Movie Score is music that is written exclusively for a movie or TV series and is part of a soundtrack or collection of sounds recorded on a movie. Film music is a distinct trend in the art of music and dates back to the origins of cinema. Max Steiner, Eric Wolfgang Kنگrngeld and Alfred Newman were pioneers in writing music for the film, and more than any other composer, they contributed to its consolidation.

The music of the film is a musical description of the situation and process of a story and plays a significant role in the development of emotions and feelings of a play. The instruments and style used in the music of a film cover a wide range, and classical music, pop, jazz, electronic music, folk music, etc., depending on the script and the composer’s decision, may each be the type of music written in a film. Sufficiently funded works are often performed and recorded by symphony orchestra musicians (sometimes with a choir), and often a large portion of them are non-verbal. Film music, which is an attempt to harmonize music with the concepts of moving images, has been done mainly through the development of the rules of nineteenth-century classical music and its integration with modern methods of music writing in the twentieth century. Lightmotif, for example, which is an idea that is more than a hundred years old, is still a solution for many composers in filmmaking. To this day, well-known works in this field have been left, and countless composers in this field have created works in its specialized form.

Almost no film theorist has considered this art to be absolutely silent, and the performance of music alongside film has always indicated a kind of need. As the classical rules of cinema took shape, so did music as an effective means of expression. The need for the presence of music in cinema went so far that the leading figures of cinema put new ideas on it and considered it a key factor. For example, Weswald Podofkin explicitly wrote:

 

“Music in Nategh should never be an accompaniment”

The richer the language of cinema, the older the tools. Music was not separate from this chain. No director thought his film was just music anymore; Rather, think about who will make this music; At what moments can music be present and …. The music of the film found a specific task that, with the joint efforts of the director and the composer, could increase the artistic values ​​of a film a hundredfold like a trump card.

The starting point of any work is an idea. In film music, too, work begins with an idea. The producer or director chooses the composer to write the soundtrack for whatever reason, whether skill or fame. Depending on the importance of the music for the film, the timing of the composer can change. After choosing a composer, his mental activity begins. The script or theme is very important at this stage. Because the answer to many questions lies in the script. Many composers like this starting point. Film composer Dmitry Tyumkin believes that the value of the composer’s presence in the initial screenplay discussion sessions is incalculable.

However, the first step is the composer’s relationship with the film. Now it wants to be by reading the script or watching the movie. In the first stage, the composer is invited to watch the film as a rough-cut, which is an unfinished film and, for example, does not include part of sound effects such as various effects such as the sound of a phone horn or a police siren. The film is seen once in a row and then in a circle. In the second stage, the composer, together with the producer, director and editor, watch the film together. The editor helps the composer to easily overcome technical problems while recording music as well as the next steps. In the second review, marking is done. Here’s how to put one together for use with your music. The composer and the compiler work together at intervals where the music is heard, and using the Movila device, the time of entry and exit of the music and its coordination with other components are well determined. They then enter this information comprehensively into special forms.

This is where the composer can start writing music by reviewing and using the forms provided. When this stage is over, the music recording stage arrives.

Orchestration is especially important, and many great film composers today are interested in doing it in person.
In the final stage of music recording, the recording engineer is responsible for the quality of the work heard in the film. He must be able to follow the music note by note. He has to take the place of each musician along with the microphone in person as he will deal with them on different channels of the soundtrack; However, with today’s advances in technology, recording methods are also very different. In the final stage, the composer takes the prepared music to the editing room with the editor and, based on past calculations, carefully places it on the edge of the film sound.