ABSTRACT
A critical evaluation of the role of the orchestrator in the contemporary film industry has been undertaken in this book in order to begin the process of filling a vacuum in the film-music literature. The role has been investigated through sub-questions that have formed the foci of the six preceding chapters, using evidence drawn from interviews with professional orchestrators and composers currently working within the business. The findings have been utilised to contextualise, criticise and develop the limited information in the existing literature, and to enable the generation of original knowledge and understanding. Through this process it has been possible to disambiguate the meaning and scope of both the role of the orchestrator and the task of orchestrating, particularly as it pertains to film music. This closing chapter draws together the conclusions of the preceding six in order to address the principal question addressed in this book: what is the role of the orchestrator in the contemporary film industry? Accordingly, the discussion proceeds with the primary conclusions of this investigation and an evaluation of the orchestrator’s role and place within the film industry. Following this, further developments of the non-linear model of film-score production cited in Chapter 2 are proposed that consider the use of electronic sound in film music either in place of or alongside live performance in a hybrid score, and final thoughts are shared on the future of the profession.
