Annotated Bibliography
1) 12/03/25
Academy. C (2022). How to compose cinematic music (in 7 easy steps). Online video. Available at: https://www.youtube.com/watch?v=LF4yNpzSARQ&t=652s (accessed on 12th March).
Cinematic music, composing.
The creator begins this source by highlighting a successful, original, cinematic piece, which may intrigue the listener, as this was a result to the following steps:
Step one: “Choose your key and chords”
The creator begins by choosing the key, C Minor and selecting four chords to start building the first section of the piece. The chosen chords consist of: C Minor, Ab Major, Bb Major and Ab Major. The creator then describes that starting a piece with a, “delicate feel,” using a piano, will take the listener on an, “emotional journey.” It is also possible to add texture, by using a variety of instruments underneath. For example, the creator uses a, “reverse piano pattern, a boom and a drone.”
Step two: “Introducing long strings”
The creator suggests that using a different chord progression on the strings will be beneficial, as it adds, “variation,” to the piece. The reverse piano pattern has also been brought over to this section to add, “continuity,” between sections.
Step three: “Use spiccato strings”
Using spiccato strings will add, “movement,” and, “emotional intensity,2 to the piece. Doing this in the form of ostinatos will achieve strong emotions. The creator discusses the importance of variation in the ostinatos, using the same pattern throughout each bar.
Step four: “Composing a melody”
The creator describes that starting with a two-bar motif will be the, “building block,” to an eight bar melody. A useful starting point, is to begin each bar with the same note as the chord. To create a strong melody, it is important to fill in the gaps between each note, either, “moving by step or consecutive notes.” It is also important to consider the, “shape or contour,” of the melody. The creator discusses the importance of an, “emotional ark,” throughout the melody, which can be highlighted through adding the highest notes in the, “second half of the eight bar melody.” The creator then discusses instruments that work well in cinematic music include: “French Horns, Trumpets and cellos.”
Step five: “Add a counter melody”
Repeat the progress from the previous section and add a counter melody to, “propel the music forward.” They also help to, “give an extra layer of emotion,” within the piece. The counter melody has to be, “independent,” from the original, playing when the other has sustained notes or pauses.
Step six: “Use orchestration to add intensity”
The previous sections are the, “climax,” of the piece, meaning the orchestration will require more detail. This will help the piece have an, “emotional impact,” on the listener. It is also possible to, “double the melody on additional instruments,” for extra effect. This means that adding further instruments to the melody (playing the same tune) will add more emotion to the piece.
Step seven: “Finish as you began”
Repeating certain aspects from the beginning of the piece, through to the end, brings forth familiarity, reminding the listener of the original purpose of the composition.
Run through
A vital aspect within composition is to run through the piece before releasing it. This will allow you, as a musician, to see the positive highlights as a whole.
How will this benefit my project?
This source will benefit my project, as it enables me to see clear points of what is required to make a successful film composition. This will help me with my composition, as it allows me to identify the details needed to make my piece cinematic.
Relevance: 10
2) 06/05/25
Beats. S (2024). How to make film score music (Ludwig Goransson, Hans Zimmer) //FL studio tutorial + FLP. Online video. Available at: https://www.youtube.com/watch?v=55qkyBH9-6Y&t=20s (accessed on 06 May).
Film score, Hans Zimmer.
The creator begins this source by discussing the importance of the basics before starting to compose a cinematic piece. For example: BPM and Key. The creators’ example includes a BPM of “103” with a key of “A minor,” as it is suitable for creating, “emotional chord progressions and melodies.”
“Intro: Melody”
The creator begins the piece, by selecting various notes that are in the key of, “A minor,” experimenting with the octave and notes. They duplicate the melody to an octave higher, making some alterations to some notes, which gives the melody a further push of emotion.
“Strings”
The creator then selects a, “solo violin,” and adds this over the original melody, which creates further tension and emotion in the piece. All notes used in this section have already been selected in the main melody, but with a violin on top of some. The creator then selects a, “solo cello,” but an octave lower to that of the previous instruments. They experiment with the
notes for a while, before checking the instrument fits with the rest of the piece.
“Bassline”
The creator decides to use the, “root notes,” for the bassline, so each note of the bass is that of the melody. When composing film music, it is “insanely” important that you, “add enough low frequencies.”
“Spicatto”
The creator decides that this section specifically, is going to, “grab the attention,” of the audience, as it is the, “main part.” Again, the creator starts on the root notes, bringing familiarity within the piece. They experiment with the notes, changing the octaves, which gives this section a dramatic emotional push.
“Drone”
The creator adds a low pitch “drone” to the introduction of the piece, which I feel resembles mystery, improving the emotional significance of the piece.
