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The scores for every MCU film and television series have received album releases, and several compilation albums featuring existing songs used in the films have also been released. Critical response to the MCU's music has been mixed, with focus placed on a lack of memorable themes compared to other large media franchises and on the lack of continuity between works. Some critics have shown more appreciation for the work of more traditional composers like Silvestri, and for Tyler's attempts to establish a consistent tone and thematic continuity for the franchise.
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Favreau had a clear vision of heavy metal music and guitars for the project,[2] saying that Tony Stark was more of a rock star than a traditional superhero, and "there's Spider-Man, Batman and all these superhero movies. This superhero movie's different. I want to do something completely different, instead of going down the orchestral route. I want to do more rock and roll."[3] Djawadi subsequently composed most of the film's score on guitar, before arranging it for orchestra. Djawadi composed several themes for the character of Tony Stark, representing his different moods and attitudes, all inspired by Robert Downey, Jr.'s performance. Other themes for the film are "not so much character based, but rather plot based that carry you through the movie".[2] Musicians John O'Brien and Rick Boston, frequent collaborators with Favreau, provided a big band-style arrangement of the Iron Man theme song from the 1966 cartoon The Marvel Super Heroes for a scene where Stark attends a casino.[5]
Doyle took inspiration for the score from his own Celtic background, which he described as "very intertwined" with the Norse mythology that Thor is based on, as well as the works of Richard Wagner. He found the main challenge of the score to be composing a "superhero theme" for the titular character, and a second main theme representing Asgard, the latter of which Doyle wanted "to come across as an old folk song from a Celtic world". He noted that the Asgard theme develops throughout the film to also represent traveling, action, and fighting. Of the other themes he composed for the film, Doyle also noted a theme for Jotunheim, another world visited in the film. On specific instrumentation for the character of Thor, Doyle jokingly noted that a piccolo would be inappropriate, and that a character with such a big personality and physicality required "a slightly more robust set of musical instruments: horns, low brass, slow strings etc." To represent the character's longing for home after he is banished from Asgard to Earth, Doyle used a cor anglais, which he felt also captured Thor's pathos and nobility.[11]
For his audition, Paesano created a demo which included a simple piano motif. Though this material would usually not be used in the final score, in this instance Paesano took the motif and converted it into a main theme for the series, which becomes the theme for Daredevil in the show.[127] The final theme was co-composed by Braden Kimball.[131] The first episode ends with a montage that the editors originally temped with a song, but DeKnight wanted to use original music instead. Paesano subsequently wrote a more "songish" version of the main theme for the sequence, with a basic verse-chorus-verse structure, and instrumentation such as guitars and a drum kit to retain the feel and energy of the originally chosen song.[128] Besides the main theme, Paesano tended to focus more on "a feel and a tone and a sound" rather than Star Wars-style motifs and "heavy, thematic, melodic elements".[132] The approach for villain Wilson Fisk was to juxtapose "this big bullish threatening character" with "light and sparse and elegant" classical music. For when his "evil twisted side" shows through, Paesano "took classical pieces of music and I twisted them up and played them backwards or redid some of the harmony or put them through distortion and created a classical vibe but really mangled and twisted".[133] For Stick, Paesano used a cello bow on the neck of the cello, a technique called col legno, to replicate the sound of the blind man's cane.[128] Paesano described his "themes" for Punisher and Elektra in the second season as "angry" and "mystical" sounding, respectively.[132]
In January 2020, Christophe Beck announced that he would score WandaVision.[158] Robert Lopez and Kristen Anderson-Lopez wrote theme songs for some of the series' episodes. They previously worked with Beck on the music for Disney's Frozen franchise.[159][160]
Guardians of the Galaxy Vol. 2 features an original song in the film's credits. Co-written by the film's writer and director James Gunn and score composer Tyler Bates, it was "meant as a sort of Guardians take on Meco's disco Star Wars theme ["Star Wars Theme/Cantina Band"]."[182] David Hasselhoff was chosen as the vocalist because he is one of Peter Quill's childhood heroes, and Gunn was a fan of Hasselhoff when he starred on Knight Rider.[182][183]
Iron Man 2 introduces the 1974 Stark Expo, based on the 1964 New York World's Fair.[184] Richard M. Sherman, who wrote many Disney songs with his brother Robert, wrote the original song "Make Way For Tomorrow, Today" to serve as the in-universe theme for the Stark Expo. Sherman described Howard Stark, the character who created the Expo, as "a cross between Walt Disney and Howard Hughes", noting that Disney was himself involved in the creation of the 1964 World's Fair. He continued, "The filmmakers wanted a Disney-esque song to be the theme song of the Stark Expo," admitting that the song was inspired by his own "There's a Great Big Beautiful Tomorrow", which was written for the Carousel of Progress attraction that Disney created for the World's Fair.[185] "Make Way For Tomorrow, Today" is heard again in Captain America: The First Avenger, when an earlier version of the Stark Expo appears, with Sherman noting of the reprisal, "different style, same song".[184][185] The rendition heard in Captain America: The First Avenger is once again heard as an instrumental version during the end credits of Avengers: Endgame.
