Tag Archives: film music

Parsons Playlists: My Favorite Movie Scores

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Isaac (class of 2025) featuring some of his favorite film scores!

My Favorite Movie Scores

One of my favorite aspects about movies are the scores, and here are a few of my favorites.

Nicholas Britell – “Chiron’s Theme” (Moonlight)

Nicholas Britell – “Atlanta Ain’t but so Big” (Moonlight)

Hans Zimmer – “Armada” (Dune)

Hans Zimmer – “Mountains” (Interstellar)

Atticus Ross and Trent Reznor – “Hand Covers Bruise” (The Social Network)

Ennio Morriocone – “The Good, The Bad, and the Ugly Theme” (The Good, The Bad, and The Ugly)

John Williams – “Flying” (E.T. The Extra-Terrestrial)

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZeycEltIYlCLENPs5KDS5a1s&si=UjbxB7fAylViSkM8

Parsons Playlists: Music in Film

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Esther (class of 2025) and features classical pieces used in various film soundtracks.

Music in Film

music in film

Ludwig Van Beethoven – “Symphony No. 9 in D Minor, Op. 125: ‘Ode to Joy'” (Die Hard)

Modest Mussorgsky – “Pictures at an Exhibition: II. Gnomus” (The Big Lebowski)

Béla Bartók – “Music for Strings, Percussion and Celesta” (The Shining)

Frédéric Chopin – “Piano Concerto No. 1 in E Minor Romance Larghetto” (The Truman Show)

Wolfgang Amadeus Mozart – “Duettino Sull’aria from Le nozze di Figaro“ (The Shawshank Redemption)

Gustav Mahler – “Symphony No. 5 in C sharp minor, Adagietto” (Death in Venice)

Richard Strauss – “Also sprach Zarathustra, Op. 30: I Prelude” (2001: A Space Odyssey)

Peter Il’yich Tchaikovsky – “Fantasy Overture from Romeo and Juliet“ (A Christmas Story)

Franz Schubert – “Polonaise in B Flat Major, D.580” (Little Women)

Dario Marianelli – “Dawn” (Pride & Prejudice)

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZezXVAhyJoSw1tbSYTslfXXH&si=Tg37dJ6ldT0DH7uv

Arachnophonia: Amelie

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Nicole (class of 2024) and features the soundtrack to the 2001 film Amélie. Thanks, Nicole!

Amélie

Amelie soundtrack album

Are you looking for the perfect movie soundtrack for a productive study session?

My favorite movie soundtrack to listen to is Amélie, composed by Yann Tiersen. Amélie is a French film directed by Jean-Pierre Jeunet, released in 2001. The story revolves around Amélie Poulain, a shy and imaginative young woman with a unique perspective on life. Throughout the story, Amélie searches for love and connection, as she navigates her feelings for a quirky and introverted young man named Nino. The film is known for its visually rich cinematography and imaginative storytelling. It is essentially a celebration of the small joys in life, emphasizing the transformative power of kindness and the magic that can be found in everyday moments.

Yann Tiersen’s enchanting and evocative soundtrack for the film Amélie stands as a testament to the power of music in capturing the whimsy and charm of this cinematic world. The delicate piano melodies, accordion harmonies, and playful orchestration transport listeners into the imaginative universe of the main character. Tiersen’s ability to convey the innocence, romance, and melancholy within the film is truly extraordinary. From the waltz of “Comptine d’un autre ete: L’apres-midi” to the introspective notes of “La Valse d’Amélie,” (my personal favorite) each piece is a musical masterpiece that mirrors the emotional depth and complexity of the narrative.

You can check out the Amélie soundtrack CD at the Parsons Music Library!

Arachnophonia: Back to the Future

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Marissa (class of 2025) and features the orchestral score for Back to the Future. Thanks, Marissa!

Back to the Future – Alan Silvestri

Back to the Future score

One of the most popular movie trilogies of the 1980s, Back to the Future follows Marty McFly, a boy who travels through time in a time machine made out of a DeLorean by local scientist, Doctor Emmett Brown (better known as “Doc”). In the first film, Marty accidentally goes back in time to 1955, and prevents his parents from falling in love. He finds a younger Doc, and they make a plan to get Marty’s parents back together, and then send him back to the future. Throughout the film, you hear a vibrant soundtrack that adds suspense to the story. The composer for this orchestral score, Alan Silvestri, met Back to the Future’s film director, Robert Zemeckis, when he composed the soundtrack for Romancing the Stone (a 1984 Zemeckis film). After the Back to the Future trilogy, Silvestri went on to work with Zemeckis for many, many more years.

If you’re interested in checking out this orchestral score or the scores to your other favorite movies, you can check out this item by Alan Silvestri and many more at the Parsons Music Library today.

