The analysis of film scores must consider not only the finished score but also the various layers of the construction process, including the so-called “temp track,” a temporary soundtrack often comprising cues from existing films or other pre-existing music. The temp track maps the topography of the future score and its relation to the film, and along with its precursor, the compilation score, it is limited in its ability to synchronize with the film by its use of units of pre-existing phrase structures and forms. Despite its limitations and the artistic misgivings of many composers, it is often extremely influential upon the final score. Music editors are thus increasingly powerful and significant in the establishment and perpetuation of musical filmic conventions, acting as surrogate composers.

Works: Antoine Fuqua (director) and Roy Prendergast (music editor): temp track to Tears of the Sun (170-74); Antoine Fuqua (director) and Hans Zimmer (composer): score to Tears of the Sun (172-73); Jonathan Demme (director) and Suzana Peric (music editor): temp track to Philadelphia (176-79); Jonathan Demme (director) and Howard Shore (composer): score to Philadelphia (176-79).

Sources: Alan Silvestri: score to What Lies Beneath (171-72, 174); Bruce Springsteen: Streets of Philadelphia (176-79).

Index Classifications: 1900s, 2000s, Film

Contributed by: Kate Altizer