“War Drums”
It is recommended to use, “loops,” and, “presets,” when creating drum sections to the piece, as the creator stresses the difficulty of doing this, “by yourself.” The creator then continues to include, “war drums,” into the piece, which I feel resembles a heartbeat, which could potentially convey an unnerving or saddening image in the listener's mind. They then use a, “big impact,” which diminuendos gradually, further conveying this image in the listener’s mind. They also continue to add, “more samples,” including, “big rolls,” and a, “transition,” which gradually crescendos. This helps to add, “energy,” to the piece.
“Texture”
Furthermore, the creator uses, “augmented strings,” to add texture to the piece. They describe this to sound like a, “weird voice,” which further pushes a mysterious feel through the piece.
“Mixing”
They finish their piece by mixing the instruments, adding equalisers, and altering some of the sounds, specifically in the introduction, to create a build-up of tension.
“Final Outcome”
The creator ends this source by sharing the, “final outcome,” of the piece, which strongly evokes a cinematic feel throughout it. This is illustrated through each aspect of the piece, ranging from the introduction, to the climax, to the resolution. I found this to be an eye – opener when composing music, as this source highlights that not a lot of instruments or music is needed to portray strong emotion.
How will this benefit my project?
This source will help me with my composition, as it a clear insight on the details that I will need to consider when composing my piece. It includes 9 sections that I can take inspiration from, that will help me with my piece.
Relevance: 10
3) 11/03/25 Bhatia. S (2025). Top 6 DAW software for sound design and film scoring 2025. Available at: https://integraudio.com/6-daws-sound-design-film-scoring/ (accessed on 11 March).
DAW, Film Scoring.
The author within this source begins by discussing the importance of sound design and film scoring, using examples such as, Hans Zimmer, as it is clear throughout compositions that sound designing, and film scoring worked together. This allows Zimmer to ultimately, “fulfil the modern music needs.” The author then continues to discuss a variety of six different software that is ideal for composing film scores.
Logic Pro X
Logic Pro X is massively used amongst major recording studios and is “capable of almost every production need,” ranging from, “composing to sound designing to film scoring to mixing – mastering.”
Key Features:
This software is known for these key features: “Stock Libraries, Easy Tempo Automation, Movie Sync, Extensive Audio Editing and Recording Architecture, Drag and Drop Adaptable Loops, MIDI Editing, alongside it’s compatibility.”
To summarise, Logic Pro X is an ideal DAW to use when composing, as it contains a variety of useful features within it. It is capable of manipulating sounds and instruments, which allows users to obtain a realistic outcome to their suited objective. It is specifically useful when sound designing or writing a creating a film score.
Cubase Pro
12 Cubase Pro 12 is massively used amongst “major film composers,” and is similar to Logic Pro X, as it is possible to sync clips within this software. It also contains, “extensive post production tools and effect plugins.”
Key Features
This software is known for it’s “Intuitive Piano Roll, Easy Workflow for non-musicians, Morphing and Modulation Tools, Film Scoring Compatibility, Instruments and Plugins and it’s compatibility to be used on a variety of devices.
To summarise, Cubase Pro 12 is ideal for composers, sound designers and those who produce films scores, as it contains various features, such as the ability to “morph, manipulate and edit samples,” alongside the ability to “organise the sounds, loops, MIDI tracks and recordings.”
Ableton Live
This software is most popular amongst “hip-hop and other electronic genres of music.” It is specifically ideal, if the user takes a particular interest in: “sound design, synth work and sampling.” It is also suitable for beginners, due to it’s, “straightforward workflow.”
Key Features
This software is known for it’s “Simplicity, Versatility, Easy Editing, Session View and compatibility with multiple devices. Ableton Live is used amongst live DJ’s, performers, electronic music producers and sound designers.
To summarise, Ableton Live offers a “unique and modern workstation,” that will suit the musical requirement for each user. It also allows for high quality sounding results throughout each piece.
FL Studio 20
FL Studio 20 is known for it’s “effective samplers,” alongside the ability to “creatively manipulate samples.” It is possible for loops to automatically adapt to fit the appropriate tempo, key and more, where they can also be “stretched, pitched and normalized.”
Key Features
This software is known for it’s: Creative Workflow, Immense Sound Design Utility, Third Party Plugins Compatibility, Fruity Video Player and compatibility with a variety of devices. It also contains synths and stock plugins, which make it an “extremely self – sufficient DAW.”
To summaries, FL Studio 20 is very engaging, due to it’s overall “workflow, customisation and visual appeal.” This software is also easy to organise and contains “plenty of creative features.”
Reaper
Reaper is known for it’s “high customizability, stability, micro size and it’s attractive price point.” This results in this software being popular amongst many, including “developers and sound design enthusiasts.” This software is also ideal for video game sound design.
Key Features
This software is known for it’s: “Customization and Scripting, Community, Game Sound and it’s compatibility with various devices. Reaper is also priced at $60 (roughly £46), which is ideal for those with a limited price range, who require high quality software.
To summarise, Reaper is useful for composers, as it allows users to edit anything needed, alongside changing aspects to suit the users’ “workflow and needs.” This is ultimately suitable for a variety of people, including video game composers, those who write film scoring and sound designers.
