This essay deals with the relationship of technology in developing new forms of musical expression in films. It focuses on how film music evolved from orchestras to the use of technology and how music technology has opened new horizons for film industry.
There is an important historical relationship between films and music.
Starting with the early film sound or “The Golden Age” (1933-1949) was served in special by orchestras, who did whatever was asked of them by the executives assigned to particular film for the sole purpose of making those films palatable to as large an audience as possible.
By 1935, the idea of movies had steered Hollywood not just in the direction of well-wrought screenplays adapted by camera-savvy actors but
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With Spellbound Alfred Hitchcock showed his willingness for using unconventional instruments. Questions from an interviewer in 1952 at first focused on the effects of the rather instant fame Rozsa gained with his use of the electronic instrument called Theremin, an early electronic musical instrument developed by a Russian inventor named Leon Theremin in 1920 . The Theremin is unique among musical instruments but the difference is that is played without physical contact, the musician stands in front of the instrument and moves his hands in the proximity of two metal antennas. The distance from one antenna determines frequency (pitch), and the distance from the other controls amplitude (volume). In 1956 something unlike anything that audiences had heard before, an entirely electronic score for a motion picture, was made by Louis and Bebe Barron in ‘Forbidden Planet’ . Initially the music score had to be done by Harry Partch and the Barrons were only brought for making about twenty minutes of sound effects, but after producers heard the initial sample score they decided to let the whole soundtrack be made by the Barrons couple. For this they didn’t use any musical instruments but they generated unique sounds using electronic circuits. Within just a few years, Hitchcock made a film named ‘The Birds’ (1963) with even more daring score. He wanted to use the electroacoustic Trautonium to create the birdcalls and noises