Understand The Background Of Film Scoring Now

Regardless of its significance in the process of storytelling, film scoring is too frequently and sadly an afterthought. There are a host of ideas composers have on why and most of them have to do with lack of knowledge. That's it! In educating filmmakers about the role of music in films and how a film score is made, we have chosen to take an active stand. We hope that you will know the history of movie music in general at the end of the post. The major composers who have allowed film music to evolve as an art. The way music is inserted into your next film production and how you collaborate with a musician.

Age (1890-29)-: The Silent Era

Each film music theatre, either by the photographer or live by the flesh and blood musicians, is offered in the silent period. Either a pianist improvises to the soundtrack or a small group of musicians performs in the background a classical piece as the film plays. However! When in 1929 it was possible to synchronize sound and music with celluloid, the music soon became an important part of the process of narration. Suddenly, Hollywood commissions composers to write new film materials in particular. There's a new occupation.

The Golden Age Of Film Scoring (1930 – the 1950s)

This is a remarkable moment in film scoring history. The music composed for the films, exploring with imagination, often suits the artist's own creative character. During this time, composers mostly come from background music and write orchestral works almost entirely.

Film Music Branches Out (the 1950s)

1951-: The fusion symphonic jazz score by composer Alex North appears on the Streetcar Named Desire. This represents a significant step towards movie music that brings Hollywood film away from its previous, predominantly European sound.

1952-: The song "Oh My Darling," which is important for the promotional promotion of the film, is featured in High Noon. After the popularity of "Oh My Darling," studios continue to ask composers to write original songs for their films, both through radio and, later, in the form of soundtrack albums.

Pop, Jazz, The Western (the 1960s-1980s)

Among the few modern, now classical Western scores were Elmer Bernstein's score on The Magnificent Seven (1960) and Ennio Morricone's job on the Dollars Trilogy (1964-966). The Pink Panther film series (1963 ahead) and Mission Impossible (1966-1973) of CBS, respectively, are the best-known Jazz composers Henry Mancini and Lalo Schifrin to keep jazz important in movies and television. In his Symphonic Jazz Fusion score of James Bond's iconic film franchise the British composer John Barry almost alone describes Spy Films' sound.

The Kitchen Sink (1990s-present)

As films have evolved into a separate medium of expression, nearly all the genres of music possible have continued to be integrated. There are several ventures that escape orchestral music, even though symphonic scores remain popular. The spread of synthesizers in the 1980s, and later in the 1990s and 2000s the digital audio and computer instruments, minimized entry barriers for new film composers.

But today it's too varied a score; the director needs to consider if music is best served by the film. But it must be from good points of reference and analysis that we will make educated judgments about music. You should be prepared with ample knowledge at the conclusion of this series to start making educated musical choices in your films and have constructive conversations with composers. Keep tuned, then. Stay tuned.