The Pleasure of Film Music

Dimitri Tiomkin records a score, circa 1963

Much ink has been spilled pondering the question of whether film music is classical music. But it’s not my intention to weigh in on that debate. By default, many classical programmers and orchestras include film music in their repertoire because many film scores utilize instruments and types of ensembles that are part of the classical world.

“Much ink has been spilled pondering the question of whether film music is classical music. ”

Since film music is usually composed for a specific purpose within the film, a great film score can transport the listener into the cinematic experience. Reliving the emotions of the moment, whether it’s an action set-piece, a romantic interlude, or a moment of tension, is one of the chief thrills of listening to film music. Listening to such memorable musical cues as the “Scene D’amour” from Vertigo, or “The Map Room” from Raiders of the Lost Ark will place you in the moment without requiring a big screen, only the screen of the mind.

Great film music can stand on its own as well. I’ve listened to and enjoyed the music Aaron Copland composed for The Red Pony many times without ever seeing the film. The same can be said for many pieces of film music that have made the leap to the concert stage.

Aaron Copland gets low billing for The Red Pony (1949)

In the end, there’s no justification necessary for listening to film music. Like all art, it can be stripped apart and analyzed, but the real measure of it’s success is how it speaks to you.

Produced and hosted by Ken Nail, The Silver Screen Soundtrack Hour airs on Charlottesvilleclassical.org every Thursday at 9 AM and 6 PM, plus Saturdays at Noon. Visit our Facebook page, or contact Ken on Twitter at @ken_classical.