Captain America: The First Avenger features a montage of the titular character and a chorus line touring the U.S., performing a song-and-dance number to the patriotic song "Star Spangled Man".[186] The song was written for the film by Alan Menken and lyricist David Zippel, and recorded by the Metro Voices.[187] Menken had wanted to provide the score for the film as well, but was unable to due to scheduling conflicts, so they wrote the song before the film began principal photography (a process Menken would use on an animated film), and hoped that it would mesh with Alan Silvestri's score. Menken said the song "screamed out for Irving Berlin, in the sense of "This Is The Army, Mr. Jones" or "God Bless America". It should be patriotic and it should be fun. The goal was to come up with orchestration that felt authentic to the '40s, USO [experience]."[186] Christopher Lennertz conducted a new arrangement of the song for the first season of Agent Carter, where it is used as the theme music of a 1940s Captain America radio drama.[125]
The episode "Don't Touch That Dial" of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez. "WandaVision" is the only lyric in the song, as Anderson-Lopez and Lopez wanted to emulate the minimalist, repetitive, "cool jazz Bebop-inspired" theme songs of 1960s television series. They also gave "Mah N Mah N" by Piero Umiliani and the works of Dave Brubeck as influences.[195]
The episode "Now in Color" of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez. The composers of the song were proud of the lyrics for the episode's theme song, with Lopez feeling the lyrics "One plus one is more than two" and "One plus one is family" were "the dumbest and funniest and most TV-like lyric we've ever written". Anderson-Lopez pointed out that the second time was originally "One plus one is more than three" but was rewritten to "One plus one is family" because it was felt the original could have been a spoiler.[194] Anderson-Lopez was the main writer of this theme, choosing words that related to a pregnancy and setting up the complication of "what's happening here and then making it up as we go along. Also like it's us versus the world."[196]
The episode "Now in Color" of WandaVision also features a lullaby written by showrunner Jac Schaeffer and translated into the fictional Sokovian language by the series' language coach Courtney Young. Performed by Elizabeth Olsen, Schaeffer said the song was just about a mother singing for her child rather than any of the series' larger mysteries, and described it as a "sincere version of a TV sitcom theme song".[197]
The episode "On a Very Special Episode..." of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez, which the composers thought was their favorite song that they wrote for the series since they grew up in the 1980s. Lopez felt the "craft of theme songwriting peaked in the '80s", with the themes being "longer... touchy-feely ballads".[194] This was the style they chose to emulate with "Making it Up as We Go Along", and since the theme songs of the era were longer, it allowed the couple to "land the emotion of it". Lopez added it was easy for them to find those emotions because he and Anderson-Lopez have children the same age as Wanda and Vision's in the episode and they were also "trying to make things work even as the world kind of crumbles around us". It features musical nods to the theme songs of Growing Pains ("As Long As We Got Each Other" by B. J. Thomas and Jennifer Warnes) and Family Ties ("Without Us" by Johnny Mathis and Deniece Williams).[198] Lopez and Anderson-Lopez said they were channeling 1980s rock and pop singers for the song, such as Michael McDonald, Kris Kristofferson, Huey Lewis, and Taylor Dayne. The song originally did not include "WandaVision" as a lyric, but it was added as the ending of the song after encouragement from Marvel to include it.[196] e24fc04721
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