{"id":48124,"date":"2024-10-11T10:00:00","date_gmt":"2024-10-11T08:00:00","guid":{"rendered":"http:\/\/2887059a-e991-47da-a17a-54f5e9596d9e"},"modified":"2024-10-11T11:07:20","modified_gmt":"2024-10-11T09:07:20","slug":"the-13-most-terrifying-horror-film-scores-of-all-time","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/the-13-most-terrifying-horror-film-scores-of-all-time\/","title":{"rendered":"The 13 most terrifying horror film scores of all time"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Friday, 11 October 2024 at 08:00 AM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Let\u2019s face it, horror films are all-the-scarier because of music. Things that go bump in the night are often punctuated by the stab of <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/violin-history\">violins<\/a><\/strong>, the whine of woodwinds or the cackle of choir. But not always. Composers have come up with all manner of ways to give us the willies on screen over the years. So, get some popcorn (and a cushion to hide behind) as we rank 13 of the very best horror film scores of all time.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/top-film-composers-ever\">Top 10 film composers \u2013 of all time<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/six-best-sci-fi-movie-soundtracks\"> Six of the best&#8230; Sci-fi movie soundtracks<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/winners-of-oscars-for-best-original-score-all-the-nominated-soundtracks-from-the-history-of-the-academy-awards\">All the Oscar winners and nominees for Best Original Score, since 1935<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/tv-and-film-music\/beetlejuice-beetlejuice-a-guide-to-the-soundtrack\">A guide to the music of <em>Beetlejuice Beetlejuice<\/em><\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">The best horror film scores of all time&#8230;<\/h2><h3 class=\"wp-block-heading\" id=\"h-the-bride-of-frankenstein-franz-waxman-1935\">13. The Bride of Frankenstein (Franz Waxman, 1935)<\/h3><p>Not many sequels surpass the original, but James Whale\u2019s follow-up to <em>Frankenstein <\/em>(1931) is one of them and not least of all because of Franz Waxman\u2019s original score. Wildly exciting and ahead of its time in many ways, Waxman\u2019s music was riding high on the wave of the new \u2018Hollywood Sound\u2019.<\/p><p>Film music as we know it was really born just a couple of years before and Waxman was part of its origin story, along with Max Steiner, Alfred Newman and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/erich-wolfgang-korngold\">Erich Wolfgang Korngold<\/a><\/strong>. This horror film score, with its thrilling orchestral palette and something called a <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/the-best-works-for-the-theremin\">theremin<\/a><\/strong>, really made audiences sit up and take notice. <\/p><h3 class=\"wp-block-heading\" id=\"h-bram-stoker-s-dracula-wojciech-kilar-1992\">12. Bram Stoker\u2019s Dracula (Wojciech Kilar, 1992)<\/h3><p>The \u201990s were all about style (over substance?) and Francis Ford Coppola\u2019s take on Bram Stoker\u2019s legendary vampire tale was certainly an expensive exercise. Keanu Reeves\u2019s British accent remains awful, but the film is \u2013 today \u2013 loved for its excesses and high camp. Gothic horror abounds on screen and in the music, with Polish composer Wojciech Kilar pulling out all the stops. The brass is flagrant, the choir is steaming and the strings are frenzied\u2026<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/tv-and-film-music\/twilight-soundtrack-who-wrote-the-music-to-the-saga-and-which-classical-music-is-featured-in-the-score\">Twilight soundtrack: who wrote the music to the saga and which classical music is featured in the score?<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\">11. Ring\/Ringu (Kenji Kawai, 1998)<\/h3><p>Hideo Nakata\u2019s 1998 frightener remains one of the most talked about horror movies of all time. It\u2019s a cut above the Hollywood remake which followed a handful of years later, and the music by Japanese composer Kenji Kawai is a big part of why\u00a0<em>Ring<\/em>\u00a0(or\u00a0<em>Ringu<\/em>) is so intense. <\/p><p>Kawai created a brilliantly unsettling soundworld of synths and strings, in a John Carpenter vein, augmented by punchy percussion and all manner of sounds. <a href=\"https:\/\/www.classical-music.com\/features\/composers\/hans-zimmer\">Hans Zimmer <\/a>scored the remake, and while his efforts are effective, there\u2019s something more chilling about Kawai\u2019s intense horror film score.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Ring (Ringu) - \u30ea\u30f3\u30b0 (1998) - Official Trailer\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/0_f3vfflnOE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-the-witch-mark-korven-2015\">10. The Witch (Mark Korven, 2015)<\/h3><p>Horror remains huge and the last decade has seen some of the most popular franchises make big money. Some of the best films, though, have taken the stance of \u2018less is more\u2019. <em>The Witch<\/em> is one such example, with its period setting and earthy folklore. The pace is slow, the scares actually more impactful as a result.<\/p><p>Canadian composer Mark Korven followed suit and created a horror film score that scratches and picks away at the drama. The emphasis is on strings, but they\u2019re ragged and unsettling. Howling banshee-like voices are added into the mix, just to make it even more terrifying. This is one of the most artful, atmospheric horror film scores ever written. