• father of film music 
• major pioneer of original music for films
• believed in "Mickey moused the action"
• one of the first to use click track method (the Informer, 1935)
• the first serious composer of the sound era
• very prolific composer, over 300 scores

• scored by Max Steiner- is deemed film music's greatest achievement in the early 1930's

• first times a Hollywood composer received on-screen credit as film composer
• wrote a descending three-note leitmotif for Kong

• Most prominent German musician to contribute to film scoring in Hollywood
• became the head of music at Universal Studios
• moved to Warner Bros w/ Korngold & Steiner
• placed great emphasis on orchestral color
• chose intruments to create sounds that would match the style of the scene

• Established a new standard in the music of horror films
• the most significant score Waxman composed while at Universal
• Utilized the leitmotif technique for the monster and his bride

• One of the most powerful and influential musicians in the history of Hollywood music
• a composer, conductor, and an executive
• wrote the 20th century Fox music logo in 1935
• composed 255 scores
• nominated 45 times for an Oscar (won 9)
• created "Fox string sound"
• like fast vibratos
• favorite score was "The Song of Bernadette"
• His score for Wuthering Heights was instrumental in making this film a masterpiece of romantic filmmaking

• score is built around Cathy's theme that appears many times throughout the movie
• Newman considers this to be among hsi top three best scores

• the bulk of the film score was based on American folk songs such as Civil War and Southern songs popular back then
• Steiner used 5 orchestrators on this score and completed it in about four-week's time, getting only about 15 hours of sleep the entire time!
• There were 11 principal themes, the most famous being the "Tara theme"
• Selznick hired two additional film composers as a "back up" (Franz Waxman and Herbert Stothart) in case Steiner couldn't meet the deadline

• Herbert Stothart's score won the Oscar in 1939, a very competitive year
• MGM executives originally wante to delete the song "Somewhere Over the Rainbow." The song ended up winning for best original song at the Academy Awards.

• Hitchcock movie where music by Waxman sets mood changes ,creates suspense, and parallels the action

• Great composer of concert hall works and film scoring
• Exotic, fantasy period (The Thief of Bagbad, Jungle Book, Sahara)
• Psychological period (The Lost Weekend, Spellbound)
• Gangster film period (Brute Forcem The Killers, and Naked City.)
• Historical-Epic period (Ben-Hur, King of Kings, and El Cid) 

• term applied to films that contain lighting taht emphasizes dark shadows and that feature an abundance of night scenes. 
• First used by French film critics in the late 1940's. 
• The next 3 films are good examples of movies with film noir characteristics

• Rozsa score which uses the theremin to enhance the main character's craving for alcohol. 

• score by Rozsa that became the first score to use a theremin supported by a full orchestra within a motion picture.
• the theremin was used to enhance the main character's obsession witht he color white and parallel lines. 

• was a child prodigy; hailed as a second Mozart
• the first composer of international reputation to accept a Hollywood contract
• had been an internationally famous opera composer in Europe before coming to Hollywood to score films
• composed only 18 scores which were either swashbuckling adventures or romantic dramas while working in Hollywood
• style-is that late Romantic-period composers such as Richard Strauss
• his scores started with a brass fanfare followed by a sweeping melody int he strings.

• Korngold's best film score
• the music is "in your face" because it is loud and practically "wall-to-wall"

• Described as a "mastodon of divine" conceit because of his huge ego and violent temper, he started as a radio composer at CBS in NYC
• made a cameo appearance in "The Man Who Knew Too Much"
• always orchestrated his own scores
• was a master orchestrator and tone colorist
• tried to create new colors of sound through pioneering methods of orchestration
• revolutionized film scoring in at least two distinct ways
• 1. customized the size of the orchestra to fit his needs of the scene
• 2. used short chord cues at times instead of long melodic lines, feeling that wall-to-wall music is not always as effective
• had a special ability for depicting the dark and sinister side of man
• fondness for the ultra dark sonorities and achieved these effects by scoring for low brass, low woodwinds, and low strings. 