Bitwig
Bitwig is mainly “performance based and sound design – focused.” This software offers creativity through it’s unique sounds and effects. It also contains useful features for live performers, such as DJ’s.
Key Features
This software is known for it’s “Modulations, Multi – Band Split on any Plugin, Sampler x Synth, Easy Layer and Stacking of Sounds and it’s compatibility with multiple devices, such as: Windows 7, Ubuntu 20.04.
To summarise, Bitwig is useful for a variety of people, including: composers and performers, as it has “unique and effective ways of manipulating different effects and sounds.” It finally allows for a straight – forward workflow, due to the previously mentioned key features.
The author then continues to discuss four more extra DAW’s that are useful for composing and sound design, before ultimately concluding the source. The author finally states that every DAW has it’s own “speciality,” and purpose, and how some may be more suitable than others. Some DAW’s are also compatible, meaning users can potentially use two software for a project. The most common compatible DAW’s are: Logic Pro and Pro Tools, alongside Ableton and Pro Tools.
How will this benefit my project?
This source will help me with my project, as it highlights a variety of software that are widely used for composing. This gave me a clearer insight into composing, as it allows me to increase my knowledge on the topic, helping me in future projects.
Relevance: 7
4) 25/03/25
Clark. B (2023). How to compose cinematic music (7 tips). Available at: https://www.musicianwave.com/how-to-compose-cinematic-music/ (accessed on 25 March).
Composing. Cinematic Music.
The author begins this source by introducing the importance of music in cinema, as it, “evokes a visual feeling in its listeners.” The author then continues to discuss various tips on how to, “create and add that special cinematic feel to your compositions.”
“Find a motif”
The author describes a handful of films that contain successful motifs throughout. For example: “Harry Potter,” “Indiana Jones,” and “Lord of the Rings.” Motifs are generally, “a simple set of notes,” that have a massive impact on the film as a whole. It is important to ensure that the instruments and emotions highlighted in the motif relate to the film, similar to the, “Harry Potter,” theme, as this piece sounds mysterious and magical, like the film itself.
“Settle on a vibe”
The author states that cinematic music should, “take its listeners on a concise journey from start to finish.” This means that the music should help push the story of the film along, highlighting clear emotions throughout.
“Explore the major and minor scales for evoking feelings of happiness and sadness:”
The major scale is most commonly used in films to set a lively, joyful setting for the characters, whereas the minor scale is used to portray a deep, fearful atmosphere.
“Accentuate dynamic contrast to evoke a feeling of shock or horror:”
Dynamics are massively important in cinematic music, as they help to highlight the emotion through the soft and hard nature of the music. For example, in a scene of horror and intensity, the music may be louder to highlight the fear portrayed throughout the scene. However, the music may be softer, with less instruments if the scene is happy or light-hearted.
The author uses the successful example of the, “shower scene,” in Psycho, as it contains violins (staccato notes) alongside gaps between each note. This ultimately highlights the tension within the scene, and offers further emotions, such as fear and unease.
“Get inspired by world music to evoke a feeling of being elsewhere.”
The author emphasises the importance of “world music” when composing cinematic music. This allows the audience to be taken, “somewhere else,” in the world. For example, if the music where to be, “samba,” then, “your mind would inevitably be transported to sunny Rio de Janeiro.” This, “cultural link,” will help the listener to be transported into a potentially unknown atmosphere within the world.
“Compose on top of an atmosphere”
“Cinematic compositions should mimic the real world to some extent,” as they help to build a realistic tone to the story of the film. This may also create an immersive atmosphere for viewers.
“Write in Lydian mode”
“The Lydian mode takes the fourth note of the major scale and transposes it one semitone up.” This technique was often used popular film composers, such as: Thomas Newman and john Williams. This mode is often, “cinematic sounding.”
“Select your instruments before starting”
Choosing instruments prior creating the music comes with a variety of advantages, including that it’s, “easier to evoke a particular vibe, and it also helps to, “keep your focus on what matters most.” Sometimes, “limitations can be very helpful for creativity,” as it allows more time to focus on other aspects in the piece, such as the melody.
“Epicness and reverb go hand – in – hand" Using reverb throughout your piece can create, “a sense of space,” as it is possible to choose from a variety of sounds, ranging from, “a small bathroom to a colosseum – like stadium.” This effect can completely alter the composition, as using reverb allows for a more cinematic feel in the piece, as reverb offers a, “sense of space, mystery and grandiosity.” Using too much reverb will persuade the piece to be, “lost in the echo,” so it is important to not overdo this.
“Keep in mind that less is more”
Film compositions do not need to have, “40 layers of sounds and incredibly complex chord progressions,” to have a successful outcome. Sometimes using less instruments, with more simple chord progressions can have a higher success rate than those with more instruments and more difficult chord progressions. These compositions need, “room to breathe,” to allow the audience to feel emotion.
