<p>It’s back to the Oscars stage for Jon and Andy, to talk about this year’s nominees for Best Original Score, and it’s back to some age old questions: Do we want our music made out of notes or blobs? Does reading up about these scores get in the way of our curmudgeonly opinions? And, how much music should a musical's music music?</p>

#69 – The Fugitive

Join Jon and Andy as they explore the world of film music, one score at a time. Each episode is an in-depth discussion of a classic film score: what makes it tick, how it serves the movie, and whether it's, you know, any good. It's a freewheeling, opinionated conversation with an analytical bent, richly illustrated with musical examples. No expertise required.

The series began by tackling “100 Years of Film Scores," the AFI's list of (purportedly) the 25 greatest scores in American cinema history, and now draws from a broad range of distinguished scores old and new.

Jonathan Dinerstein writes music for film and television in Hollywood. Andy is a pianist and music director. They've been chatting together about movie music for 20 years.

Support the show at Patreon.com/SettlingtheScore.
Write us at scoresettlers@gmail.com.