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Mark Korven - What Went We (The Witch Original Soundtrack)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/SwLN9s6inTs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-rosemary-s-baby-krzysztof-komeda-1968\">9. Rosemary\u2019s Baby (Krzysztof Komeda, 1968)<\/h3><p>Hollywood had well and truly moved on from classic monsters by the 1960s and the young visionary directors of the day took things in more unsettling directions. Roman Polanski\u2019s <em>Rosemary\u2019s Baby<\/em> focuses on the paranoia of a mum-to-be who believes the child she\u2019s carrying may not be of this world.<\/p><p>The music by Polish composer and jazz musician Krzysztof Komeda set a beautiful <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-lullabies\">lullaby<\/a><\/strong> waltz at the heart of his score which appears in variations throughout. Very much of its time, the wider score is infused with <strong><a href=\"https:\/\/www.classical-music.com\/articles\/jazz-music-what-it-is-and-how-it-evolved\">jazz<\/a><\/strong> inflections and pop sensibilities, though Komeda brings in more traditional orchestral elements when things get creepy.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Krzysztof Komeda - Lullaby - (Rosemary's Baby - 1968)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/7wRNX94fU94?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\">8. Insidious (Joseph Bishara, 2010)<\/h3><p>Writer\/director James Wan has really delivered some of the glossiest, grizzliest, most devilish and most popular Hollywood horror franchises, from\u00a0<em>Saw<\/em>\u00a0to\u00a0<em>The Conjuring<\/em>.\u00a0<em>Insidious<\/em>\u00a0might be the best of the bunch, and though its story (of a child lured into an unseen demonic realm) might be a devilish version of\u00a0<em>Poltergeist<\/em>, it was done with some great scares and quite a lot of heart. <\/p><p>The music, by Joseph Bishara is a bit of a masterclass in creating a horror film score that is modern while keeping at least one foot in the past. Bishara is seemingly gleeful in his application of terrifying strings \u2013 they shriek, scream and even whinny like demonic horses. It\u2019s quite a trip.<\/p><h3 class=\"wp-block-heading\">7. Poltergeist (Jerry Goldsmith, 1982)<\/h3><p>\u2018They\u2019re heeeere\u2019\u2026 Composer Jerry Goldsmith took a leaf out of the score for\u00a0<em>Rosemary\u2019s Baby<\/em>\u00a0for Tobe Hooper\u2019s 1982 suburban nightmare \u2013 \u2018Carol Anne\u2019s Theme\u2019 is a lullaby, sung by children\u2019s choir. So far, so sweet and melodic\u2026 but it ends with the children laughing, which is terrifying. <\/p><p>Like his score for\u00a0<em>The Omen<\/em>, Goldsmith unleashes orchestral hell as the Freeling family is subjected to ghostly forces that snatch their young daughter and hold her captive somewhere \u2018beyond\u2019. The cue \u2018Escape from Suburbia\u2019 is a tour de force by the composer, a wild orchestral ride and truly one of the great action-musical set pieces of all time.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Poltergeist (1982) Official Trailer - JoBeth Williams, Craig T. Nelson Horror Movie HD\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/9eZgEKjYJqA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\">5. Hereditary (Colin Stetson, 2018)<\/h3><p>One of the most original horrors in recent years, Ari Aster\u2019s\u00a0<em>Hereditary<\/em>\u00a0was full of surprises and has an atmosphere that is intense and wholly unique. A large part of that intensity comes from the music by Colin Stetson, a one-time wrestler and go-to reeds virtuoso who happens to also contribute memorable soundworlds for film and television. Reeds (saxophones of every variety) feature heavily, and their long-held, rasping, bubbling and undulating notes sit awithin a heady, throbbing soundscape. It\u2019s a sonic fog through which Aster\u2019s shocks and revelations alternately creep and bellow. An inspired horror film score.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/articles\/saxophone-invention\">When was the saxophone invented?<\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/articles\/best-classical-works-saxophone\">Best classical works for saxophone<\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-hellraiser-christopher-young-1987\">6. Hellraiser (Christopher Young, 1987)<\/h3><p>There was more of an appetite for blood, guts and gore in the 1980s, and <em>Hellraiser<\/em> gave audiences plenty of that. Clive Barker\u2019s cult classic also gave us one of the genre\u2019s most iconic characters (\u2018Pinhead\u2019) and one of the decade\u2019s best horror scores. The likes of <em>Halloween<\/em> (1978), <em>Friday the 13th<\/em> (1980) and <em>A Nightmare on Elm Street<\/em> (1984) before it had plumped for more modern musical scores \u2013 the synthesiser was becoming king.<\/p><p>For <em>Hellraiser<\/em> the producers turned to composer Christopher Young who created one hell-of-an orchestral accompaniment. Young had cut his teeth on a number of low budget horror films and made his break with the sequel to <em>A Nightmare on Elm Street<\/em> in 1985. He proved himself adept with a large orchestral canvas, however, applying broad Romantic strokes to this sickeningly brilliant film.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Hellraiser Theme - Christopher Young\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/wxIFzdwrzek?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-the-omen-jerry-goldsmith-1976\">4. The Omen (Jerry Goldsmith , 1976)<\/h3><p>An example of horror as blockbuster (a term still in its infancy \u2013 <em>Jaws<\/em> came out the year before), Richard Donner\u2019s <em>The Omen<\/em> saw Gregory Peck and Lee Remick star as the unwitting parents of the Devil incarnate. Everything about this film was big, from the performances to the effects and set-pieces.