MUS21020 Film Music

Academic Year 2024/2025

This module presents a history of music in film by examining the development of key trends and significant composers from the "silent" era to the present day. It shall consider the place of music – and the soundtrack more generally – in the film production process and in terms of the relationship between composer and director. A focus on Hollywood, with its proclivity for bespoke orchestral scores, shall be supplemented by investigating a range of other styles (e.g. pop, jazz, electronica) and global examples. It aims to provide an overview of the field while alighting upon case studies, for which fundamental theoretical concepts shall be introduced. Major mainstream film composers shall be featured (e.g. Max Steiner, Erich Korngold, Miklós Rózsa, Bernard Herrmann, Ennio Morricone, David Shire, Wendy Carlos, John Williams, Hans Zimmer) alongside more experimental recent practitioners and composers better known for their work in the concert hall.

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Curricular information is subject to change

Learning Outcomes:

Understand the evolving role of music in mainstream cinema.
Recognise styles and conventions in film music composition.
Become familiar with key figures and exemplars in the story of film music.
Have confidence in applying fundamental concepts and theories of film music studies.

Indicative Module Content:

The development of sound in cinema.
Trends and eras in Hollywood film music.
Key figures in film composition and the privileging of orchestral scores.
The depiction of music on screen.
"Classical" music in film.
Pop music and compilation scores.
Case studies in global cinema.
Music and sound design in the digital era.
Foundational theories and concepts of film music studies.

Student Effort Hours: 
Student Effort Type Hours
Lectures

24
Autonomous Student Learning

76
Total

100
Approaches to Teaching and Learning:
Lectures.
Critical writing.
Reflective learning. 
Requirements, Exclusions and Recommendations

Not applicable to this module.


Module Requisites and Incompatibles
Not applicable to this module.
 
Assessment Strategy  
Description Timing Component Scale Must Pass Component % of Final Grade In Module Component Repeat Offered
Assignment(Including Essay): Essay (2,000 words) on a prescribed topic Week 9 Graded No

40

 No
Quizzes/Short Exercises: Multiple choice questionnaire Week 7 Graded No

25

 No
Reflective Assignment: Learning journal Week 12 Graded No

35

 No

Carry forward of passed components
Yes
 
Resit In Terminal Exam
Autumn No
Please see Student Jargon Buster for more information about remediation types and timing. 
Feedback Strategy/Strategies

• Feedback individually to students, on an activity or draft prior to summative assessment
• Feedback individually to students, post-assessment
• Group/class feedback, post-assessment

How will my Feedback be Delivered?

Not yet recorded.

Buhler, James. Theories of the Soundtrack. New York: Oxford University Press, 2019.
Buhler, James and David Neumeyer, eds. Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press, 2015.
Cooke, Mervyn. A History of Film Music. Cambridge: Cambridge University Press, 2008.
Lampl, Kenneth. Film Music: The Basics. Abingdon & New York: Routledge, 2024.