Arachnophonia: Music in Film by Michel Chion

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Naron (class of 2023) and features a book about film music. Thanks, Naron!

Music In Film by Michel Chion
Edited and translated by Claudia Gorbman

Music in Cinema

Summary:
I find this book called Music in Film captivating and quite thought-provoking. The author acknowledges the rich history of music in cinema, from the early days of devices like the praxinoscope and kinetoscope to the diverse range of musical styles and genres that have been integrated into films. It raises questions about the purpose of music in cinema and the complex relationship between music and film. The author also expresses a desire to provide a comprehensive overview of this subject while avoiding oversimplification.

Why I Like This Book so Far:
As a music & film student, I find this book intriguing for several reasons. Firstly, it recognizes the vast history of music in cinema, going beyond the conventional notion of “the cinema” and acknowledging the diverse influences and traditions that have shaped the use of music in films. This inclusive approach aligns with my own belief in the importance of understanding the diverse cultural and artistic contexts of music in cinema.

Secondly, the book raises thought-provoking questions about the purpose of music in films, such as why music is used to accompany moving images and spoken dialogue, and how it can impact the emotional experience of the audience. These questions resonate with my own curiosity and desire to explore the multifaceted relationship between music and film.

Thirdly, the author’s intention to provide a comprehensive overview of significant examples of music in cinema, while acknowledging the limitations of exhaustive detail, is appealing to me as a student. The book offers a balanced and comprehensive approach to studying the subject, without oversimplifying or favoring certain films over others.

The author finds it difficult to view history solely through the lens of winners and losers, or to solely praise masterpieces while disregarding other works. As a result, unlike some current and past writing on the subject, particularly in France, this book may be perceived as indulgent towards a wide range of films and recent aesthetic trends, which may come across as guilty to some. The author’s aim is to inform readers and engage in thoughtful reflection, without resorting to oversimplification. This doesn’t mean that all films are liked, but I do believe that each film deserves recognition for its artistic ambitions, including the intent to entertain.

Arachnophonia: Drawn to Sound

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Isaac (class of 2025) and features a collection of essays about music in animated films. Thanks, Isaac!

Drawn to Sound: Animation Film Music and Sonicity edited by Rebecca Coyle

Drawn To Sound book cover

Animation as a medium is something that has always intrigued me. Inherently having limits differing from traditional film, animation’s visual spectacle sees itself as a source of disagreement. On one end, you have supporters celebrating the composition of the visuals, but on the other, critics viewing it as a commodification of drawing, reserved for children. Regardless of viewpoint, however, is the music in works of animation. Masters of animation music use the medium in conjunction with what is on the screen for an expressive statement.

This book piques my interest for its breakdown of the works of these very artists, auteurs like Hisaishi have created works so fitting they have become indelible from what is on the screen. Sublimity is unequivocally achieved because of these scores, I often reflect most heavily on the sounds I heard from an animated feature, extending beyond even the most dogmatic of views on what a film “should be”. Editor Rebecca Coyle’s shared admiration for the often-ignored musical elements of these songs is something I was delighted to discover, as the focus of animated films are naturally on the animation itself. But this doesn’t mean music in animation should be marginalized, making this book all the more interesting as it is devoted to animation music. Stylistically, music drive themes in film more subtly than dialogue or visuals–– saturating the viewer in a soundscape is a pivotal role–– and throughout my life, recognizing the importance for these composers made any film an enriching watching (and listening) experience.

Parsons Playlists: Movie Music

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Naron (class of 2023) and features music from assorted movie soundtracks.

Movie Music

Some movie soundtracks have left a deep impression on me with their impressive music. The music in movies is usually carefully crafted by artists to match the main theme. The music often sounds even more powerful, carrying the memory of the story in the movie. Here is a short list of music from popular movies that left an impression on me:

movie music

Nick Laird-Clowes – “About Time Theme” (from About Time – 2013)

Lana Del Ray – “Young And Beautiful” (from The Great Gatsby – 2013)

Alan Silvestri – “Feather Theme” (from Forrest Gump – 1994)

John Williams – “Theme from Jurassic Park” (from Jurassic Park – 1993)

Hans Zimmer – “Why So Serious” (from The Dark Knight – 2008)

Ennio Morricone – “The Good, The Bad, and the Ugly (Main Title)” (from The Good, The Bad, and the Ugly – 1966)

Klaus Badelt – “He’s A Pirate” (from Pirates of the Caribbean: The Curse of the Black Pearl – 2003)

Lin-Manuel Miranda – “You’re Welcome” (sung by Dwayne Johnson in Moana – 2016)

Joe Hisaishi – “The Name of Life” (from Spirited Away – 2001)

Maurice Jarre – “Carpe Diem” (from Dead Poets Society – 1989)

Here is a link to a version of this playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZewCfuxxV4Gk3YIhi4ez0R4E

And here it is on Spotify:

Arachnophonia: Alan Menken Songbook

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Danny (class of 2023) and features a collection of Alan Menken songs for piano, voice and guitar. Thanks, Danny!