• Herrmann's first score was revolutionary in several ways
• 1. used low-pitched instruments to represent the smell of death at the beginning of the film
• 2.used short musical cues to link scenes together
• 3. used music sparingly (not wall-to-wall music)
• 4. his unique approach to combining dramatic underscoring with American dance tunes was innovative
• wrote an opera sequence that would be out of the range of the soprano singer in order to make her sound like a feeble singer
• Herrmann captured the dissolving of Kane's first marriage durign the "breakfast table scene" by writing music that became increasingly more disturbing.

• Rozsa's hard-hitting gangster score whose main theme became the famous television "Dragnet" theme

• Because of the sucess of Dimitri Tiomkin's main title song, "Do Not Forsake Me Oh My Darlin." this started a new trend in film music that was the beginning of the breakdown of the exclusive use of symphonic scores by filmmakers. This new trend gravitated more toward the use of popular songs in film scores.

• composed by Don Davis
• A futuristic score that contains many modern compositional techniques used by concert hall composers such as texture music, minimalsim, polytonality, polyrhythmic sections, and other devices of the postmodern style

• A score by James Newton Howard that concentrates on creating a scary atmosphere by using electronics, string harmoics, texture music and a wordless choir. 

• the score by John Debney combines elements of world music, Classical music, and pop contemporary styles.

Emma 

• a landmark score because this was the first time a score written by a woman won the Academy Award. 
• the composer was Rachel Portman from England
• Her music captures the delicate and subtle qualities of insight, wit, and gentle empathy as well as the unspoken interplay between characters, the misunderstandings, the jeolousies, and deceits

• Effective German born composer who has been composing memorable scores for movies such as The Lion King and Gladiator. 
• the amazing thing is that he does not know how to read music

• an American clarinet used in many recent scores such as Gladiator and the Passion of Christ
• composed by John Debney

• James Horner has given us a score comprised of synthesizer, vocals, and orchestra to create a timeless quality. 
• uses ethnic instruments to give the score its Irish flavor.
• haunting solo voice cries out over the ocean the theme of Rose
• wrote each theme so that they could be heard sepearately or together

• David Arnold gave us a score that conveys the feeling of patriotism by writing a patriotic march.
• he represents the aliens from space by spelling out the word "DIE" in Morse code by using African and Japanese drums
• This score shows a lot of influence from the music of John Williams and Korngold

• A challenge for composer Mark Mancina due ot the extreme loudness of the tornadoes
• his orchestral/synthesizer approach with prominent pounding precussion worked.

• Thomas Newman wrote a powerful atmospheric score that casts a certain mood by using long, rich dark sustained clusters the string section accompanied by "muted" chords in the piano part.
• Son of Alfred Newman, he bas been responsible for a new style of film composing that is emerging
• Instead of using leitmotifs and other recognizable themes, he creates sonic shadings (atmospheres) using these longs rich chord clusters and a "muted" piano

• A landmark score by Alex North using jazz in a dramatic sense

• A landmark score by Elmer Bernstein using jazz to create an atmosphere

• Re-make of an earlier (1934) Hitchcock film of the same name. 
• Herrmann makes a cameo apperance playing himself as a conductor leading the London Symphony Orchestra in a performance of the Storm Clouds Cantata by Arthur Benjamin. 
• An assassin aattempts to shoot his single shot to coincide with the loud cymbal crash at the end of this piece

• the score that launched Elmer Bernstein's career. 
• He got the job after being recommended by ailing Victor Young, the originally intended composer
• The most prominent music theme heard throughout the film deals with deliverance out of bondage
• Bernstein had almost a year to write this score. During this time, he had to play each new musical cue for filmmaker Cecil B. DeMille for approval before proceeding. 
• Bernstein learned from DeMille how using faster music to underscore the slow moving Exodus scene helped to move the scene along

