document_title: Academy Award for Best Original Score

question_text: who won the academy award for best original musical score

text: Academy Award for Best Original Score

text: History[edit]

text: The Academy began awarding movies for their scores in 1935. The category was originally called Best Scoring. At the time, winners and nominees were a mix of original scores and adaptations of pre-existing material. Following the controversial win of Charles Previn for One Hundred Men and a Girl in 1938, a film without a credited composer that featured pre-existing classical music, the Academy added a Best Original Score category in 1939.[2] In 1942, the distinction between the two Scoring categories changed slightly as they were renamed to Best Music Score of a Dramatic Picture and Best Scoring of a Musical Picture. This marked the first time the category was split into separate genres, a distinction that technically still lasts today, although there haven't been enough submissions for the musical category to be activated since 1985. From 1942 to 1985, musical scores had their own category, with the exception of 1958, 1981 and 1982. During that time, both categories had many name changes:

text:
1. Non-musical scores

Best Music Score of a Dramatic Picture (1942)
Best Music Score of a Dramatic or Comedy Picture (1943–1962)
Best Music Score—substantially original (1963–1966)
Best Original Music Score (1967–1968)
Best Original Score—for a motion picture [not a musical] (1969–1970)
Best Original Score (1971, 1976–1995, 2000-today)
Best Original Dramatic Score (1972–1975, 1996–1999)

2. Musical scores

Best Scoring of a Musical Picture (1942–1962)
Best Scoring of Music—adaptation or treatment (1963–1968)
Best Score of a Musical Picture—original or adaptation (1969–1970)
Best Original Song Score (1971)
Best Scoring: Adaptation and Original Song Score (1972–1973)
Best Scoring: Original Song Score and Adaptation -or- Scoring: Adaptation (1974–1976)
Best Original Song Score and Its Adaptation or Adaptation Score (1977–1978)
Best Adaptation Score (1979)
Best Original Song Score and Its Adaptation -or- Adaptation Score (1980, 1983)
Best Original Song Score or Adaptation Score (1984)
Best Original Song Score (1985)
Best Original Musical or Comedy Score (1996–1999)
Best Original Musical (2000)

text: Following the wins of four Walt Disney Feature Animation films in six years from 1990 to 1995 (The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King) during a period called the Disney Renaissance, it was decided to once again split the Best Original Score category by genres, this time by combining comedies and musicals together. As Alan Bergman, the chairman of the Academy's music branch said, "People were voting for the songs, not the underscores. We felt that Academy members outside the music branch didn't distinguish between the two. So when a score like The Lion King is competing against a drama like Forrest Gump, it's apples and oranges – not in the quality of the score, but in the way it functions in the movie. There's a big difference."[3] The category was therefore split into Best Original Dramatic Score and Best Original Musical or Comedy Score in 1996. This change proved unpopular in the other branches of the Academy as Charles Bernstein, chairman of the Academy's rules committee, noted that "no other Oscar category depended on a film's genre" and "the job of composing an underscore for a romantic comedy is not substantially different from working on a heavy drama."[4] This split was reverted in 2000.

text: Academy Award for Best Original Musical[edit]

text: The Academy Award for Best Original Musical was a category established in 2000 but never awarded due to a prolonged drought of films meeting the sufficient eligibility requirements. The category was taken out of the rulebook in 2017.[5][6]

text: According to the rules, the Best Original Musical was defined as this: "An original musical consists of not fewer than five original songs by the same writer or team of writers either used as voiceovers or visually performed. Each of these songs must be substantively rendered, clearly audible, intelligible, and must further the storyline of the motion picture. An arbitrary group of songs unessential to the storyline will not be considered eligible."

text: Winners and nominees[edit]

text: The following is the list of nominated composers organized by year, and listing both films and composers. The years shown in the following list of winners are the production years, thus a reference to 1967 means the Oscars presented in 1968 for films released in 1967.

text:
Year

Film

Nominees

1934(7th)  [note 1]

One Night of Love

Columbia Studio Music Department, Louis Silvers, head of department (Thematic music by Victor Schertzinger & Gus Kahn)

The Gay Divorcee

RKO Radio Studio Music Department, Max Steiner, head of department (Score by Kenneth Webb & Samuel Hoffenstein)

The Lost Patrol

RKO Radio Studio Music Department, Steiner, head of department (Score by Steiner)

1935(8th)

The Informer

RKO Radio Studio Music Department, Max Steiner, head of department (Score by Steiner)

Captain Blood (Write-in)[note 2][7]

Warner Bros.-First National Studio Music Department, Leo F. Forbstein, head of department (Score by Erich Wolfgang Korngold)

Mutiny on the Bounty

Metro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart)

Peter Ibbetson

Paramount Studio Music Department, Irvin Talbot, head of department (Score by Ernst Toch)

1936(9th)

