Academy Award for Best Original Score
The Academy Award for Best Original Score is an award presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) to the best substantial body of music in the form of dramatic underscoring written specifically for the film by the submitting composer. Some pre-existing music is allowed, though, but a contending film must include a minimum of original music. This minimum since 2020 is established in 60% of the music, which is raised to 80% for sequels and franchise films. Fifteen scores are shortlisted before nominations are announced. History. The Academy  began awarding movies for their scores in 1935. The category was originally called Best Scoring. At the time, winners and nominees were a mix of original scores and adaptations of pre-existing material. Following the controversial win of Charles Previn for "One Hundred Men and a Girl" in 1938, a film without a credited composer that featured pre-existing classical music, the Academy added a Best Original Score category in 1939. In 1942, the distinction between the two Scoring categories changed slightly as they were renamed to Best Music Score of a Dramatic Picture and Best Scoring of a Musical  Picture. This marked the first time the category was split into separate genres, a distinction that technically still lasts today, although there haven't been enough submissions for the musical category to be activated since 1985. From 1942 to 1985, musical scores had their own category, with the exception of 1958, 1981, and 1982. During that time, both categories had many name changes: Following the wins of four Walt Disney Feature Animation films in six years from 1990 to 1995 ("The Little Mermaid", "Beauty and the Beast", "Aladdin", and "The Lion King") during a period called the Disney Renaissance, it  was decided to once again split the Best Original Score category by genres, this time by combining comedies and musicals together. As Alan Bergman, the chairman of the Academy's music branch said, "People were voting for the songs, not the underscores. We felt that Academy members outside the music branch didn't distinguish between the two. So when a score like "The Lion King" is competing against a drama like "Forrest Gump," it's apples and oranges – not in the quality of the score, but in the way it functions in the movie. There's a big difference." The  category was therefore split into Best Original Dramatic Score and Best Original Musical or Comedy Score in 1996. This change proved unpopular in the other branches of the Academy as Charles Bernstein, chairman of the Academy's rules committee, noted that "no other Oscar category depended on a film's genre" and "the job of composing an underscore for a romantic comedy is not substantially different from working on a heavy drama." This split was reverted in 2000. In 2020, rules were changed to require that a film's score include a minimum of 60% original music. Franchise films and  sequels must include a minimum of 80% new music. In 2021, the rules were changed again, lowering the minimum percentage of original music from 60% to 35% of the total music in the film. Academy Award for Best Original Musical. The Academy Award for Best Original Musical is a category that was re-established in 2000 after the Best Original Musical or Comedy Score category was retired. It has never been awarded in its present form due to a prolonged drought of films meeting the sufficient eligibility requirements. The Music Branch Executive Committee of the Academy decides whether there are  enough quality submissions to justify its activation. According to the rules, the Best Original Musical is defined as follows: Winners and nominees. The following is the list of nominated composers organized by year, and listing both films and composers. The years shown in the following list of winners are the production years, thus a reference to 1967 means the Oscars presented in 1968 for films released in 1967. Superlatives. These are only for nominations in the Scoring categories. Nominations in other categories, such as the Original Song category, are not included. Only one composer has won two Scoring Oscars the  same year: in 1973, Marvin Hamlisch won Original Dramatic Score for "The Way We Were" and Best Adaptation Score, for "The Sting". Hamlisch also won Best Song that year for "The Way We Were", making him the only composer to win three music Oscars in the same year. Only one composer has won Oscars three years in a row: Roger Edens won for "Easter Parade" (1948), "On the Town" (1949) and "Annie Get Your Gun" (1950). Eight composers have won Oscars two years in a row: Female nominees. As of 2022, only ten women have been nominated in music score  categories: Ann Ronell, Tylwyth Kymry aka Meg Karlin, Angela Morley, Marilyn Bergman, Rachel Portman, Anne Dudley, Lynn Ahrens, Mica Levi, Hildur Guðnadóttir, and Germaine Franco. Kymry, Bergman, and Ahrens were nominated for their contribution as lyricists. Four women have won in the scoring categories. Three are composers: Rachel Portman, who won for "Emma" (1996); Anne Dudley, who won for "The Full Monty" (1997); and Hildur Guðnadóttir, who won for "Joker" (2019). The fourth is lyricist Marilyn Bergman, who won for "Yentl" (1983) in the Original Song Score category, sharing the award with co-lyricist Alan Bergman (her husband) and composer  Michel Legrand. Guðnadóttir is the only woman to win the award under no qualifications; Bergman won for Best Song Score while Portman and Dudley won for Best Musical or Comedy Score. The female composers nominated for multiple Scoring Oscars are Rachel Portman, who was nominated for "Emma" (1996) (for which she won for Best Musical or Comedy Score), "The Cider House Rules" (1999), and "Chocolat" (2000); and Angela Morley, who was nominated twice in the Original Song Score or Adaptation Score category for "The Little Prince" (1974) and "The Slipper and the Rose" (1976). Notable nominees. Dmitri Shostakovich and Duke  Ellington were both nominated the same year but lost to the arrangers of "West Side Story". The scores of "Midnight Express" by Giorgio Moroder in 1979, "Slumdog Millionaire" by A. R. Rahman in 2009, and "The Social Network" by Trent Reznor and Atticus Ross in 2011 are the only scores with electronic-based music ever to win the award. In addition, the electronic-based scores of "Witness" by Maurice Jarre in 1986, "Rain Man" by Hans Zimmer in 1989, and "Her" by William Butler, and Owen Pallett in 2014 have also been nominated. Noted nominated composers known for their music  mostly outside the film world include: Aaron Copland, Kurt Weill, Gian-Carlo Menotti, Philip Glass, John Corigliano, Peter Maxwell Davies, Randy Newman, Richard Rodney Bennett, Stephen Schwartz, Andrew Lloyd Webber, Artie Shaw, Trent Reznor, Quincy Jones, Herbie Hancock, and Jonny Greenwood. Rock musicians and pop stars are most often nominated in the songwriting category. A handful that were nominated in the Scoring categories includes: The Beatles, Prince, Pete Townshend, Rod McKuen, Isaac Hayes, Kris Kristofferson, Quincy Jones, Randy Newman, Anthony Newley, Paul Williams, Tom Waits, David Byrne, Ryuichi Sakamoto, Trent Reznor, Jon Batiste, and Matthew Wilder. Record producers George Martin  (The Beatles) and Jerry Wexler (Atlantic Records) also received nominations in the Scoring categories. At the age of 87, Ennio Morricone became the oldest winner in Oscar history at the time for a competitive award. Multiple nominations. The following is a list of composers nominated more than once and winning at least one Academy Award (in this category). This list is sorted by number of awards, with the number of total nominations listed in parentheses. These do not include nominations (or awards) in the Best Original Song category. The following composers have been nominated for a Best Original Score Oscar  more than once but have yet to garner one. The number of nominations is listed in parentheses. These do not include nominations (or awards) in the Best Original Song category. Deceased: Living: