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A score is original music written specifically to accompany a dramatic presentation, such as a movie, television program, play, or video game. In the case of a medium recorded on film or video, the written score may be recorded and used as part of the soundtrack, which also includes dialogue and/or sound effects. Alternatively, the written score may be re-recorded for release to the public, so that the released recording is separate from the soundtrack.
For example, John Williams's Star Wars is a score used as a film soundtrack. Franz Waxman's The Bride Of Frankenstein is a newly recorded version of the original score, and is not a film soundtrack. Cecil Payne's The Connection was written as the score for a play.

Find the film that the albums are associated with on Filmogs and add a link to the soundtrack or score on the Film page.
For example: Jackie Brown on Filmogs and Discogs

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rdimucci posted 1 year ago:

It still seems that under your suggested categories, every soundtrack would still end up being a score as well. I don't think such redundancy helps anyone decide what they are holding in their hand. IMHO, with rare hybrid exceptions, the music on an orchestral film music album was either recorded for the film (for the soundtrack) or recorded for the album (from the score). By using one term or the other, a reader/listener knows what's on his recording. Using both terms at once seems to confuse matters more than elucidate them.

rdimucci posted 1 year ago:

If I read the above definition correctly, all orchestral film soundtracks are also scores, but not all orchestral film scores are soundtracks. So, every time the "Soundtrack" style is applied, one must also apply the "Score" style. This is just one more instance where Discogs goes against standard practice. An orchestral film music recording is typically labeled as either a "soundtrack" or a "score"; rarely is it labeled a "soundtrack score". But that is how Discogs seems to want them all identified.

itsdtw replied 1 year ago:

It IS confusing & muddled, isn't it Bob?
(recognise your name from the SAE forums).
"So, every time the "Soundtrack" style is applied, one must also apply the "Score" style." ... I don't think that's what they're trying to aim for - I reckon they want "soundtrack" to represent any recording that represents what was actually used in the film, so both orchestral scores AND song albums like Pretty Woman or classical compilations like 2001. So you'd apply "Soundtrack" to, say, Kill Bill, but obviously not "Score". But the murkiness comes straight back in with scores as soon as you're aware how often/much the "film version" is rearranged or recut or whatever for the album release anyway.
I think film music isn't really their area of expertise, LOL!

If it was down to me, I'd have "Stage & Screen" for ALL this stuff, including the dreaded "inspired by" albums. Then "Score" for anything specifically written for the production, irrespective of whether the release was the original recording or a later one. And "Soundtrack" for anything that the releasing label wants to call "soundtrack" (EXCEPT "inspired by" albums), released around the time of the production to tie in with it, irrespective of whether it's score or songs. Thankfully it isn't down to me, because even THAT separation would still leave scope for difference of opinion over things like the 1982 Blade Runner NAO thing. Eesh.

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