The Best Original Songs Selected by the Academy -- A Look Back


© Nicholas Moreau

This past week, the Academy released their official rules for the upcoming 72nd Annual Academy Awards, and it was pretty much the standard rules and guidelines for the annual Oscars, except for one major category change for the next Academy Awards.

The music categories are undergoing another change for the next awards, but will still contain three categories. The music categories seem to go through changes more so than any other of the other categories, usually in response to a trend in the awards.

For example, the last time the music awards went through a change was when Disney was winning the Best Original Score Oscar seemingly every year from 1989 onward, and in 1995, they split the Original Score Oscar into two awards, for Dramatic Scoring and for Musical/Comedy Scoring.

Well, for the next Oscars, the Dramatic Scoring and Musical/Comedy Scoring combine into one scoring Oscar again, and the Original Song Score Oscar returns for the first time since 1984, when Prince won the Oscar for his Song Score to Purple Rain.

The Original Song Score has always been an interesting Oscar, as it awards a composer for a variety of songs put together in one film ... for example,  Phil Collins will get a nod and most likely win this Oscar for his Song Score to Tarzan this year.

Here is how the Academy is defining the Music Awards for the 72nd Annual Oscars:
  1. Original Score: An original score is a substantial body of music in the form of dramatic underscoring originating with the submitting composer.
  2. Original Song: An original song consists of words and music, both of which are original and written specifically for the film. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the film or as the first song in the end credits.
  3. Original Song Score: An original song score consists of not fewer than five original songs by the same writer or team of writers either used as voice-overs or visually performed. Each of these songs must be substantively rendered and must be clearly audible, intelligible and recognizably performed as a song.

The score's chief emphasis must be the dramatic usage of these songs. What is simply an arbitrary group of songs unessential to the story line of the film will not be considered a valid song score. The adapter (if any) or the composer of the instrumental score may be eligible - in this category only - along with the writer(s) of the songs if his or her contribution is deemed substantial.

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