The author uses soup as an example, because if you, “add the right number of spices, and you get a delicious soup; put too many conflicting flavours together, and the result is bound to be an uneatable mess.” This can further back up the original statement, as adding too many layers to a piece may appear messy and uncontrolled, whereas using very few can allow for a clean, controlled piece.
“Conclusion”
Cinematic music should take you, “somewhere else,” and create, “vivid images in your head.” The previous tips will allow for successful cinematic music, as they highlight the key points needed for a high-quality piece.
How will the benefit my project?
This source will help me with my project, as it enables me to see how to increase the emotion seen within my piece, as this source highlights factors that can be used to make my composition more cinematic.
Relevance: 10
5) 02/05/25
Galloway, A. R (2023). How to compose action music for films. Available at: https://compozly.com/blog/how-to-compose-action-music/ (accessed on 02 May).
Action music, Composing.
The author begins this source, by highlighting the importance of, “an energetic and dynamic soundtrack,” as this helps to enhance the, “on - screen excitement and intensity.” The author then continues to give a list of three videos that relate to the topic: “Create Drums and Rhythm,” “Instrument Layering,” and, “Audio Mixing.”
“Understand the Scene”
When composing music for an action film, it is important to, “study the action,” as it will allow you to truly understand the characters and emotions portrayed throughout the scene. It also allows you to, “identify the key moments that require musical emphasis.” for example: “intense chases, fight scenes or dramatic climaxes.”
“Build Tension and Release”
It is important to, “use musical techniques like rising dynamics, faster tempos and rhythmic patterns,” to help build tension throughout each scene. It is also possible to, “create moments of release and impact by utilizing powerful hits, stingers or dramatic pauses,” when a, “significant event occurs.” This helps to build tension in the scene, alongside helping the audience to follow the emotions of the characters. The author uses the example of, “Dunkirk,” by Hans Zimmer, as it features clear examples of this.
“Utilize Percussion and Rhythmic Elements”
Percussion instruments play a “vital role,” in action films, as they create a “sense of energy and propulsion.” It is important to experiment with percussion instruments, such as the drums, alongside their, “rhythmic patterns.” This can help to, “drive the pace and intensity of the scenes.”
“Incorporate Strong Melodies and Motifs”
When creating music for action films, it is important to, “develop memorable and catchy melodies or motifs,” to help represent various aspects within the film, such as the, “characters, themes or pivotal moments in the film.” They can also create, “emotional connections,” throughout the film. The author follows this by highlighting a quote from Hans Zimmer, “Create main melodies that are something that you can play with one finger on the piano, almost like a lullaby.”
“Employ Orchestral and Electronic Hybrid Sounds”
To, “enhance the intensity and impact of the music,” it is possible, to mix strings, brass or woodwind instruments, alongside electronic sounds, to create a “modern and dynamic sound palette,” allowing for a “wide range of textures,” and sounds.
“Use Dynamic range and Contrast”
Using a variety of dynamics through action film music, will allow for variation of emotions. The, “contrast between quieter, suspenseful moments and explosive, high - energy passages,” will allow for stronger dramatic impact and audience engagement.
“Sync with Visual Cues”
The synchronisation between the music and the scene, “enhances the connection between the music and the on – screen action, intensifying the viewing experience.” Music can change, using help from, “visual cues,” such as physical actions.
“Experiment with Sound Design”
It is possible to, “add depth and texture to the music,” by using, “sound design elements,” such as: “risers, whooshes, impacts and futuristic or industrial sounds.” The author uses the example of Hans Zimmer’s, “Dune,” and, “Blade Runner,” where there are clear synth and orchestral elements throughout.
“Collaborate with the Filmmaker”
Communication is a vital aspect of film composition, as it allows both composer and director to, “understand their vision,” for each scene. This ensures that the, “music aligns with their creative intentions.” This can help to easily bring their objective to light, allowing for a successful collaboration.
“Be Flexible and Adaptive”
Being open minded towards change and criticism is important when composing, specifically for scenes with a lot of action. This will allow for an, “effective and compelling,” result. It is important to keep note of the directors’ vision, as it will allow for an easier outcome.
How will this benefit my project?
This source will help me with my project, as it discusses a variety of details that can be helpful when composing music for action films. This relates to my project, as this scene contains a lot of action, similar to the general objective of the film.
Relevance: 9
6) 05/05/25
Harkema. R (2020). How to write a character theme | Film composer essentials. Online video. Available at: https://www.youtube.com/watch?v=8msUq2njAnI&t=15s (accessed on 05 May).
Character themes, compositions.
The creator begins by highlighting the importance of, “association,” in film music, and so it also, “matches your subject.” They continue to discuss this, through the idea of, “time or location in history,” which implies that the music should allow the audience to understand the atmosphere better, whether that is the time in history, or the place / country it is set. The creator follows this by stating: “music needs to reflect the story,” meaning that the music should tell the story in ways that visuals cannot, like foreshadowing. It also highlights the importance of music in films, as music helps to guide all aspects of the story along, such as characters, their development, fight scenes, sorrowful scenes, or places of happiness.
