Library Music
When directors need music for a film but they do not have a composer, they use library music. This consists of huge folders of different genres and styles of music made by various and lesser-known composers. Some of the styles on these libraries can be quite vague; things like ‘sad’ or ‘energetic’. https://www.universalproductionmusic.com/en-gb has a huge music library full of different genres and moods of compositions fit for any film, TV show, advert or any other form of media. Some libraries can be royalty-free, which means the director will not have to pay the composer for the use of their music. However, most composers have their music used on a work for hire basis, meaning the director may have to pay royalties, in which 100% of it will go to the composer. It is very easy to get music onto these libraries; almost any composer will be able to do it. All it takes is to get signed as a library music writer and sometimes the payoff can be huge. For example, if a large movie franchise or famous TV show decided to use your music, you would get paid very well! On top of this, you will get lots of exposure which is important in the music industry. It will help you get noticed by a record label or have the chance to work with other musicians.
Temp Scores
Temp scores (or temporary scores) are quite self-explanatory. This is when a media director uses temporary pieces of music where they need it in the film or show before the composer goes off to write the actual score. It helps the director as it makes the filming and editing of the movie much easier when there is music conveying a certain emotion and at times, the score can be very inspiring and could influence a slight change in the storyline. It also helps the composer as they can gather ideas about what the score should sound like and what emotions or feelings the director wants to convey through it. A strange example of a temp score usage was in the film ‘2001: A Space Odyssey’. The production of the film used a temp score to have some initial music to work with. Stanely Kubrick (the director) worked with and then eventually sacked three different composers until he commissioned Alex North (famous for composing the score of ‘A Streetcar Named Desire’, ‘Spartacus’ and many other films). Working from the temporary music, North created a whole score for the movie. Despite this, Kubrick, during the film’s postproduction, chose to go back to the temp score instead of using Norths pieces because he was more familiar with the originally used classical music. However, Kubrick did not tell North about this; he only found out his score wasn’t used when he saw the films first screening! This is very rarely seen in film production as the temp scores are usually for a general idea in which people can work off of and become inspired by.