<\/p><p>The music, by Jerry Goldsmith, is something to behold as the legendary composer created a lavish accompaniment for <strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/what-instruments-make-up-an-orchestra\">orchestra<\/a><\/strong> and chorus. It won him his only Oscar and he would go on to write two more scores for the <em>Omen<\/em> series; some say his third score, for <em>The Final Conflict <\/em>(1981), outdoes the original. You can\u2019t beat this first score, though, for sheer spine-tingles and unabashed devilment.<\/p><h3 class=\"wp-block-heading\">3. Halloween (John Carpenter, 1978)<\/h3><p>It\u2019s not often a film director writes his own music, but John Carpenter has done just that for the majority of his most classic films.\u00a0<em>Halloween<\/em>\u00a0is perhaps the most familiar and like <a href=\"https:\/\/www.classical-music.com\/features\/composers\/bernard-herrmann\">Bernard Herrmann<\/a>\u2019s\u00a0<em>Psycho<\/em>, Carpenter opted for a slimline approach to his music for his own legendary take on the neighbourhood slasher genre. Creeping piano notes and stabbing synths underscore the majority of Michael Myers\u2019s night of terror in Haddonfield. Carpenter\u2019s main theme is insistent, repetitive, breathless even; it creates an unyielding urgency which reminds us that Myers is a killer who is single-minded, machine-like and seemingly unstoppable.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Halloween Unlock The Door (10)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/nIEGN7V5ckU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\">2. Psycho (Bernard Herrmann, 1960)<\/h3><p>Less is more, as they say, and composer Bernard Herrmann went for a stripped down approach to his music for Alfred Hitchcock\u2019s 1960 horror-thriller. Given the director chose to shoot his motel-based nightmare in black and white, Herrmann felt it only right that he compose a spare score for strings only. The result is one of the most iconic film scores of all time, with Herrmann\u2019s shrieking (and at the time, shocking) music for the infamous \u2018shower scene\u2019 sending popcorn flying in cinemas the world over.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"BBC Proms 2011: Psycho Suite - Music from the Hitchcock film\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/G5hUWtfG9SU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\">1. The Shining (Wendy Carlos et al, 1980)<\/h3><p>Stanley Kubrick\u2019s 1980 film adaptation of Stephen King\u2019s classic novel remains one of the greatest films of all time. Even without music, the atmosphere Kubrick creates at the eerie Overlook Hotel (not to mention Jack Nicholson\u2019s unnerving performance as the increasingly troubled Jack Torrance), makes\u00a0<em>The Shining<\/em>\u00a0a total frightfest.\u00a0<\/p><p>The film\u2019s music is something of an inspired patchwork, with some of the most unsettling moments actually coming courtesy of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/bela-bartok\">Bart\u00f3k<\/a> (<em>Music for Strings, Percussion and Celesta<\/em>), <a href=\"https:\/\/www.classical-music.com\/features\/composers\/gyorgy-ligeti\">Ligeti<\/a> (<em>Lontano<\/em>) and <a href=\"https:\/\/www.classical-music.com\/news\/obituary-krzysztof-penderecki\">Penderecki<\/a> (<em>Da natura sonoris No. 2<\/em>, among others).\u00a0Add to that Wendy Carlos and Rachel Elkind\u2019s brief, but brilliantly executed <a href=\"https:\/\/www.classical-music.com\/articles\/guide-moog-synthesisers\">Moog synthesizer<\/a> cues (the first of which quotes <a href=\"https:\/\/www.classical-music.com\/features\/composers\/hector-berlioz\">Berlioz<\/a>\u2019s\u00a0<em>Symphonie fantastique<\/em>) and you\u2019ve got the recpie for the most terrifying of soundtracks.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"The Shining Soundtrack OST - Music for Strings, Percussion and Celesta (HQ)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/Khao59UYqdo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Friday, 11 October 2024 at 08:00 AM Let\u2019s face it, horror films are all-the-scarier because of music. Things that go bump in the night are often punctuated by the stab of violins, the whine of woodwinds or the cackle of choir. But not always. Composers have come up with all manner of ways [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":48125,"template":"","categories":[1],"acf":{"readingTimeMinutes":"8"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time.png",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time-150x150.png",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time-300x200.png",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time-768x512.png",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time-1024x683.png",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time.png",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/the-13-most-terrifying-horror-film-scores-of-all-time.png",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Friday, 11 October 2024 at 08:00 AM Let\u2019s face it, horror films are all-the-scarier because of music. Things that go bump in the night are often punctuated by the stab of violins, the whine of woodwinds or the cackle of choir. But not always. Composers have come up with all manner of ways&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/48124"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/48125"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=48124"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=48124"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}