• The first totally all-electronic score. This score, featuring the "electronic tonalities" created by Louis and Bebe Barron, launched the era of electronic music in film

• This score ranks as one of Franz Waxman's finest musical achievements
• Music is very crucial to this film because much of the story takes place in the lonely cockpit of Lindbergh's single enginei plane
• Music is needed to fill the void created by the lack of dialogue

• The curious thing about this score is the fact that it won as the best original score for a tune that wasn't even composed by the winning composer.
• This whistle tune, the "Colonel Bogey March" became extremely popular

• Pne of two Western prototype scores.
• score was by Jerome Moross
• The Blanco canyon sequence uses the ostinato pattern to build suspense
• the main title sequence uses a "hoe" down-like ostinato to convey a western flavor.
• This score uses the pentatonic scale, syncopation, and melodies based on triads (triadic melodies).

• This is one in a series of scores written by Herrmann for a group of fantasy oriented themes. 
• This is a score featuring a normal sized orchestra with an augmented percussion section.
• The cyclops attack is accompanied by blarring brass and pounding percussion to signify the unpenetratable quality of the giant cyclops
• The skeleton attack sequence, Herrmann scores this with the sound of the xylophone to represent the sound of human bones clanking away.

• Considered by Herrmann to be his own personal favorite score of the scores he wrote for an Alfred Hitchcock fim, this is a powerful score containing a main title theme that conveys the feeling of vertigo by its swirling sound created by broken diminished 7th chords moving in contrary motion.
• Herrmann also creates a dramatic feeling of ultimate longing by the main character by composing a sequence in the style of Richard Wagner's "Liebestod" section from his opera, "Tristan and Isolde"

• In this score, Herrmann used 5 organs (one cathedral, 4 electronic) instead of strings.

He also used the serpent in this score.

• Herrmann uses an exciting main title theme in the form of a fandango to provide unity throughout this movie.
• Herrmann waits until the last possible minute to bring in this theme during the "crop duster" sequence in order to build up unbearable suspense. 

• Franz Waxman based part of this score on Gregorian chant source material.
• He also utilized the modern 12-tone row technique in the insane asylum sequence.
• During this sequence, he has the strings playing their parts by using pizzicato (plucking out the notes with their fingers instead of using the bow)

• Considered to be Rozsa's greatest score and one of the greatest movie scores of all time, this score abounds with themes and variations.
• Rozsa had 18 months to work on his score
• He won his third and final Oscar for this score
• He had done some historical research in order to make this score more believable
• He wrote about half a dozen Roman marches that have become the prototype for this genre. 
• His music supports about 2/3rds of this 3 and 1/2 hour film.
• After this success, Rozsa became known as Hollywood's foremost composer dealing with historical settings. 

• Herrmann's most famous score which accompanies Hitchock's most famous and successful motion picture
• used an all string orhestra to give a colorless, black and white sound to the back and white film
• the use of the string glissandos in the shower sequence have become perhaps the most often imitated film music cue in the history of cinema
• Hitchcock later remarked that 33% of the success of Psycho was due to Herrmann's score

• score by Elmer Berstein; the quintessential western score prototype
• certainly as influential as "The Big Country by Jerome Moross" the music in this film was used to give the film drive and increase the exicitement.

• American composer responsible for inspiring the "Americana Style" heard in many western scores

• North gave us a score with a cold, brutal, and barbaric quality, heavy on brass and percussion, to accompany the many scenes with the slaves and gladiators.
• He had a total of 13 months to work on this score

• This score for this famous Jules Verne story once again illustrates Herrmann's mastery over orchestration techniques
• In one scene he turns the entire orchestra into the sound of a giant buzzing machine by using various orchestration techniques

• Rozsa's main title theme serves as themajor theme heard throughout the movie. 
• It taes the place of dialogue in some places
• Especially in the sequences where Jesus performs miracles. 
• Rozsa also wrote his only 12 tone row sequence of his entire career to represent Satan when he tries to temp Jesus in the desert

• Rozsa's own personal favorite of all of his 90 scores
• He did historical research in Spain using Spanish folk songs of the period and dance music of 12th century Spain to give this score its Spanish flavor

• Mario Nascimbene recorded part of his score at half the tape recorder speed for the crucifixion scene to give it its eerie-souding quality
• This score has been an inspiration for other composers

• French composer who was a pioneer in using a combination of electronic instruments such as the Ondes Martenot and ethnic instruments from various countries.

