{"id":7307,"date":"2019-10-31T14:16:46","date_gmt":"2019-10-31T18:16:46","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=7307"},"modified":"2019-11-06T12:13:38","modified_gmt":"2019-11-06T17:13:38","slug":"iconic-horror-movie-scores","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/iconic-horror-movie-scores\/","title":{"rendered":"The most iconic horror movie scores throughout history"},"content":{"rendered":"<h2>Having an effective score may be more important to horror movies than any other genre.<\/h2>\n<p>A good horror movie creates an inescapable sense of immersion, and sound is a key player for viscerally drawing us into a story. Over the last several decades, composers have explored and innovated many techniques for elevating the fear factor of a film, from blurring the lines between music and sound design to maximizing the deafening power of silence.<\/p>\n<p>In the spirit of Halloween, a few of our blog&#8217;s authors came together and shared the film scores that stood out to them. While by no means an exhaustive list, we present you some of the most iconic horror movie scores throughout history.<\/p>\n<h2><em>Psycho<\/em> (1960)<\/h2>\n<p><iframe title=\"The Murder\" width=\"370\" height=\"278\" src=\"https:\/\/www.youtube.com\/embed\/gcQVMhL-PgY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong><a href=\"https:\/\/splice.com\/blog\/author\/kenherman\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Ken<\/strong><\/a>:<\/strong> Bernard Herrmann&#8217;s soundtrack might be the single most important element of <em>Psycho<\/em>, with Alfred Hitchcock himself famously remarking, &#8220;33% of the effect of <em>Psycho\u00a0<\/em>was due to the music.&#8221; Herrmann&#8217;s amalgam of screeching violins, violas, and cellos in &#8220;The Murder,&#8221; the composition that plays during the shower scene, is easily one of the most recognized pieces in horror and cinema at large. The film\u2019s use of tense, uncomfortable music in the first half of the movie (where nothing violent happens) also keeps the audience on their toes by hinting at the sinister events that lie ahead.<\/p>\n<h2><em>Suspiria<\/em> (1977)<\/h2>\n<p><iframe title=\"Suspiria (Main Title)\" width=\"370\" height=\"278\" src=\"https:\/\/www.youtube.com\/embed\/dXcjbWs-yqU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong><a href=\"https:\/\/splice.com\/blog\/author\/shannonbyrne\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Shannon<\/strong><\/a>: <\/strong>The soundtrack to the original 1977 film <em>Suspiria<\/em> was composed and performed by the Italian prog-rock band Goblin, led by Claudio Simonetti, a Brazilian-born Italian musician and film composer. Simonetti collaborated with Dario Argento on several of his films, with the soundtrack of <em>Suspiria<\/em> being arguably the most notable.<\/p>\n<p>In an interview with <a href=\"https:\/\/www.factmag.com\/2014\/10\/31\/suspiria-is-the-masterpiece-of-goblin-claudio-simonetti-reflects-on-the-best-horror-soundtrack-of-all-time\/\" target=\"_blank\" rel=\"noopener noreferrer\">Fact Magazine<\/a>, Simonetti explained their process for the <em>Suspiria<\/em> soundtrack, which started with a set of demos they made after reading the script. He said, \u201cWe tried to use a lot of ethnic instruments like tabla and bouzouki, and we did a lot of recording of sounds that we created because, in 1977, we didn\u2019t have any samplers.\u201d He added, \u201cDario used this music on the set, to help the actors during the shooting.\u201d However, in the end, Simonetti scrapped the original demos because they didn\u2019t share the film\u2019s distinctive mood. He said in the interview, \u201cWhen you write the music from the script, I don\u2019t know why, but it doesn\u2019t work.\u201d<\/p>\n<p>Instead, he took an experimental direction, becoming one of the first to use a synthesizer in a film score, leaning heavily on the System 50 Moog modular system famously used by Emerson Lake &amp; Palmer\u2019s Keith Emerson. Goblin\u2019s music went on to inspire John Carpenter among other great horror movie composers and directors.<\/p>\n<h2><em>The Shining<\/em> (1980)<\/h2>\n<p><iframe title=\"The Shining (1980) -Main Title Theme (Dies Irae)\" width=\"370\" height=\"278\" src=\"https:\/\/www.youtube.com\/embed\/94Agw74lS50?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong><a href=\"https:\/\/splice.com\/blog\/author\/matteo\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Matteo<\/strong><\/a><strong>:<\/strong> <\/strong>Sometimes, a few notes is all it takes to make your skin crawl. In the case of Stanley Kubrick&#8217;s <em>The Shining<\/em>, those iconic opening notes to the main theme give me goosebumps every single time I hear them. Composers Wendy Carlos and Rachel Elkind actually adapted this phrase from Hector Berlioz&#8217;s &#8220;Symphonie Fantastique,&#8221; which in turn drew from a well-known medieval hymn.<\/p>\n<p>The usage of a synthesized horn gives the melody an unnatural feel as other sonic elements begin to appear, from thin metallic string plucks to haunting vocal chants. This unsettling soundscape is incredibly minimal, but sets the scene perfectly for what&#8217;s to come.