Anthony Adverse

Warner Bros. Studio Music Department, Leo F. Forbstein, head of department (Score by Erich Wolfgang Korngold)

The Charge of the Light Brigade

Warner Bros. Studio Music Department, Forbstein, head of department (Score by Max Steiner)

The Garden of Allah

Selznick International Pictures Music Department, Steiner, head of department (Score by Steiner)

The General Died at Dawn

Paramount Studio Music Department, Boris Morros, head of department (Score by Werner Janssen)

Winterset

RKO Radio Studio Music Department, Nathaniel Shilkret, head of department (Score by Shilkret)

1937(10th)  [note 3]

One Hundred Men and a Girl

Universal Studio Music Department, Charles Previn, head of department (no composer credit)

The Hurricane

Samuel Goldwyn Studio Music Department, Alfred Newman, head of department (Score by Newman)

In Old Chicago

20th Century-Fox Studio Music Department, Louis Silvers, head of department (no composer credit)

The Life of Emile Zola

Warner Bros. Studio Music Department, Leo F. Forbstein, head of department (Score by Max Steiner)

Lost Horizon

Columbia Studio Music Department, Morris Stoloff, head of department (Score by Dimitri Tiomkin)

Make a Wish

Principal Productions, Hugo Riesenfeld, head of department (Score by Riesenfeld)

Maytime

Metro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart)

Portia on Trial

Republic Studio Music Department, Alberto Colombo, head of department (Score by Colombo)

The Prisoner of Zenda

Selznick International Pictures Music Department, Alfred Newman, head of department (Score by Newman)

Quality Street

RKO Radio Studio Music Department, Roy Webb, head of department (Score by Webb)

Snow White and the Seven Dwarfs

Walt Disney Studio Music Department, Leigh Harline, head of department (Score by Frank Churchill, Harline & Paul Smith)

Something to Sing About

Grand National Studio Music Department, Constantin Bakaleinikoff, head of department (Score by Victor Schertzinger)

Souls at Sea

Paramount Studio Music Department, Boris Morros, head of department (Score by W. Franke Harling & Milan Roder)

Way Out West

Hal Roach Studio Music Department, Marvin Hatley, head of department (Score by Hatley)

1938(11th)

Original Score

The Adventures of Robin Hood

Erich Wolfgang Korngold

Army Girl

Victor Young

Block-Heads

Marvin Hatley

Blockade

Werner Janssen

Breaking the Ice

Young

The Cowboy and the Lady

Alfred Newman

If I Were King

Richard Hageman

Marie Antoinette

Herbert Stothart

Pacific Liner

Robert Russell Bennett

Suez

Louis Silvers

The Young in Heart

Franz Waxman

Scoring

Alexander's Ragtime Band

Alfred Newman

Carefree

Victor Baravalle

Girls' School

Morris Stoloff & Gregory Stone

The Goldwyn Follies

Newman

Jezebel

Max Steiner

Mad About Music

Charles Previn & Frank Skinner

Storm Over Bengal

Cy Feuer

Sweethearts

Herbert Stothart

There Goes My Heart

Marvin Hatley

Tropic Holiday

Boris Morros

The Young in Heart

Franz Waxman

1939(12th)

Original Score

The Wizard of Oz

Herbert Stothart

Dark Victory

Max Steiner

Eternally Yours

Werner Janssen

Golden Boy

Victor Young

Gone with the Wind

Steiner

Gulliver's Travels

Young

The Man in the Iron Mask

Lud Gluskin & Lucien Moraweck

Man of Conquest

Young

Nurse Edith Cavell

Anthony Collins

Of Mice and Men

Aaron Copland

The Rains Came

Alfred Newman

Wuthering Heights

Scoring

Stagecoach

Richard Hageman, W. Franke Harling, John Leipold & Leo Shuken

Babes in Arms

Roger Edens & Georgie Stoll

First Love

Charles Previn

The Great Victor Herbert

Phil Boutelje & Arthur Lange

The Hunchback of Notre Dame

Alfred Newman

Intermezzo

Lou Forbes

Mr. Smith Goes to Washington

Dimitri Tiomkin

Of Mice and Men

Aaron Copland

The Private Lives of Elizabeth and Essex

Erich Wolfgang Korngold

She Married a Cop

Cy Feuer

Swanee River

Louis Silvers

They Shall Have Music

Newman

Way Down South

Victor Young

text:
Year

Film

Nominees

1940(13th)

Original Score

Pinocchio

Leigh Harline, Paul Smith & Ned Washington

Arizona

Victor Young

The Dark Command

The Fight for Life

Louis Gruenberg

The Great Dictator

Meredith Willson

The House of the Seven Gables

Frank Skinner

The Howards of Virginia

Richard Hageman

The Letter

Max Steiner

The Long Voyage Home

Hageman

The Mark of Zorro

Alfred Newman

My Favorite Wife

Roy Webb

North West Mounted Police

Young

One Million B.C.

