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:star:HISTORY OF FILM MUSIC :star: - Coggle Diagram

- - - - FILM MUSIC IN THE POST CLASSIC PERIOD (1958-2008)
        
        Bernstein, however, commented on how because his score for, 'Man with the Golden Arm' was not strictly a jazz score but included some elements of jazz therefore creating a specific atmosphere, producers quickly began to transform film composing a serious art form into pop "garbage". Many articles started to comment on the downfall of film music and its futile attempts to "make the pop Top 40 charts". He claimed it was musical ignorance.
        
        Music in the fifties experimented with a variety of musical genres including pop, country, rock and jack. Many scholars believe that this experimentation was due to the social dynamics of the period caused by red scares, racial politics, sexual politics and the technological progress. Hollywood finally emerged from its postwar period and started to heal its postwar inflicted injuries.
        
        Film music started to branch out after the Golden Age. For example, in 1951 Alex North composed a hybrid symphonic-jazz score for the movie, 'A Street Car Named Desire'. Also, studios began asking composers to write original songs for their films after the film, 'High Noon' featured the song 'Oh My Darling' which proved instrumental in the commercial production of this film.
        
        The classical film style score has never disappeared. In fact, some are still present in the films of today. After 1950, the score shared the spotlight with film music that wasn't all symphonic. "Hollywood Music" had a uniformed essence but as it evolved the idea of one genre became untenable.
        
        In September 1960, 23 people established an organisation ot promote what the call the New American Cinema since they were fed up of the pop "garbage" that was being produced.They wanted films "the colour of blood". This encouraged a new wave of cinema from across the globe and followed the political affairs such as the Women's Liberation movement and the Hippie Movement.
        
        Due to quantum leaps forward in digital technology—especially sampling and computer-based sequencing—the 1980s also sees the proliferation of synthesizer-heavy scores. Notably: Escape from New York (John Carpenter, 1981), The Terminator (Brad Fiedel, 1984), Blade Runner (Vangelis, 1982) and Tron (1982, Wendy Carlos.) This period was known as Eclecticism.
        
        Music today mingles a variety of musical forms. The different elements of music overlap and interact with one another to compliment the action on screen.
      - Once the ability to synchronize music and sound to celluloid becomes possible in 1929, music quickly becomes an integral aspect of the storytelling process. Suddenly, composers are commissioned by Hollywood to write new material especially for the movies. A new profession is born!
      - Hollywood filmmakers recognized that from 1926 to 1929, they had produced three major types of sound films.“Synchronized” films featured mechanically linked music and often sound effects but contained no dialogue. “Part-talkies” contained talking sequences in alternation with synchronized music.“100% talkies” featured talking and/or singing for the duration of the film.
      - Composers during this period primarily come from backgrounds in concert music, and almost exclusively write orchestral pieces. Some of these famous composers include Alfred Newman, Enrich Korngold and Bernard Hermann.
      - This period saw a withdrawal from diegetic, commantative music to a much closer association between music and "other worlds"
      - The Golden Age includes the release of three important scores in 1935 - Franz Waxman’s, 'Bride of Frankenstein', Steiner’s, 'The Informer', and Erich Wolfgang Korngold’s, 'Captain Blood'.
      - Characteristics of the Golden Age include the broader use of non-diegetic music, music that is more descriptive and helps establish setting, characters and themes. Overall, this was a period that exploded with creativity in which music was written to beautifully match the artistry of the films.