Sound design is a relatively recent term, first used to credit Walter Murch’s work on Francis Ford Coppola’s Apocalypse Now (1979). Murch has frequently drawn an analogy between how he perceived his role as decorating the three-dimensional film theater with sound and the work of an interior designer who decorates an architectural space (LoBrutto 1994, p. 92, cited under Key Practitioners: Compilations). Sound design is also a topic of increasing interest within film music scholarship, particularly its history and how it might be analyzed. The history of sound design is inextricably bound up with the history of technology, notably the emergence of Dolby in the 1970s. In his Oxford Bibliographies article “Music and Cinema, Classical Hollywood,” David Neumeyer noted in the introduction that the end of the Classical Hollywood era could be situated c. 1972 when the “contemporary era of sound design began in earnest,” and this particular period is indeed crucial. Yet, this is not to suggest that the history of film sound design is brief; in fact, it has a long history of antecedents that have shaped the role of the sound designer into a somewhat fluid concept. As of the early 21st century, no consensus has been reached on the definition of “sound design” in current research; however, the distinction between sound design as the work of one individual as opposed to a mode of practice is apparent. Furthermore, “sound designer” also has a professional meaning; in the United States the labor union defines the sound designer as a person who designs the sound effects. Some scholars expound this relatively narrow definition of sound design as akin to sound effects editing in the post-production process, whereas others see it as a broad undertaking, concerned with every aspect of the sonic environment. Murch encourages a broader definition of the sound designer as “someone who plans, creates the sound effects and mixes the final soundtrack, and thereby takes responsibility for the sound of a film the way a director of photography takes responsibility for the image” (Murch 1995, p. 246, cited under Key Practitioners: Articles). Sound design can encapsulate all components of film sound, including music, dialogue, sound effects, and voiceovers. This holistic understanding of the term is reflected in a significant interdisciplinary edition that takes the concept of the integrated soundtrack as a central theme (Greene and Kulezic-Wilson 2016, cited under Analyzing Film Sound Design). Sound design can involve conceptualization and practical efforts as well as cooperation with the director, producer, composer, editors, and other creative personnel. Sound designer Randy Thom has highlighted the importance of developing opportunities for the creative use of sound when making a film and has appealed for filmmakers to design their films for sound (Thom 1999, cited under Key Practitioners: Articles). The combination of creativity, technical expertise, and the ability to conceptualize innovative interactions between sound and image inherent in the concept is reflected in the very title of “sound designer,” a label that is not officially recognized by the Academy of Motion Picture Arts and Sciences awards. With the growing popularity of the term among some industry professionals, it is becoming common for sound artists to claim the credit “sound designer” in addition to those for recognized roles such as “sound editor” or “re-recording engineer” (Whittington 2007, p. 26, cited under Histories and Definitions of Sound Design). Within film music studies, the concept of sound design is increasingly used as a filter for analysis of a film’s soundscape, and thus publications now address how to analyze more complex film soundtracks. The focus of this article is divided into three broad strands: textbooks that give practical and technical direction for film sound design or aspects of it, literature on the history of sound design and the purview of the sound designer, and publications about and interviews with key practitioners.
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