“The Association Game”
There are five steps to this, to help make composing film music easier and more structured. This will allow you to gain a stronger understanding of the objective, therefore, giving you a better insight into the piece.
“Step 1: Loose Association”
It is important to, “loosely associate anything you can think of about your subject.” This can bring important questions, such as: “What does it feel like?” “What does it do?” “What does it mean?” into light. When considering these key points, it should be noted down, so it is possible to later recognise these points. Note down key words of how the object / person / atmosphere makes you feel, and this can be used as inspiration.
“Step 2: Ranking”
After completing step one, it is important to rank these key words or phrases, starting from, “low emotional value,” to, “high emotional value.” The creator uses the example of a butterfly, using words such as, “flappy,” and, “fluttery,” in the low value section. The mid section contains words such as, “beautiful,” and, “fragile.” Whereas, the highest value section contains more meaningful words, such as, “spiritual,” and, “mysterious.” The words at the top of the list contain more emotional value, which makes composing a piece with these point in mind, easier.
“Step 3: Link It To Music”
The previous words used in the, “high emotional value,” section, can be linked with a variety of unique instruments, including: “Ritual Bells,” and, “Singing Bowls,” alongside the use of, “weird scales.” This could be given an important part in the piece, such as the melody. The words in the, “mid emotional value,” section connote instruments such as a, “Harp,” as they are often seen as, “beautiful,” and majestic. This could be used for chords, or arpeggios, to, “set an atmosphere for the song,” as this is not a strong value, but it remains relatively important. For the, “low emotional value,” words, it is possible to, “mimic the sound,” such as the fluttering of the butterflies’ wings in this example. This still holds relevance within the piece, but is not a key part in the song. The creator completes this section, by giving a strong sample of a piece, using these words and connotations as inspiration.
“Step 4: Flip Your Values”
To portray a different attitude within the piece, it is possible to rearrange the order of the words. For example, the creator flips the words, as, “fluttery,” and, “flappy,” are now the highest emotional value words, with, “spiritual,” and, “mysterious,” being the lowest. The creator gives yet another example of a piece inspired by these words, but it has a different, relevant sound, as the main objective has been changed. This can be a clear example that experimentation is key when composing, as it allows for unique, mysterious sounds. Each experiment has a completely different outcome, as the objective has been modified to suit the outcome.
“Step 5: Turning Values Into Story”
Changing certain aspects of the objective can alter the outcome of the piece, as seen previously. It can help to, “see the subject in new and unexpected ways.” Using different words as inspiration, for example, “mysterious,” and, “spiritual,” can help create a piece connoting the unknown. Whereas using words such as, “flappy,” and, “fluttery,” can imply innocence and joy.
“Conclusion”
Music Should, “enhance the characteristics,” of the objective, whether that’s a character, like the butterfly that is used as an example in the video, or place or object. It should also, “enhance the story in general.” This, “game,” can help in a variety of ways, as it can help the composer to understand the subject better, alongside discovering more relevant ideas, such as instruments and scales.
How will this benefit my project?
This source will help me with my project, as it discusses a simple way on how to compose a theme for a specific objective in a scene. This can help for character themes, and general emotional objectives in the scene, which loosely relates to my intended outcome.
Relevance: 10
7) 25/05/25
Instruments. N (2024). 10 of the best film composers ever. Available at: https://blog.native-instruments.com/famous-film-composers/ (accessed on 25 April).
Best Film Composers.
The author begins this source by highlighting a selection of films that include powerful music, such as, “Star Wars,” “E.T,” and Blade Runner.” They also highlight the importance of the following composers, and how they have helped to, “set the foundations,” for film music.
The author then offers their opinion, including a variety of successful composers, such as: “Max Steiner,” “John Williams,” “Vangelis,” and “Mica Levi.” They continue to describe who they think are the most, “prolific,” composers are: “Ennio Morricone,” “Max Steiner,” and “Hans Zimmer.” The author then creates a list of 10 composers, who changed the film music industry:
1) “Max Steiner”
Steiner was born in 1888, where he eventually moved to Hollywood, from Austria. He began working when films were still in their, “silent era,” where Steiner saw films developing into, “talkies.” He used inspiration from composer, Richard Wagner’s “leitmotif,” to help being, “drama to films.” He would use, “melodic themes for every character,” in the films, “capturing and heightening their personality,” through each piece.
Steiner composed over 300 film compositions. However, some more well – known compositions come from films such as: “Gone with the Wind,” and “Casablanca.”
2) “Bernard Herrmann”
Unlike Steiner, Bernard Herrmann decided to take a different approach to film music. Herrmann's music was, “sharp and rhythmic, using short repeating riffs and dissonant chords.” Herrmann used, “unusual instruments,” to allow a variety of emotions to be highlighted, capturing the film’s atmosphere.
