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Ennio Morricone
Ennio Morricone composed the scores for Sergio Leone's Spaghetti Western films, including The Good, the Bad and the Ugly, and his distinctive use of unconventional instrumentation — whistling, electric guitar, and human voice used as a lead melodic instrument — established an entirely new sonic vocabulary for Western film scoring. His combined film scoring output across more than five decades and hundreds of films spans Westerns, crime dramas, and historical epics, and Morricone's versatility across such a broad range of genres and directors made him one of the most prolific and consistently in-demand composers in film history. Despite scoring dozens of internationally acclaimed films across his career, Morricone didn't win a competitive Academy Award until 2016, for The Hateful Eight, decades into his career, following five prior nominations without a win — a gap widely regarded within the industry as one of the more significant Oscar delays for a composer of his stature. His combination of genuinely innovative instrumentation and his massive, stylistically varied body of work has made Morricone one of the most influential and widely imitated film composers in the medium's history, and his Spaghetti Western scores specifically remain among the most instantly recognizable pieces of film music ever composed.
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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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