ABSTRACT
When the labor issues between Hollywood musicians and both the major and independent studios were finally resolved late in 1958, “Hollywood music” as it had come to be known and often disparaged would largely be a thing of the past. This is not to say that an end had come to scores that were at the same time consistently symphonic in both sound and idiom and in terms of function firmly aligned with the “obvious” narrative goals of the so-called classical-style film. Throughout the 1960s plenty of such scores were used, not just in Hollywood but also in Europe, and they have continued to be used right up to the present day. Indeed, in the late 1970s they were so much in evidence that it is now commonplace to identify that period with the style’s “revival.”2