Herrmann worked closely with Alfred Hitchcock, using his abilities to help heighten the tension, specifically in the film, ‘Psycho.” The, “shower scene,” is a clear example of this, as there is a strong indication of tension through the, “stabbing strings,” which foreshadows the violence within the scene.
3) “Ennio Morricone”
Morricone became part of an “iconic director – composer duo,” alongside former friend, Sergio Leone. It began when Sergio offered Morricone a job, scoring for, “A Fistful of Dollars.” The sound in this was, “sparse,” and, “driven by strong melodies.”
Morricone, “combined traditional orchestral instruments, with more unusual sounds.” Some of these sounds included: “whip cracks and gunshots, electric guitars, bells and harmonicas.” This allowed people to see how whole orchestras were not needed for successful film scores. After this, “Morricone went onto write more than 400 scores across a range of genres.”
4) “John Williams”
John Williams has composed a wide variety of successful film compositions throughout the years. For example, he
composed music for: “Jaws,” “Jurassic Park,” “E.T” and many more. Williams’, “break - out,” was through, “Star Wars,” in 1977. His, “futuristic score,” allowed sci fi films to experience a new and improved sound.
Since, Williams has created numerous other successful compositions, ranging from: “Indiana Jones,” to, “Schindler’s List,” to, “Harry Potter.” His music helps to, “deepen emotion,” which, “heightens drama.” Williams interpreted the idea that, “a good melody strengthens the viewers connection with a film.”
5) “Joe Hisaishi”
"Joe Hisashi is Japan’s most celebrated composer.” Hisashi’s music combines the, “romance of John Williams,” alongside the, “bold ideas,” from electronic music. He has helped to shape the, “Anime genre,” by collaborating with Hayao Miyazaki, who is the director of, “Ghibli.”
Hisashi has often described himself as a, “basic, simple composer.” he states that he only composes songs that he can, “easily play at home on my piano,” which contributes to the beauty and success of his pieces.
6) “Vangelis”
“Vangelis embraced electronic tools to create some of the most distinctive movie scores of all time.” His most successful score was in the film, “Chariot’s Fire.” The opening scene to this film contains, “lush” pianos and, “synthetic instruments.” Another success from Vangelis, was the score for, “Blade Runner,” where he used, “haunting synths,” and, “film noir jazz,” to create a, “unique blend of old and new.”
Vangelis, “embraced new technologies to reimagine the scoring process.” He often used orchestras, but used synths to portray different emotions throughout each scene. “Vangelis expanded the possibilities of film scoring.”
7) “AR Rahman
Rahman is known to be one of the most influential and famous film composers in India. The Time Magazine states, “he dominates the music industry so totally that he has supplied the soundtrack for a whole generation.” He ultimately, “redefined Indian film music.”
Rahman’s breakthrough was through the film, “Roja,” where his compositions combined: “familiar Indian cinematic styles with reggae and jungle, Broadway – style orchestration.” However, it was not until 2008, when, “Slumdog Millionaire,” was released, and the, “wider world,” took notice of Rahman’s successful work.
8) “Hans Zimmer”
Hans Zimmer is one of the most successful composers in the modern world. He proceeded to write music for films such as: “Gladiator,” and “Interstellar,” “The Lion King,” “Pirates of the Caribbean,” “Inception,” and “Dune,” alongside a variety of others. He tends to embrace, “new technology,” to allow his music to sound unique and high quality.
“Many Zimmer soundtracks combine classical sounds with electronic textures,” allowing him to execute his ideas successfully. He has the ability to adapt and change his work to suit the atmosphere of each scene, which is highlighted through the vast number of genres he has composed for. For example, “The Lion King,” and “Gladiator,” are two completely different genres, but Zimmer was able to portray the attitudes and emotions successfully throughout both films.
9) “Mica Levi”
“Levi has developed a ground-breaking sound: minimalistic and strange, but with a dose of humour and romance.” Levis’ ultimate breakthrough was through the 2013 film, “Under The Skin,” which is an, “eerie sci – fi.” Their inspiration was taken from, “Gyorgi Ligeti,” which allowed them to, “create dissonant textures from another planet.”
Levi also composed for the film, “The Zone Of Interest,” in which they only decided to compose “14 minutes of music,” as the film, “tells the chilling story,” of a family that lives next to Auschwitz. The music in the opening scene, “descends sickeningly,” which demands the, “total attention from the audience.”
10) “Hildur Guonadottir”
Hildur is a cellist, “who has performed and recorded widely.” Her music is often, “led by her cello,” and is, “sombre and subtle,” becoming suitable for psychological thrillers. Her music portrays tension through the uneasy feeling that they evoke. For this film, “The Joker,” (2019) she composed the films’ main themes early on in the production process. Director, Todd Philip, “played the music on – set to steer the actors’ performances.” This is backed up by lead actor, Joaquin Phoenix, who was, “deeply moved,” by the music, helping him to, “depict his characters’ transformation into The Joker.”
