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Bernard Herrmann
Bernard Herrmann composed the score for Alfred Hitchcock's Psycho, and his shrieking string arrangement for the film's shower scene, achieved using only string instruments rather than a full orchestra, became one of the most instantly recognizable and frequently imitated pieces of horror film music ever written. His lengthy collaboration with Hitchcock across multiple films, including Vertigo and North by Northwest, established one of the most significant director-composer partnerships in film history before the two had a professional falling out over Hitchcock's rejection of Herrmann's score for Torn Curtain in 1966. Herrmann's score for 1941's Citizen Kane, his first film score, demonstrated an unusually sophisticated and structurally ambitious approach for a composer's debut work, directly supporting Orson Welles's own narratively unconventional filmmaking with correspondingly innovative musical structure. His combination of genuine compositional innovation, particularly his willingness to use unconventional instrumentation for specific emotional effect, and his significant influence on the subsequent generation of film composers, including direct acknowledgment from John Williams, has made Herrmann one of the most historically significant composers in the development of film scoring as a serious art form.
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Howard Shore
Howard Shore composed the scores for Peter Jackson's Lord of the Rings trilogy, developing an extensive system of distinct musical themes representing different cultures and characters across Middle-earth, and his work on the trilogy won multiple Academy Awards across the three films. His score's scale and structural ambition, composing what amounts to roughly 10 hours of continuous, thematically interconnected music across the trilogy's combined runtime, represented one of the most extensive single-project compositional undertakings in film scoring history. Shore's earlier work scoring numerous David Cronenberg films established his reputation for atmospheric, psychologically unsettling scoring well before his Lord of the Rings success, demonstrating a stylistic range spanning intimate psychological horror and massive orchestral fantasy epic scoring. His combination of the Lord of the Rings trilogy's unprecedented scale and thematic complexity, alongside his earlier body of more intimate, atmospheric work, has made Shore one of the most structurally ambitious and stylistically versatile film composers of his generation.
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