History of Music in Horror Films
A history of the sound in horror films
Horror films are known for their ability to scare audiences, to get the audience’s hearts racing, their blood rushing. A good horror film will cause viewers to be on the edge of their seats and having their perception of reality distorted as they attempt to understand the unraveling plot of the horror film. The tone of the film aides in the amount of suspense that a horror film produces, since a much darker film will create a more suspenseful atmosphere than one that is more focused on campy monster makeup. But the tone of a film is determined by the sound of the film, or in other words, the score. Sound or music in a horror film, or the lack thereof, make the intense scenes and without the addition of a marvelous score than fits the movie.
All films begin with the opening credits and the main title. This is the first and only chance the composer has to rope the audience into the movie. The stage is set, but the tone of the film is not. Horror movie title music creates a mood, insinuating the viewer into this world where the normal and abnormal collide. The sounds must match that as well. The main title music of horror films is at its base, the same, from Jaws to Dracula, the music is characterized by sharp contrasts in volume and timbre.
This distinction in notes helps to create a feeling of unknowing that resonates with the audience. Legendary composer John Williams is known for distinctive tones in many of the famous scores he has composed. Indiana Jones, Harry Potter, and Jurassic Park have a very melodic feel that sets them apart from other modern scores. However, when contrasted with William’s work on Jaws it is apparent where the tone for horror scores comes in.
One of the most common devices used by composers in horror is the creation of tension and foreboding through consistent patterns and distinguishable notes. Usually this music is very identifiable and stays with its listener. The strongest horror scores
Horror films are known for their ability to scare audiences, to get the audience’s hearts racing, their blood rushing. A good horror film will cause viewers to be on the edge of their seats and having their perception of reality distorted as they attempt to understand the unraveling plot of the horror film. The tone of the film aides in the amount of suspense that a horror film produces, since a much darker film will create a more suspenseful atmosphere than one that is more focused on campy monster makeup. But the tone of a film is determined by the sound of the film, or in other words, the score. Sound or music in a horror film, or the lack thereof, make the intense scenes and without the addition of a marvelous score than fits the movie.
All films begin with the opening credits and the main title. This is the first and only chance the composer has to rope the audience into the movie. The stage is set, but the tone of the film is not. Horror movie title music creates a mood, insinuating the viewer into this world where the normal and abnormal collide. The sounds must match that as well. The main title music of horror films is at its base, the same, from Jaws to Dracula, the music is characterized by sharp contrasts in volume and timbre.
This distinction in notes helps to create a feeling of unknowing that resonates with the audience. Legendary composer John Williams is known for distinctive tones in many of the famous scores he has composed. Indiana Jones, Harry Potter, and Jurassic Park have a very melodic feel that sets them apart from other modern scores. However, when contrasted with William’s work on Jaws it is apparent where the tone for horror scores comes in.
One of the most common devices used by composers in horror is the creation of tension and foreboding through consistent patterns and distinguishable notes. Usually this music is very identifiable and stays with its listener. The strongest horror scores
Cited: * Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press, 2010. Print. Carrie. Dir. Brian De Palm. United Arts, 1976. Film. * Pool, Jeannie G, and H S * Scheurer, Timothy E. Music and Mythmaking in Film: Genre and the Role of the Composer. Jefferson, N.C: McFarland, 2008. Print. Jaws. Dir Steven Spielberg. Universal Pictures, 1975. Film. “Hush.” Buffy the Vampire Slayer By Joss Whedon, WB, December 14 1999.