Exploring The Evolution of Film Music Through History

We explore the profound impact of music on the cinematic experience and unravel the intricate threads that weave together to create unforgettable film scores. 

From the early days of silent films to the modern era of blockbuster soundtracks, we’ll uncover the stories behind iconic compositions, celebrate legendary composers, and uncover the secrets of how music enhances storytelling on the silver screen. 

Also Read: The Impact of Sound: How Music Enhances Storytelling

The Silent Era (1890s-1929) 

During the silent film era, movie theatres relied on various methods to provide music for their screenings. This could range from playing music through phonographs to having live musicians perform alongside the film. In the latter scenario, pianists often improvised to match the on-screen action, while small ensembles might play classical pieces in the background. However, a significant shift occurred with the advent of synchronised sound in 1929. 

This technological advancement allowed for precise coordination between music and film, revolutionising the cinematic experience. Composers were now commissioned to create original scores tailored specifically for movies, marking the birth of a new profession within the entertainment industry. This transition not only elevated the role of music in storytelling but also paved the way for iconic film scores that continue to captivate audiences.

The Golden Age (1930-1950s)

This era in film scoring stands out as a remarkable period marked by an explosion of creativity. The music composed for movies not only complements the artistry of the films but also contributes significantly to their emotional impact.

Max Steiner, often hailed as ‘The Father of Film Music,’ demonstrated his mastery of the leitmotif technique in his iconic 1933 score for King Kong. Leitmotif, popularised by German composer Richard Wagner, involves assigning specific musical themes or instruments to individual characters or events, enhancing the storytelling through musical motifs. Steiner’s innovative use of leitmotif in King Kong set a standard that would influence film scoring for decades to come.

Erich Korngold, an Austrian composer, contributed significantly to the golden age of Hollywood cinema with his memorable scores for films like ‘The Adventures of Robin Hood’ (1938) and ‘The Sea Hawk’ (1940). 

His rich orchestration and melodic prowess not only elevated the films he scored but also inspired future generations of composers. Korngold’s work, particularly in The Sea Hawk, served as a major influence on John Williams’ iconic score for ‘Star Wars’ in 1977, showcasing the enduring impact of his compositions on cinematic music.

Film Music Branches Out (1950s)

1954 marked the beginning of the dissolution of the studio system in Hollywood. This period saw a transition for film composers, shifting from being studio employees to becoming freelance creatives. However, unlike other musicians such as conductors and instrumentalists, film composers did not belong to the American Federation of Musicians, a fact that would have significant long-term consequences for their profession.

In 1958, Miles Davis made a notable contribution to the French noir film Elevator to the Gallows. His work on ‘Gallows’ stands out for several reasons. Firstly, the score is a pure embodiment of jazz, featuring Davis and a trio of musicians improvising directly to the film. This approach not only added a distinctive musical style to the noir genre but also contributed to associating jazz, particularly the trumpet, with film noir aesthetics. 

Pop, Jazz And Westerns (1960s)

Elmer Bernstein’s iconic score for ‘The Magnificent Seven’ (1960) and Ennio Morricone’s legendary compositions for ‘Sergio Leone’s Dollars Trilogy’ (1964-1966) stand out as timeless Western scores that have become classics in the genre. In the realm of jazz-infused compositions, Henry Mancini’s memorable scores for The ‘Pink Panther’ film series (1963 onwards) and Lalo Schifrin’s dynamic music for CBS’s ‘Mission Impossible’ series (1966-1973) contribute significantly to keeping jazz relevant in the realm of film and television.

Noteworthy as well is British composer John Barry, who almost single-handedly shapes the sonic landscape of spy films with his symphonic-jazz fusion scoring for the immensely popular James Bond film franchise. Barry’s innovative approach to blending orchestral elements with jazz influences creates an iconic sound that defines the espionage genre in cinema.

Synths And John Willams (1970s)

In the 1970s New Hollywood era, film music underwent a significant transformation, branching out into two distinct directions. On one hand, there is a notable emergence of synthesiser-based scores, exemplified by John Carpenter’s pioneering work in ‘Dark Star’ (1973). Carpenter’s use of synthesisers introduces a revolutionary vocabulary of computerised arpeggios and other electronic elements, marking a paradigm shift in film scoring techniques.

This innovation allows for a single composer to create intricate soundscapes previously requiring ensembles of instrumentalists, leading to lasting changes in the industry’s approach to film music production.

Williams’ masterful orchestral compositions harken back to the golden age of Hollywood, capturing the essence of epic storytelling through music. His work on ‘Star Wars’ not only revitalises traditional symphonic scoring but also achieves unprecedented commercial success, with the film’s soundtrack becoming one of the highest-selling non-pop records in history, cementing Williams’ legacy as a maestro of cinematic music.

More Synths, More Fun (1980s)

In the musical landscape of the 1980s, a dichotomy emerged between song-driven soundtracks and orchestral scores, each leaving a distinct mark on the era’s cinematic experience. Films like Flashdance (1983) and Footloose (1984) showcase the trend of song-laden soundtracks, where original songs take centre stage, epitomised by hits like ‘Ghostbusters’ (Ray Parker Jr.) and ‘Back to the Future’ (Huey Lewis). These soundtracks not only complement the films but also become cultural phenomena in their own right, contributing to the vibrant musical tapestry of the decade.

Alongside this, the 1980s witnessed a surge in synthesiser-heavy scores, utilising digital technology advancements for impactful soundscapes in films like ‘Escape from New York’ (John Carpenter, 1981), ‘The Terminator’ (Brad Fiedel, 1984), ‘Blade Runner’ (Vangelis, 1982), and ‘Tron’ (Wendy Carlos, 1982).

The Kitchen Sink (1990s-Now) 

In the modern film industry, musicians with diverse backgrounds continue to leave a significant impact on film scoring. Figures like Trent Reznor from Nine Inch Nails, Cliff Martinez (formerly of the Red Hot Chili Peppers), and Jonny Greenwood from Radiohead have transitioned seamlessly into composing for films, bringing their unique musical perspectives to cinematic soundtracks.

Moreover, the landscape of film composition now boasts a growing number of female composers, including Wendy Melvoin and Lisa Coleman, Mica Levy, Miriam Cutler, and Rachel Portman, among others, contributing their talents and perspectives to enriching the auditory experience of movies.

Despite this diversity, the ultimate vision for how music complements a film remains in the hands of the director. Their understanding of how music can enhance storytelling is crucial. This underscores the importance of having a strong foundation in musical reference and study, empowering directors to make informed decisions about the role of music in their films. Through this collaboration between directors and composers with varied backgrounds, the art of film scoring continues to evolve and thrive in contemporary cinema.

-Sushmita Sarkar