• The major themes are heard in the main title sequence
• One theme represents T.E. Lawrence by using a British sounding march; the other is a sweeping panoramic Arabian-sounding theme for the desert.
• This won Maurice Jarre his first Oscar.
• He used the Ondes Martenot to provide atmospheric shadings for the scenes in the desrt, particulary at night.

• Perhaps containing one of the most recognizable themes in cinema history, "Lara's theme" by Maurice Jarre was on the pop charts for over two years!

• This was the first of a long line of James Bond movies.
• There is controversy as to who wrote the now-famous James Bond theme

• Herrmann's score (the four note leitmotif) is effective in building suspense
• Some of his music was re-used in the 1991 re-make directed by Martin Scorecese with additional music being supplied by Elmer Bernstein
• About six minutes of Herrmann's music was actually used inthis re-make

• Elmer Bernstein's own personal favorite among his many score, this score lunached a more intimate approach to scoring films by using a smaller ensemble of players instead of the usual full orchestra
• Bernstein uses the piano to represent the innocence of children.

• This was the last score that Herrmann completed for a Hitchcock film
• This score contains a errifying leitmotif to enhance the main character's obsession with the color red.

• Considered by many to be Newman's greatest score.
• It also contained some music borrowed from Handel's Messiah. (The Hallelujah Chorus).

• Extremely prolific film composer, composing more films scores than any other composer.
• This Italian composer got his start writing music for a group of films made in Italy known as "spaghetti Westerns."
• His score contained experiemental sounds from animals and birds, and whistling and grunt noises from humans. 

• A very experimental sounding score from Jerry Goldsmith using both conventional instruments of the orhestra in unconventional ways, and some techniques such as prepared piano, the echoplex, as bass slide whistle, and the sound of steel mixing bowls being struck by a drum mallet.

• A very effective score that captures the essence of the main character's personality in the main title sequence showing his belief in reincarnation, the religion of fighting wars, and the great warrior. 
• Jerry Goldsmith once again uses echoplex with a triplet figure in the trumpets to represent reincarnation.

• The music of various classical composers is played ont he synthesizer by compser Walter Carlos who is now Wendy...
• he had a sex change
• This classical music is used to "play against the action"

• an effective score by Nino Rota that was disqualified for Academy Award consideration because parts of the score had already been used in a previous Italian movie
• Rota used the sound of the mandolin to create the atmosphere of the island of Siciliy and the Mafia

• Marvin Hamlisch won an Academy Award for arranging the music of dead black composer Scott Hoplin, who was known as the "King of Ragtime."

• A frightening and disturbing film which played in movie theaters with its temp track material instead of the intended scores of 2 composers who were strongly considered.
• Bernard Herrmann turned down the assignment and Lalo Schifrin had his score rejected.
• The director of the film used the song "Tubular Bells" by Mike Oldfield as the main theme to represent the main character who was a demon-possessed 12-year-old, because it reminded him of an innocent nursery rhyme. 

• An excellent example of a compilation score that used existing pop songs of the 1950s and 1960s to provide atmosphere of time and place

• This film launched the careers of Steven Spielberg and composer John Williams.
• Although Williams had done a couple dozen films before Jaws, this was the first time Williams had won the Academy Award of his won music. 
• The now famous two-note motive for the great white shark attacks is universally famous. 
• It helped to make moviegoers all over realize the power of a good film score. 

• The last score completed by Herrmann
• He died the night he completed the last scoring session for this film 

• This is the first and only Oscar for Jerry Goldsmith
• Some call this the prototype for Satanic movies
• His "Ave Satani" is reminiscent of Carl Orff's "carmina burana."
• The music is used sparingly, so that it will have a more major impact upon its arrival

• The main theme from this film is in the form of a fanfare and is one of the most recoggnizable themes taken from any film.
• It launched the career of composer Bill Conti

• A film score with an "old-fashioned" Korngold kind of feel. 
• This is a landmark score by John Williams that heped to resurrect interest in the full symphonic score once again at a time when that type of score had gone out of fashion. 
• This film score contains leitmotifs for all of the major characters except Han Solo.

• This film's score launch the disco craze

• An innovative avant garde score by John Corigliano that contains new sounds never heard in any film score up to that time. 
• Corigliano employs almost every modern convention known to 20th-century composers such as multi phonics, microtones, texture music, and the like. 

• Thi film concentrates more on human emotions and drama than many of the other films made by Spielberg during this phase of his career, 
• therefore John Williams chose to use the leitmotif technique to manipulate our emotions.

• This is a very diverse score by Goldsmith, containing the new sounds of rub rods, 
• the childlike lullaby for carol Anne, as well as the sound of strings playing in an impressionistic style an the almost atonal rendernigs in some of the mos hair-raising scenes.

• A score by Randy Newman that is both original in concept and sound.
• It has been often used as temp track music for many coming attractions

• An all synthesizer score by Maurice Jarre in which th eelectronics give us an icy cold quality used to represent the standoffish quality of the Amish people. 
• The barn raising sequence is particularly noteowrthy in his approach of using the style of passacaglia. 

• score by John Barry is a good example of his recognizable style of having a melody int he top voice supported by a broke chordal accompaniment in the bass voice, that is many times accompanied by a countermelody in the French horns.
• The long sustained chords lend themselves to the incredible vistas of the African landscape.

• A culturally diverse score by James Horner that combines the sounds of a typical symphony orchestra with that a wordless choir and various ethnic instruments.

• One of James Horner's finest efforts
• Unfortunately, the members of the motion picture academy rejected this score for consideration because it was felt that Horner's score was too much like some of the temp track material to be considered "original"

• This is the dark and moody score that launched Danny Elfman as a mainstream film composer
• This score was inspired by the music of Herrmann.

• An Academy award-winning score by John Barry that showcases his homophonic style.
• This is the longest score that he has written for a movie

• An exciting score for a landmark special effects extravaganza 
• That contains various memmorable leitmotifs for different aspects and characters of the story
• One unique thing was that the score was sent via satellite to Spielberg in Poland from LA because he was still over there filming Schindler's List
• This core contains many of the typical John Williams techniques such as flashy brass parts, rapid woodwind runs with the piccolo on top, cymbal crashes, and pounding support rhythms. 

• Since Williams considers the dialogue as part of the score, this musical score is near perfect in its ability to interweave within the fabric of the dialogue. 
• He won an Academy Award for this score.

• This was the surprise blockbuster hit of the summer of 1994. 
• Mark Mancina cleverly combined the sounds of metal objects being struck, along with Electronic synthesizer sounds and colors, and live musicians

Stargate 

• Alan Silvestri wrote a childlike piano leitmotif to represent the childlike innocence of Forrest Gump.
• There are also other leitmotifs such as the running theme and Jenny's theme.

• Thomas Newman wrote a powerful atmospheric score that casts a certain mood by using long, rich, dark sustained clusters the string section accompanied by "muted" chords in the piano part
• Son of Alfred Newman, he has been responsible for a new style of film composing that is emerging.
• Instead of using leitmotifs and other recognizable themes, he creates sonic shadings (atmospheres) using these longs rich chord clusters and a "muted" piano.