865: 1861: 1857: 1853: 1849: 1845: 1841: 1840: 1835: 1831: 1830: 1825: 1821: 1817: 1816: 1815:Indiana Jones 1811: 1810: 1805: 1801: 1797: 1796:John Williams 1793: 1789: 1786:Sometimes, a 1783: 1775: 1773: 1768: 1767: 1762: 1759: 1758: 1753: 1752: 1751:Despicable Me 1747: 1744: 1741: 1740: 1735: 1734:Thomas Wanker 1732: 1729: 1728: 1723: 1722: 1717: 1714: 1711: 1710: 1705: 1704: 1699: 1698: 1697:Despicable Me 1693: 1690: 1687: 1683: 1682: 1677: 1676:Harald Kloser 1674: 1671: 1670: 1665: 1662: 1659: 1658: 1653: 1650: 1649: 1644: 1641: 1638: 1637: 1632: 1629: 1626: 1625: 1620: 1617: 1616: 1611: 1610:William Alwyn 1608: 1607: 1606: 1600: 1596: 1588: 1583: 1581: 1579: 1578: 1573: 1570:'s score for 1569: 1565: 1564: 1559: 1558: 1553: 1549: 1545: 1544: 1539: 1538: 1533: 1529: 1525: 1521: 1520:Aaron Copland 1517: 1516: 1511: 1507: 1506: 1501: 1497: 1492: 1489: 1485: 1481: 1477: 1472: 1470: 1469: 1465:whistling in 1462: 1461: 1455: 1454: 1449: 1448: 1443: 1438: 1436: 1432: 1431:Aaron Copland 1428: 1424: 1420: 1419: 1414: 1410: 1405: 1403: 1399: 1395: 1391: 1387: 1383: 1379: 1375: 1374: 1369: 1365: 1364: 1359: 1355: 1354: 1349: 1345: 1344: 1339: 1338: 1333: 1329: 1328:German cinema 1325: 1323: 1319: 1318:magic lantern 1315: 1314: 1310:'s score for 1309: 1305: 1304: 1299: 1295: 1294: 1290:(a sequel to 1289: 1288: 1283: 1279: 1275: 1271: 1267: 1261: 1258: 1254: 1250: 1246: 1238: 1236: 1234: 1233:movie studios 1230: 1222: 1220: 1218: 1214: 1209: 1204: 1203:John Williams 1200: 1199: 1194: 1190: 1189: 1184: 1180: 1176: 1172: 1171:Aaron Copland 1168: 1160: 1152: 1149: 1141: 1131: 1127: 1121: 1120: 1115:This section 1113: 1109: 1104: 1103: 1097: 1095: 1093: 1089: 1085: 1084: 1079: 1075: 1074: 1069: 1065: 1064:Frankie Valli 1061: 1057: 1053: 1049: 1041: 1039: 1037: 1036: 1032: 1028: 1027: 1022: 1018: 1014: 1012: 1007: 1006: 1001: 997: 993: 991: 988:music of the 985: 984:Princess Leia 981: 977: 973: 971: 966: 962: 961:John Williams 957: 955: 951: 943: 941: 939: 938: 933: 932: 927: 926: 921: 920: 915: 914: 909: 908:Frank Cordell 905: 901: 900:György Ligeti 897: 896: 891: 882: 880: 874: 872: 868: 866: 861: 859: 855: 851: 847: 843: 839: 835: 831: 823: 821: 819: 814: 811: 808: 797: 787: 783: 777: 775: 770:This section 768: 759: 758: 755: 753: 748: 741:Orchestration 740: 738: 734: 730: 726: 722: 718: 716: 712: 708: 704: 700: 696: 692: 688: 679: 677: 664: 661: 658: 655: 650: 643: 640: 634: 631: 628: 617: 615: 609: 608: 604: 591: 588: 582: 574: 571: 561: 558: 545: 542: 536: 527: 524: 521: 517: 507: 504: 496: 494: 492: 488: 483: 481: 472: 470: 468: 467: 462: 458: 457: 452: 448: 443: 439: 434: 432: 431:John Williams 428: 427: 422: 417: 415: 414: 409: 408: 403: 402: 397: 394:and composer 393: 389: 385: 384: 379: 378: 377:Koyaanisqatsi 373: 368: 365: 361: 353: 348: 346: 344: 343: 338: 334: 330: 326: 322: 318: 310: 308: 306: 302: 301: 296: 292: 288: 284: 280: 276: 272: 270: 266: 262: 258: 253: 251: 247: 243: 239: 238:ambient music 235: 231: 227: 223: 219: 215: 210: 208: 204: 200: 196: 192: 188: 184: 180: 176: 172: 168: 164: 160: 156: 152: 143: 139: 131: 128: 120: 109: 106: 102: 99: 95: 92: 88: 85: 81: 78: – 77: 73: 72:Find sources: 66: 62: 56: 55: 50:This article 48: 44: 39: 38: 33: 19: 4896: 4798:Film release 4778:Distribution 4740: 4721:Re-recording 4716:Film editing 4628:Videographer 4489:Film finance 4447:Step outline 4297:Third stream 4284: 4260:Experimental 4091:Porto Alegre 4061:21st-century 4056:20th-century 4051:Contemporary 3999: 3876:September 3, 3874:. Retrieved 3859: 3840: 3826: 3816: 3809: 3802: 3763: 3744: 3740: 3736: 3717: 3696: 3689: 3673: 3657: 3650: 3631: 3620: 3595:. Retrieved 3591:the original 3581: 3562: 3556: 3547: 3541: 3527: 3510: 3501: 3464: 3457: 3448: 3439: 3428: 3425:"Erik Satie" 3419: 3410: 3382: 3375: 3367: 3363: 3359: 3345:(1): 40–53. 