She gives her audience, “an undertone of dread that creeps into your subconscious,” This opposes John Williams’, “hummable scores,” as they are melodic and catchy, whereas Hildur’s scores are very, “subtle.”
How will this benefit my project?
This source will help me with my project, as it gives me a clearer insight on the history and background of film music composers and how it has changed to develop into modern cinema. This ultimately gave me a better understanding on my desired topic.
Relevance: 8
8) 22/04/25
Leach. R (2022). How to write a catchy theme like John Williams. Online video. Available at: https://www.youtube.com/watch?v=lcYkxoCAJ3o (accessed on 22 April).
Catchy film music, How to write a successful piece.
The creator begins this source by stressing the importance of repetition in film compositions and how it is the, “key to a better piece of music.” It makes the music, “easier to develop,” which is massively helpful when creating film music. It allows for a set structure and, “identity,” to allow audiences to follow the story within the music. The creator then continues to highlight four successful examples of themes that include repetition:
“Hedwig’s theme”
This theme is featured in various parts throughout the film(s) and consists of two, “licks.” After this small section, there is a, “contrasting idea.” The harmony in this section contrasts, and the rhythm remains identical, “going down” instead of “going up.” “The rhythm and contour are exactly the same,” with only minor changes. William’s kept the, “overall shape,” of the piece, but changes the, “little pitches,” in some specific notes.
William’s uses a very similar melody further in the theme, but as the piece is coming to an end, he chooses to use higher notes to appear as a climax, just before continuing to use lower notes to complete the piece. There are very few points in the piece that are not a variation of repetition.
This piece overall, contains a lot of repetition within, and is very recognisable to those who are familiar with the film(s).
“Indiana Jones’ theme”
This piece specifically, is known for it’s repetitive nature and how it, “gets in our ears.” The first few notes are repeated often in the piece, and are a reminder of the themes’ original intentions. The repetition allows audiences’ to identify the piece, as some may be able to recognise this theme from only listening to the first three notes, as they are the most commonly used in this piece.
These three notes are seen in different pitches throughout the piece, but are always noticeably present. The only time when this is not heard for a brief period, is towards the end of the piece, when there is an arpeggio like progression.
This piece overall, is very repetitive, and allows listeners to identify this film easily. Even for those who may not necessarily know the film, it is such a widely known piece, that it can allow listeners to recognise it.
“Princess Leia’s theme”
There are two main, “licks” in this piece that bring forth familiarity, and everything other than these licks, are, “based,” around them. The first section is all relatively similar, with the difference of a slight pitch increase. Even in the, “continuation,” of the piece, there are similarities from previous sections. These slight changes could represent the development of the scene / characters and how they adapt to a potentially new atmosphere as the scene progresses.
A lot of the notes in this piece are very similar, with minor changes, either becoming a higher / lower pitch or being flipped to ascend / descend. This allows for a repetitive piece that ultimately highlights the strong emotions evoked throughout the film(s).
“Schindler’s theme”
This piece contains, “two motives that are driving everything that comes after it,” similar to the previously mentioned theme. The, “variations are pushed,” meaning the theme may contain more dramatic alterations throughout. The first idea is seen various times throughout the piece, with slight changes featured, such as pitch changes. Idea two also follows the same descending notes throughout, with further pitch changes.
The changes within the piece allows the music to remain recognisable and familiar, while adding variation to develop previous sections. This allows the piece to evoke the composers intentions, through the use of repetition and development throughout.
How will this benefit my project?
This will help me in my project, as it portrays four successful themes that were written by John Williams. This relates to my project, as I composed a piece that was originally created by John Williams, so I used some inspiration from his work to guide me through my project.
Relevance: 10
9) 24/03/25
Maurer. D (2024). The art of music in filmmaking: Selecting the right instruments for your score. Available at: https://www.shoots.video/post/the-art-of-music-in-filmmaking-selecting-the-right-instruments-for-your-score/ (accessed on 24 March).
Instruments, Film Scores.
The author in this source begins by discussing the importance of music in films. The author uses a variety of examples of films that include powerful music, including: “Gladiator,” “Lawrence of Arabia,” and “Indiana Jones.” Music in films ultimately highlight the emotions in the film and contribute to the films’ overall success.
“Why is choosing the right instruments so important in a film score?”
Music in films have the potential to control the emotions portrayed throughout. It allows us, as viewers, to relate to each part of the story, ranging from characters to each setting.
Correspond with the genre of the movie:
The author includes a variety of film genres with correlating music. For example, the author discusses the, “softer melodies,” that are highlighted within Romantic films, alongside the, “intense,” nature of Action and Drama films.
Set the emotional mood:
When creating music for films, it is important to, “bring the audience closer to the characters feelings.” Through doing this, it will allow the audience to feel closer to a variety of aspects within the film, on a personal level.
