Theme music is a musical composition which is often written specifically for radio programming, television shows, video games, or films and is usually played during the title sequence, opening credits, closing credits, and in some instances at some point during the program.[1] The purpose of a theme song is often similar to that of a leitmotif.

The phrase theme song or signature tune may also be used to refer to a signature song that has become especially associated with a particular performer or dignitary, often used as they make an entrance.

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From the 1950s onwards, theme music, and especially theme songs also became a valuable source of additional revenue for Hollywood film studios, many of which launched their own recording arms. This period saw the beginning of more methodical cross-promotion of music and movies.[2] One of the first big successes, which proved very influential, was the theme song for High Noon (1952).[3]

Theme music has been a feature of the majority of television programs since the medium's inception. Programs have used theme music in a large variety of styles, sometimes adapted from existing tunes, and with some composed specifically for the purpose. A few have been released commercially and become popular hits.

Other themes, like the music for The Young and the Restless, Days of Our Lives, and Coronation Street[4] have become iconic mostly due to the shows' respective longevities. Unlike others, these serials have not strayed from the original theme mix much, if at all, allowing them to be known by multiple generations of television viewers.

Most television shows have specific, melodic theme music, even if just a few notes (such as the clip of music that fades in and out in the title sequence for Lost, or the pulsing sound of helicopter blades in the theme music for Airwolf). One exception is 60 Minutes, which features only the ticking hand of a TAG Heuer stopwatch. Another recent exception is Body of Proof which has no theme song, and barely even has a title sequence.

In most television series, the theme song is played during the opening sequence. One exception to this rule is Regular Show, the theme music of which is played only during its ending credits in most episodes. In lieu of its theme music, its opening sequence instead features a tone played on a synthesizer overlaid with a ticking sound effect.

Notable is the theme for the game show The Price Is Right, reimagined as Crystal Waters's "Come On Down" which marked the first time that lyrics were added to The Price Is Right theme song and was the first song based on a television theme song (and the first to come from a game show) to reach number 1 on the Billboard Hot Dance Club Play chart on the week of December 29, 2001.[6][7]

Radio programs with notable theme music include Just a Minute, which uses a high-speed rendition of the Minute Waltz by Frdric Chopin; The Archers, which has Barwick Green; Desert Island Discs which has By the Sleepy Lagoon, and The Rush Limbaugh Show, which uses the instrumental from "My City Was Gone."

In talk radio, a different theme song is often used to introduce each segment, and the music (usually popular music of some sort) will often relate to the topic being discussed. John Batchelor is noted for his use of highly dramatic orchestral scores leading in and out of each segment of his weekly show.

Many video games feature a theme song that is distinctive to the series. A popular one to date is the "Prelude Theme" from the Final Fantasy series, which is played on most, if not all, of the title screens of the original games, most notably Final Fantasy I to Final Fantasy IV. The newer ones also feature the theme, albeit usually modernized, and played during the ending credits.[8][9]

I also put together the amazing "The Skeleton Crew" band. Here we are recording the theme and bumper music: Amanda Warner (MNDR), Tony Bevilacqua, Denver Dalley, Cornbread Compton (Electric Guest), Josiah Steinbrick, Chuck Love, Andris Mattson & Jason Fabus.

You know the X-Files theme. For nine years, that music had an almost Pavlovian effect on TV junkies addicted to the paranormal adventures of FBI agents Fox Mulder and Dana Scully. But in the beginning, it was just a job for composer Mark Snow.

Snow was already an old pro when X-Files creator Chris Carter first approached him back in 1993. "I was looking for something that boy scouts could hum at the campfire, as a scary song," Carter says. "You know, something akin to The Twilight Zone."

"She said, 'You know, I'm a good whistler too,'" Snow remembers. "'Maybe I could beef it up a little bit.'" Snow got her in front of the microphone, and the sound that made it to the final theme was half Glynn, half machine.

When the news that Mayor Eric Adams had begun to walk out at events to "Empire State of Mind" first hit the Hell Gate office, we initially weren't quite sure what to make of it. We asked ourselves: Is this a joke? Is there some poor aide who has to scramble to find the sound system's aux cord everywhere the mayor goes? He's had his staff play the Jay-Z and Alicia Keys anthem during several of his recent public appearances, including at a press conference announcing new trash can requirements. The CITY's Katie Honan has been on the case. "I've been told by a source that this is the only song he wants played," Honan wrote in a tweet.