3342: 3338: 3328: 3319: 3291: 3284: 3268: 3264: 3259: 3251: 3246: 3237: 3228: 3219: 3209: 3199:December 13, 3197:. Retrieved 3193: 3183: 3175:the original 3170: 3160: 3151: 3142: 3130:. Retrieved 3126:the original 3116: 3104:. Retrieved 3100:the original 3090: 3076: 3062: 3048: 3033: 3024: 3012:. Retrieved 3008:the original 2998: 2979: 2959: 2952: 2925: 2921: 2893: 2888: 2874: 2866:the original 2861: 2852: 2838: 2824: 2816:the original 2806: 2786: 2779: 2738: 2732: 2720:. Retrieved 2716: 2706: 2694:. Retrieved 2689: 2680: 2668:. 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Abrams 2100:Brian Levant 2096:Danny Devito 2092:David Newman 2076:Randy Newman 2040:Atticus Ross 2036:Trent Reznor 2000:Ridley Scott 1992:Brett Ratner 1948:Howard Shore 1872:Sergio Leone 1837: 1834:Howard Shore 1827: 1820:Danny Elfman 1813: 1807: 1804:George Lucas 1785: 1772: 1764: 1755: 1749: 1737: 1725: 1719: 1716:Trevor Rabin 1707: 1701: 1695: 1679: 1667: 1655: 1646: 1636:House of Wax 1634: 1622: 1613: 1604: 1575: 1561: 1555: 1541: 1537:East of Eden 1535: 1513: 1503: 1493: 1487: 1473: 1467: 1451: 1445: 1439: 1434: 1416: 1406: 1388:'s ideas on 1371: 1361: 1358:Hans Erdmann 1351: 1341: 1335: 1326: 1311: 1301: 1300:' music for 1291: 1285: 1262: 1242: 1226: 1196: 1186: 1185:'s score to 1164: 1144: 1135: 1124:Please help 1119:verification 1116: 1088:non-diegetic 1081: 1071: 1048:Source music 1045: 1042:Source music 1033: 1024: 1010: 1003: 989: 969: 964: 958: 947: 935: 929: 923: 917: 913:Torn Curtain 911: 893: 886: 878: 869: 862: 830:orchestrated 827: 815: 812: 804: 791: 771: 744: 735: 731: 727: 723: 719: 715:MIDI mockups 683: 618: 613: 610: 606: 605: 562: 559: 508: 500: 490: 486: 484: 476: 464: 454: 435: 424: 418: 411: 405: 399: 392:Sergio Leone 388:Philip Glass 381: 375: 369: 357: 340: 337:screen music 336: 332: 328: 324: 320: 316: 314: 298: 291:James Horner 273: 254: 211: 187:live theatre 150: 148: 138: 123: 114: 104: 97: 90: 83: 76:"Film score" 71: 59:Please help 54:verification 51: 4925:Film scores 4876:Film rights 4866:Filmography 4623:Videography 4551:Scenography 4462:spec script 4422:Development 4372:WikiProject 4265:Light music 4250:Baroque pop 4245:Avant-garde 4200:Performance 3965:Renaissance 3952:Early music 3824:(in French) 3271:, p.96n40. 3148:"Leitmotif" 2690:KidsKonnect 2580:film portal 2504:Zack Snyder 2496:Tyler Bates 2476:John Ottman 2464:Brian Tyler 2348:John Powell 2344:John Badham 2340:David Shire 2308:Neil Jordan 2244:Mani Ratnam 2184:John Landis 2128:Joe Kraemer 2112:Jon Favreau 2108:John Debney 2064:Atom Egoyan 2052:Michael Bay 1996:Hans Zimmer 1940:Dave Grusin 1912:David Lynch 1664:Bill Justis 1643:Brad Fiedel 1560:(1958) and 1540:(1955) and 1480:Max Steiner 1476:Phonographs 1442:Peter Lorre 1398:Max Steiner 1340:(1924) and 1249:Kurt London 1245:Romanticism 1208:Marcus Paus 1195:' score to 1052:film theory 1013:film series 1002:theme from 992:film series 976:Darth Vader 883:Temp tracks 503:click