Recent directions in scoring the Australian feature film

![CDATA[The synchronising of music to moving images was centred on the aesthetic practices of orchestral and classical music from the beginning of sound cinema in the 1930s until the 1970s, when popular music and the rise of the film score as a discrete electronic art opened up the field. However, the film composer’s role remains the same: to create an invisible character, adding a psychological dimension to the narrative. But Australian feature film composers, like their counterparts in Europe and the USA, find themselves using multiple approaches and perspectives to meet the challenges of creating and delivering music that is part of a complex collaborative process. Although orchestral and classical music techniques are still esteemed, new aesthetic practices are emerging. Since the 1990s, Australian composers have willingly explored cross-cultural music, embraced popular and hybrid styles, and exploited new technologies for the creation of a more organic score. The recent work of our most successful composers is examined to support this view.]]