Ah, do you remember the simple days of sitcom theme songs, when there were actual words that you could sing along with? I do. It was a beautiful time where every tune was happy and uplifting, just like Full House 's theme song. In fact, I'm pretty positive that the Full House theme song is so captivating that people are forced to sing along when they hear it. They don't sing because they actually want to sing; they sing because they're compelled to join in on the fun. It's just that musically mesmerizing. For all we know, it could secretly be a hypnotic song that's been controlling us for almost two entire decades (remind anyone of the song from the Josie and the Pussycats ?).

So what do we even really know about this song? Like, who sings it? Who wrote it? And what's its real title? I'm guessing it's not "the Full House theme song." Well, turns out "Everywhere You Look" was co-written and performed by a man named Jesse Frederick, who also wrote the theme songs for Family Matters , Perfect Strangers, and Step by Step, along with Bennett Salvay. Okay, wait, what? Were they the only musicians ABC was comfortable asking to write songs for them? Creepy. (Note: now it definitely makes sense why all of those songs sound eerily the same. I just thought it was a weird '90s thing.)

Unlike some theme songs that were cut from songs that had already been made, such as Freaks and Geeks using Joan Jett's "Bad Reputation" or Gilmore Girls using Carol King's "Where You Lead," Full House's theme song was specifically written for the show. Because of that, what we originally heard during the opening credits was the entire song. The loophole here is that the versions of the song that were used, changed from season to season.

Unfortunately for fans of '90s theme songs, according to Splitsider, Frederick and Salvay's career came to a halt when the pair went their separate ways after the Olsen twin's Two of a Kind pretty much failed (thanks a lot, Mary-Kate and Ashley). And although all we can do is hope that the musical duo will eventually miss the good ol' days and band back together, for now we're left with countless syndicated reruns and YouTube clips to satiate our Full House theme song cravings.

It's pretty much impossible to not recognize the familiar, peppy tune that is The Office's theme song. The catchy music appears at the beginning of each episode, over scenes from Scranton, Pennsylvania and other happenings from the show.

The original song was performed by guitarist Bob Thiele Jr., bassist Hal Cragin, drummer Brian Macleod, and pianist/accordianist Dillon O'Brian. Drummer Jimmy Paxson replaced Macleod when the band, then named The Scrantones, performed during Season 2, Episode 11 ("Booze Cruise").

According to Jenna Fischer and Angela Kinsey's podcast Office Ladies, there was actually a battle for what the theme song would be. Showrunner Greg Daniels had originally been gunning to use a popular song that wasn't made specifically for the show.

The new song was recorded just one week before the pilot aired. "They were scrambling!" she explained, saying that Daniels brought together Thiele, Cragin, Macleod, and O'Brian to record Ferguson's composition.

"It really just turns us up; because all of us, last year, we didn't like how it went, and I think that song really interpolates as a group how we feel and what we tryna do," graduate center Armando Bacot said.

Despite the love they all have for the Bumpboxx, picking songs to play can be a hard decision. Most of the time it depends on vibes, Withers said. They take into account what they listened to the day before, what the mood is in the room and how much they want to dance, among other things.

In July 2023, Lovell posted a nine-second reel on Instagram of the All-Star forward working on reading the defense and attacking gaps explosively before making a bank shot. Lovell added the audio of Erykah Badu's "Didn't Cha Know" over the clip, which now seems to have become George's theme song whenever the ball is in his hands.

He scored a game-high 38 points to lead the Clippers to a 128-117 win over the Oklahoma City Thunder on Jan. 16. Reporters mentioned the fan-given theme song to George in a postgame presser, and he shared an honest response.

Lovell, a big fan of Erykah Badu, told ESPN that he chose to put the song over the video because of how relatable George's skill set is to the artist's neo-soul feel -- a genre of music that merges the components of R&B, hip hop and jazz -- and her smooth, unrushed flow. 0852c4b9a8

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