<\/p>\n<h2><em>The Thing<\/em> (1982)<\/h2>\n<p><iframe title=\"Humanity (Pt. 2)\" width=\"370\" height=\"278\" src=\"https:\/\/www.youtube.com\/embed\/I9Doo9ajCyQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong><a href=\"https:\/\/splice.com\/blog\/author\/matteo\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Matteo<\/strong><\/a>:<\/strong> Hitting theaters on the same weekend as <em>E.T.<\/em>, John Carpenter&#8217;s 1982 alien horror flick <em>The Thing<\/em> wasn&#8217;t well-received by critics at the time, but has since become a modern cult classic. A remote Antarctic research base and an alien parasite that imitates other lifeforms \u2014 you can imagine the chaos that ensues! Carpenter, who traditionally scored his own films with a focus on analog synthesis, tapped the legendary composer Ennio Morricone for this project. A peculiar choice, but the soundtrack really connects to the film&#8217;s plot, with its dissonant orchestral strings combining with dark, foreboding drones in a twisted symphony.<\/p>\n<p>Opting for more electronic elements in the main theme, Morricone introduces a pulsing &#8220;dum-dum&#8221; motif that reappears throughout the film. Could this be the alien&#8217;s attempt at imitating our own human heartbeat, and Morricone imitating the same musical themes that Carpenter was known for? It certainly fits in with the film&#8217;s tagline: &#8220;Man is the warmest place to hide.&#8221;<\/p>\n<h2><em>A Quiet Place<\/em> (2018)<\/h2>\n<p><iframe title=\"Marco Beltrami - &quot;A Quiet Life&quot; (A Quiet Place OST)\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/F5EZ_orX51I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong><a href=\"https:\/\/splice.com\/blog\/author\/kenherman\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Ken<\/strong><\/a>: <\/strong>As the title suggests,\u00a0<em>A Quiet Place\u00a0<\/em>is all about sound, or the lack thereof. Compositions from Marco Beltrami such as &#8220;A Quiet Life&#8221; are carefully inserted and fit amazingly with the film, but what&#8217;s equally impressive with <em>A Quiet Place\u00a0<\/em>is the various techniques employed in its sound design. On the set of the film, crew members avoided making any noise so natural and diegetic sounds could be recorded on the soundstage and amplified in post-production. Sound designers Erik Aadahl and Ethan Van der Ryn used different levels of filters and hum to emphasize silence in scenes where Regan turns her cochlear implants on and off. To design the sound of the screaming creatures, they squished wet rags and pulled watermelon husks apart. All of these creative choices combine to create a one-of-a-kind film that&#8217;s as emotionally impactful as it is scary.<\/p>\n<h2><em>Us<\/em> (2019)<\/h2>\n<p><iframe title=\"&quot;Anthem (from US)&quot; by Michael Abels\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/1idEVy_qH8c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"https:\/\/splice.com\/blog\/author\/shakeilgreeley\/\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Shakeil<\/strong><\/a>: <em>Us<\/em>, Jordan Peele\u2019s second horror classic, is a terrifying and at times hilarious rumination on class, the United States, and rabbits. Music plays a central role throughout the film, driving the plot forward, ratcheting up the intensity in its absence, and even offering moments of comic relief when the terror begins to go off the rails. The introductory track, \u201cAnthem,\u201d is spooky-as-hell yet also makes you want to groove, with later songs like \u201cBeach Walk\u201d and \u201cOnce Upon a Time\u201d reusing percussive and choral elements that appear in \u201cAnthem\u201d in cohesive and chill-inducing ways. Michael Abels\u2019 work across the score is exceptional, using frantic strings and varied percussion throughout, but his rework of Luniz\u2019s \u201cI Got Five On It\u201d elevates the entire score to iconic status. His orchestral rework that plays during the climax of the film is a masterwork in re-contextualization, drawing out and dramatizing the melody. Lastly, <em>Us<\/em> has undeniably the best use of NWA\u2019s \u201cFuck the Police,\u201d in any film ever. Quote me on that.<\/p>\n<p>What&#8217;s the most iconic horror movie score in your book? Let us know in the comments below.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the spirit of Halloween, a few of our blog&#8217;s authors came together and shared the horror movie scores that stood out to them.<\/p>\n","protected":false},"author":2,"featured_media":7308,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1692],"tags":[1386],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The most iconic horror movie scores throughout history - Blog | Splice<\/title>\n<meta name=\"description\" content=\"In the spirit of Halloween, a few of our blog&#039;s authors came together and shared a few horror movie scores that stood out to them.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/iconic-horror-movie-scores\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The most iconic horror movie scores throughout history - 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