Alan Menken Songbook

Alan Menken Songbook

If you’re any fan of Disney, or of musicals, there can be a 95% guarantee – if not 100%, that you have heard of Alan Menken. Menken, born in 1949 in Manhattan, is a composer and songwriter who has worked tirelessly since 1972 to give the American public and worldwide audiences the pleasures of listening to his incredible musical abilities, writing songs for some of our favorite Disney movies, musicals, and shows.

After graduating from New York University in 1971, Menken’s musical career took off. To name some of his most famous works, he was a songwriter for Little Shop of Horrors, The Little Mermaid, Rocky V, Beauty and the Beast, Newsies, Aladdin, Pocahontas, The Hunchback of Notre Dame, Hercules, Enchanted, Tangled, and a variety of their stage adaptations.

Just the sheer variety of different types of films/musicals and the musical talent to be able to write completely original songs with varying styles is incredible. And all of them were absolute hits. This incredible discography is beyond fascinating. Just imagine – currently in New York, Little Shop of Horrors is playing again Off-Broadway. Aladdin is on Broadway. The Little Mermaid live action remake is coming out in 2023. The Hunchback of Notre Dame’s live-action remake is in the works. That is four – yes four – pending or active projects that have Menken’s name attached to them.

Parsons Music Library has had the privilege to house the Alan Menken Songbook, with scores for piano, voice, and guitar. Some of his most popular pieces are held in this 188 page score.

Songs that are included are “Sante Fe” (Newsies), “Somewhere That’s Green” (Little Shop of Horrors), “Proud of Your Boy” (Aladdin), “Go the Distance” (Hercules), “A Change in Me” (Beauty and the Beast) and a variety of other classics.

As you play, listen, or read the scores for all 28 songs included in the songbook, you can feel the different styles and the creativity needed to write songs for such Disney-esque plots. Nothing Disney has come out with has ever been less than imaginative – it takes an even more imaginative person to bring those creative tales to life through song. And that is all achieved through Menken’s song writing abilities.

Parsons Playlists: Bollywood Jams

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Welcome back to Parsons Playlists! Today we’re featuring a collection of Bollywood music from the 2000s curated by Music Library student assistant Kiran (class of 2024). Editor’s Note: since Bollywood songs are often from films, I’ve linked to some titles that are available to check out in the library catalog so you can see them in their full context if you want!

Bollywood music has always been a staple of my childhood. On my way home from school, my grandmother would put in a CD with over her favorite songs and we would listen to new ones every day. I love how upbeat it is and the variety of instrumentation used. It is so different from Western music, but just as good in my opinion. These songs are from the early 2000s to 2010.

Bollywood movie posters

“Koi Mil Gaya” from Kuch Kuch Hota Hai

“Ho Gaya Hai Tujhko To Pyar Sajna” from Dilwale Dulhania Le Jayenge

“Bole Chudiyan” from Kabhi Khushi Kabhie Gham

“Where’s the Party Tonight?” from Kabhi Alvida Naa Kehna

“Sheila Ki Jawani” from Tees Maar Khan

“Aaja Nachle” from Aaja Nachle

“Mauja Hi Mauja” from Jab We Met

“It’s the Time to Disco” from Kal Ho Naa Ho

“Crazy Kiya Re” from Dhoom: 2

“Nagada Nagada” from Jab We Met

“Rang De Basanti” from Rang De Basanti

“Chale Jaise Hawaien” from Main Hoon Na

“Yeh Ladka Hai Allah” from Kabhi Khushi Kabhie Gham

“Dola Re Dola” from Devdas

“Radha Kaise Na Jale” from Lagaan

And here’s a link to the full playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57Zewc53s7y9-g-JDVUyrlXiXv

Arachnophonia: Selections from “Charlie and the Chocolate Factory”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Nathan (class of 2024) and features piano/vocal selections from the 2005 film Charlie and the Chocolate Factory. Thanks, Nathan!

Selections from Charlie and the Chocolate Factory

Selections from "Charlie and the Chocolate Factory"

Danny Elfman is such a prolific composer, known for commonly working alongside filmmaker Tim Burton. Arguably, the best and most diverse collection of his work can be found in his music for the 2005 adaptation of Roald Dahl’s “Charlie and the Chocolate Factory.” His score explores a variety of styles, from Bollywood to the sugar-pop of the 1960s. While the piano score struggles to capture all of the complex work and sound behind the “Main Titles” (Elfman at his prime, in my opinion), it does an excellent job providing a solid basework for solo playability. The piano adaptation for the “Finale” is perfectly captured and successfully leaves what it intends to bring – a feeling of finality and completion at the end of a wild ride.