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A soundtrack[2] is recorded sound accompanying and synchronised to the images of a book, drama, motion picture, radio program, television program, or video game; colloquially, a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that contains the synchronised recorded sound.[1]

Current dictionary entries for soundtrack document soundtrack as a noun, and as a verb.[3][4] An early attempt at popularizing the term sound track was printed in the magazine Photoplay in 1929.[5] A 1992 technical dictionary entry in the Academic Press Dictionary of Science and Technology does not distinguish between the form sound track and soundtrack.[6]

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The contraction soundtrack came into public consciousness with the advent of so-called soundtrack albums in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture." These phrases were soon shortened to just "original motion picture soundtrack." More accurately, such recordings are made from a film's music track, because they usually consist of isolated music from a film, not the composite (sound) track with dialogue and sound effects.

The term original soundtrack, often used for titles of albums of soundtrack music, is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover version.

The soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack.[8] It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs (with the Same Characters and Sound Effects as in the Film of That Title) and has since seen numerous expansions and reissues.

The first live-action musical film to have a commercially issued soundtrack album was MGM's 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was originally issued as a set of four 10-inch 78-rpm records. Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation. This was before tape existed, so the record producer needed to copy segments from the playback discs used on set, then copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded very dry (without reverberation); otherwise it would come across as too hollow sounding in large movie theatres. This made these albums sound flat and boxy.

In reality, however, soundtrack producers remain ambiguous about this distinction, and titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS.

The phrase "recorded directly from the soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not (excluding alternate masters and alternate vocals or solos). However, partly because many 'film takes' actually consisted of several different attempts at the song edited together, over time that term became nebulous as well. For example, in cases where the master take used in the film could not be found in its isolated form (without the M&E), the aforementioned alternate masters and alternate vocal and solo performances might be used instead.

As a result of all this ambiguity, over the years the term soundtrack began to be commonly applied to any recording from a film, whether taken from the actual film soundtrack or re-recorded in the studio at an earlier or later time. The term is also sometimes used for Broadway cast recordings.

Contributing to the vagueness of the term are projects such as The Sound of Music Live!, which was filmed live on the set for an NBC holiday season special first broadcast in 2013. The album, released three days before the broadcast, contained studio pre-recordings by the original cast of all the songs used in the special, but because only the orchestral portion of the material from the album is the same as that used in the special (i.e., the vocals were sung live over a prerecorded track), this creates a similar technicality. Although the instrumental music bed from the CD will lock to picture, the vocal performances will not (although it is possible to create a complete soundtrack recording by lifting the vocal performances from the DVD, erasing the alternate vocal masters from the CD and combining the two).

Among MGM's most notable soundtrack albums were those of the films Good News, Easter Parade, Annie Get Your Gun, Singin' in the Rain,[10] Show Boat, The Band Wagon, Seven Brides for Seven Brothers, and Gigi.

Steiner's score for Gone with the Wind has been recorded many times, but when the film was reissued in 1967, MGM Records finally released an album of the famous score recorded directly from the soundtrack. Like the 1967 rerelease of the film, this version of the score was artificially enhanced for stereo. In recent years, Rhino Records has released a 2-CD set of the complete Gone With the Wind score, restored to its original mono sound.

In a few rare instances an entire film dialogue track was issued on records. The 1968 Franco Zeffirelli film of Romeo and Juliet was issued as a 4-LP set, as a single LP with musical and dialogue excerpts, and as an album containing only the film's musical score. The ground-breaking film Who's Afraid of Virginia Woolf? was issued by Warner Bros Records as a 2-LP set containing virtually all the dialogue from the film. RCA Victor also issued a double-album set what was virtually all the dialogue from the film soundtrack of A Man for All Seasons, Decca Records issued a double-album for Man of La Mancha and Disney Music Group (formerly Buena Vista Records) issued a similar double-album for its soundtrack for The Hobbit.

A soundtrack typically contains instrumentation or alternatively a film score. But it can also feature songs that were sung or performed by characters in a scene (or a cover version of a song in the media, rerecorded by a popular artist), songs that were used as intentional or unintentional background music in important scenes, songs that were heard in the closing credits, or songs for no apparent reason related to the media other than for promotion, that were included in a soundtrack.

Soundtracks are usually released on major record labels (just as if they were released by a musical artist), and the songs and the soundtrack itself can also be on music charts, and win musical awards.

By convention, a soundtrack record can contain all kinds of music including music inspired by but not actually appearing in the movie; the score contains only music by the original film's composers.[11]

Contemporaneously, a soundtrack can go against normality, (most typically used in popular culture franchises) and contains recently released and/or exclusive never before released original pop music selections, (some of which become high charting records on their own, which due to being released on another franchises title, peaked because of that) and is simply used for promotional purposes for well known artists, or new or unknown artists. These soundtracks contain music not at all heard in the film/television series, and any artistic or lyrical connection is purely coincidental.

However depending on the genre of the media the soundtrack of popular songs would have a set pattern; a lighthearted romance might feature easy listening love songs, whilst a more dark thriller would compose of hard rock or urban music.

In 1908, Camille Saint-Sans composed the first music specifically for use in a motion picture (L'assasinat du duc de Guise), and releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini, who won an Emmy Award and two Grammys for his soundtrack to Peter Gunn, was the first composer to have a widespread hit with a song from a soundtrack.

Before the 1970s, soundtracks (with a few exceptions), accompanied towards musicals, and was an album that featured vocal and instrumental, (and instrumental versions of vocal songs) musical selections performed by cast members. Or cover versions of songs sung by another artist.

After the 1970s, soundtracks started to include more diversity, and music consumers would anticipate a motion picture or television soundtrack. Majority of top charting songs were those featured or released on a film or television soundtrack album.

In recent years the term soundtrack sort of subsided. It now mostly commonly refers to instrumental background music used in that media. Popular songs featured in a film or television series are instead highlighted and referenced in the credits, not as part of a soundtrack.

In the late 1980s, cognitive psychology and psychology of music started an investigation on the impact that the soundtrack exerts on the interpretation of audiovisual stimuli. Canadian psychologist Annabel J. Cohen is one of the first scholars who systematically studied the relationship between music and moving image within the interpretation process of brief animated videos. Her studies converged in the Congruence-Association Model of music and multimedia.[12][13] More recent empirical studies proved that the film music goes far beyond the role of an emotionalizing accessory in film contexts;[14] contrarily, it can radically alter the empathy experienced by the viewers toward the characters on screen, attributed emotions (e.g., whether a character is happy or sad),[15] evaluation of the scenic environments, plot anticipations,[16] and moral judgement of the characters.[17] Furthermore, eyetracking and pupillometry studies found that film music is able to influence gaze direction and pupil dilation depending on its emotional valence and semantic information conveyed.[18][16][19] Recently, new experiments showed that film music can alter time perception while watching movies; in particular, soundtracks deemed as activating and arousing lead to time overestimation as opposed to more relaxing or sad music.[20] Lastly, soundtracks have been proved to shape the memory of the scene that the viewers form, to the point of biasing their recall coherently with the music's semantic contents.[21][22][23] ff782bc1db