track 459:; composer 447:Hans Zimmer 442:storyboards 311:Terminology 305:Celine Dion 242:world music 199:video games 4881:Turnaround 4846:Box office 4731:Soundtrack 4726:Sync sound 4684:Editor log 4661:Production 4595:Production 4541:Storyboard 4501:Greenlight 4452:Screenplay 4440:scriptment 4414:Filmmaking 4285:Film score 4280:Soundtrack 4219:Conducting 4138:Birmingham 4074:By country 3923:Definition 3861:Studio 360 3741:(1914) to 3383:Film music 3368:Assassinat 3364:Fairylogue 3265:Film Music 2960:Film Music 2722:August 10, 2629:References 2508:Rob Zombie 2500:James Gunn 2488:Wes Craven 2468:Justin Lin 2424:Mark Isham 2352:Doug Liman 2332:Shawn Levy 2296:Rob Reiner 2204:Peter Weir 2200:David Lean 2160:John Barry 2156:Ron Howard 2088:Sam Mendes 2032:Joe Wright 2012:Tony Scott 1984:Don Siegel 1972:Bill Conti 1928:Luc Besson 1924:Éric Serra 1842:(score by 1832:(score by 1824:Tim Burton 1721:Armageddon 1703:The Smurfs 1500:Elia Kazan 1488:King Kong. 1413:René Clair 1409:Erik Satie 1343:Metropolis 1334:'s movies 1332:Fritz Lang 1266:cue sheets 1257:vaudeville 952:'s use of 904:Alex North 856:, and the 774:unbalanced 501:A written 383:Powaqqatsi 329:film music 250:orchestral 203:soundtrack 191:television 151:film score 87:newspapers 4603:Film crew 4583:one-liner 4556:Rehearsal 4330:Festivals 4229:Orchestra 4081:Australia 4046:Modernism 4038:New music 4009:Classical 3930:Art music 3835:Education 3739:Squaw Man 3484:276515073 3402:132314768 3311:309903138 2944:0377-0427 2928:: 25–36. 2765:cite book 2757:976036236 2696:March 29, 2588:Show tune 2456:Jon Brion 2412:Raúl Ruiz 2288:Rob Cohen 2260:Ken Loach 2144:Brad Bird 2072:Spike Lee 1860:Joe Dante 1809:Star Wars 1593:See: 1584:Composers 1512:to score 1496:modernist 1447:Peer Gynt 1435:Entr'acte 1423:aleatoric 1418:Entr'acte 1394:leitmotif 1353:Nosferatu 1083:The Birds 1011:Star Trek 970:Star Wars 965:Star Wars 954:leitmotif 944:Structure 931:King Kong 824:Recording 786:talk page 711:Pro Tools 699:Logic Pro 456:Inception 175:orchestra 163:composers 117:July 2013 4919:Category 4820:Roadshow 4736:Timecode 4671:Progress 4435:Producer 4352:Category 4021:Romantic 3960:Medieval 3849:Language 3707:Archived 3597:July 20, 3263:London. 3194:FilmChat 3014:July 21, 2987:Archived 2566:See also 1792:director 1788:composer 1754:(2010), 1748: – 1736: – 1724:(1998), 1718: – 1706:(2011), 1700:(2010), 1694: – 1684:(2004), 1678: – 1666: – 1645: – 1633: – 1612: – 1580:(1959). 1486:'s 1933 1215:, as do 1092:Dogme 95 1060:diegesis 1056:diegetic 693:such as 453:'s film 364:diegetic 354:Spotting 279:musicals 171:producer 167:director 4839:Related 4813:delayed 4808:limited 4546:Casting 4529:process 4457:process 4342:Outline 4238:Related 4207:Concert 4113:Ireland 4108:Germany 3990:Baroque 3132:22 July 3106:30 July 2880:"SMPTE" 2060:Ang Lee 1829:Ed Wood 1557:Vertigo 1239:History 1000:Klingon 780:Please 772:may be 680:Writing 473:Syncing 300:Titanic 297:" from 234:new-age 101:scholar 4756:visual 4477:Option 4362:Portal 4320:Genres 4191:T to Z 4186:R to S 4181:N to G 4176:K to M 4171:G to J 4166:C to F 4161:A to B 4128:Russia 4123:Kosovo 4103:France 4098:Canada 4086:Brazil 3995:Galant 3751: 3745:(1989) 3743:Batman 3724: 3681: 3664: 3638: 3569: 3482: 3472: 3400: 3390: 3309: 3299: 3275: 2967: 2942: 2900: 2794: 2755: 2745: 2670:May 2, 2530:, and 2518:; 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