Connect you with the characters:
In films, it is common for some characters to have a, “mini score.” The author uses examples from various films such as the iconic, “Jaws theme,” “The Imperial March,” and the, “Harry Potter,” theme. Each of these themes is well known amongst film / music lovers, as they highlight the true emotion of the film and the characters within.
Selecting the right instruments for your score:
Composers often have full reign of the pieces within the film, where they are able to have full freedom of the structure, and the way it, “mirrors your view and understanding of the movie,” as a viewer. Directors and composers commonly work together, to secure the understanding of the film, and to achieve the best result.
“Versatile strings”
Strings are commonly used when film scoring, as they highlight a range of emotions. For example, violins offer, “depth of emotion,” such as love or sadness, while cellos offer a sense of, “alertness or deep longing.” Contrabass can be used in, “tense scenes that carry great importance to the story,” while guitars can portray feelings varying from, “contentment to deep pain.”
“Rhythmic percussion”
Percussion instruments, such as, “drums, cymbals and bells,” often add, “action,” to the music, by creating a variety of emotions, such as, “excitement and underlying tension,” often used when danger is portrayed in the scene.
“Ethereal woodwinds”
The most common woodwind instruments seen throughout films, include: “Flute, oboe, clarinet and bassoon.” These can be used to portray, “a sense of magic and playfulness,” to the film, and can often be seen in light – hearted, happy scenes.
“Heroic Brass”
Brass instruments such as: “the trumpet, French horn and tuba,” can be used in film scoring to evoke, “a sense of power and greatness.” They offer a courageous sense to the scene and can often portray an antagonist in the film, for example, Darth Vader in the Imperial March.
“Multifaceted piano”
Pianos can frequently be used in film scoring, due to the wide range of emotions that they can highlight. For example, they can evoke a, “nostalgic memory, a moment of painful discovery or an understanding that the character is in love.” They can play a part in almost every situation and atmosphere within the film.
“Conclusion”
All instruments hold their own emotion, and, “how you use them changes the impact they’re going to have on the
audience.” It is important to experiment when creating music for films, as it allows the composer to see what instruments are more suitable to each scene.
How will this benefit my project?
This will help me with project, as it discusses a variety of key points that are relevant when composing. This enabled me to gain a clearer understanding of creating my own film composition.
Relevance: 10
10) 01/04/25
Score. I, T (2018). Star Wars: How John Williams composes a theme. Online video. Available at: https://www.youtube.com/watch?v=1z5YmjSgyoo&t=22s (accessed on 01 April).
Star Wars, Film scoring.
The creator in this source begins by explaining the ultimate success seen throughout the music in the Star Wars films. The Star Wars soundtracks contain, “sheer depth,” within each aspect of each piece seen throughout.
Composer, John Williams uses a, “variety of characteristic leitmotif themes and other catchy melodies.” He also shows a, “mastery of musical tension and climax,” meaning Williams uses various techniques to ensure power through the climaxes in each piece.
Williams has a, “unique musical language,” that is very distinctive and recognisable amongst listeners, and is capable of, “building different musical subcultures,” within the film through the use of instruments.
John Williams uses, “advanced film techniques, such as onomatopoeia.” He makes sure that he does not, “waste a single moment,” when creating music and ensures each note highlights strong emotion, whereas other composers may, “settle for less.”
The music in the Star Wars films were, “heavily influenced by a series of classical giants, including Gustav Holst, Igor Stravinsky and Richard Wagner.
“The lost art of melody”
Modern films: - “Lack of full-length themes” - “Focus on small cells” - “Repeated notes” - “Repetitive chord sequences” - “Good sound production”
“Full length themes” helped to give the original trilogy a “broader” feel, whereas later films such as, ‘The Force Awakens,’ uses smaller cells when creating music. The full length themes contributed to the success of the first few films, as the music appears to tell a story, rather than just to be, “fast paced Hollywood thrillers.”
“How does he structure these themes and what makes them great?”
“Musical tension and climax”
“Feel and reach the climax”
“Resolution”
Williams’ work falls under “core framework,” that can be described in a, “statement and answer,” form.
“Statement” = “Exposes the core melodic material.” It contains, “recognisable features.”
“Answer” = “Emotional peak.” It contains the, “climax, resolution / dissolution of tension.”
At the end of the, “answer,” section, it can be noted that William’s allows the piece to trail off, allowing a resolution to be discovered at the end of the film, as seen in, “The Empire Strikes Back.” The author gives three examples of this, as there are moments when the music becomes powerful, but is abruptly interrupted by another feature in the film. For example, this could be the entrance of another character or a statement that changes the emotion of the scene.
How will this benefit my project?
This will help me with my project, as it allows me to dive deeper into the work of John Williams, and how he was capable of composing successful pieces. This is also a specific source that relates to my original objective: the compositions within Star Wars.
Relevance: 9
How relevant is each source?
Key: 10 = Relevant
1 = Not Relevant