Werner Heymann

Our Town

Aaron Copland

Rebecca

Franz Waxman

The Thief of Bagdad

Miklós Rózsa

Waterloo Bridge

Herbert Stothart

Scoring

Tin Pan Alley

Alfred Newman

Arise, My Love

Victor Young

Hit Parade of 1941

Cy Feuer

Irene

Anthony Collins

Our Town

Aaron Copland

The Sea Hawk

Erich Wolfgang Korngold

Second Chorus

Artie Shaw

Spring Parade

Charles Previn

Strike Up the Band

Roger Edens & Georgie Stoll

1941(14th)

Music Score of a Dramatic or Comedy Picture

The Devil and Daniel Webster

Bernard Herrmann

Back Street

Frank Skinner

Ball of Fire

Alfred Newman

Cheers for Miss Bishop

Edward Ward

Citizen Kane

Herrmann

Dr. Jekyll and Mr. Hyde

Franz Waxman

Hold Back the Dawn

Victor Young

How Green Was My Valley

Newman

King of the Zombies

Edward Kay

Ladies in Retirement

Morris Stoloff & Ernst Toch

The Little Foxes

Meredith Willson

Lydia

Miklós Rózsa

Mercy Island

Cy Feuer & Walter Scharf

Sergeant York

Max Steiner

So Ends Our Night

Louis Gruenberg

Sundown

Rózsa

Suspicion

Waxman

Tanks a Million

Ward

That Uncertain Feeling

Werner Heymann

This Woman Is Mine

Richard Hageman

Scoring of a Musical Picture

Dumbo

Frank Churchill & Oliver Wallace

All-American Co-Ed

Edward Ward

Birth of the Blues

Robert Emmett Dolan

Buck Privates

Charles Previn

The Chocolate Soldier

Herbert Stothart & Bronisław Kaper

Ice-Capades

Cy Feuer

The Strawberry Blonde

Heinz Roemheld

Sun Valley Serenade

Emil Newman

Sunny

Anthony Collins

You'll Never Get Rich

Morris Stoloff

1942(15th)

Music Score of a Dramatic or Comedy Picture

Now, Voyager

Max Steiner

Arabian Nights

Frank Skinner

Bambi

Frank Churchill (posthumously) & Edward Plumb

The Black Swan

Alfred Newman

The Corsican Brothers

Dimitri Tiomkin

Flying Tigers

Victor Young

The Gold Rush

Max Terr

I Married a Witch

Roy Webb

Joan of Paris

Jungle Book

Miklós Rózsa

Klondike Fury

Edward Kay

The Pride of the Yankees

Leigh Harline

Random Harvest

Herbert Stothart

The Shanghai Gesture

Richard Hageman

Silver Queen

Victor Young

Take a Letter, Darling

The Talk of the Town

Frederick Hollander & Morris Stoloff

To Be or Not to Be

Werner Heymann

Scoring of a Musical Picture

Yankee Doodle Dandy

Ray Heindorf & Heinz Roemheld

Flying with Music

Edward Ward

For Me and My Gal

Roger Edens & Georgie Stoll

Holiday Inn

Robert Emmett Dolan

It Started with Eve

Hans Salter & Charles Previn

Johnny Doughboy

Walter Scharf

My Gal Sal

Alfred Newman

You Were Never Lovelier

Leigh Harline

1943(16th)

Music Score of a Dramatic or Comedy Picture

The Song of Bernadette

Alfred Newman

The Amazing Mrs. Holliday

Frank Skinner & Hans J. Salter

Casablanca

Max Steiner

Commandos Strike at Dawn

Morris Stoloff & Louis Gruenberg

The Fallen Sparrow

Roy Webb & Constantin Bakaleinikoff

For Whom the Bell Tolls

Victor Young

Hangmen Also Die

Hanns Eisler

Hi Diddle Diddle

Phil Boutelje

In Old Oklahoma

Walter Scharf

Johnny Come Lately

Leigh Harline

The Kansan

Gerard Carbonara

Lady of Burlesque

Arthur Lange

Madame Curie

Herbert Stothart

The Moon and Sixpence

Dimitri Tiomkin

The North Star

Aaron Copland

Victory Through Air Power

Edward H. Plumb, Paul Smith & Oliver Wallace

Scoring of a Musical Picture

This Is the Army

Ray Heindorf

Coney Island

Alfred Newman

Hit Parade of 1943

Walter Scharf

Phantom of the Opera

Edward Ward

Saludos Amigos

Charles Wolcott, Edward H. Plumb & Paul Smith

The Sky's the Limit

Leigh Harline

Something to Shout About

Morris Stoloff

Stage Door Canteen

Robert Emmett Dolan

Thousands Cheer

Herbert Stothart

1944(17th)

Music Score of a Dramatic or Comedy Picture

Since You Went Away

Max Steiner

Address Unknown

Morris Stoloff & Ernst Toch

The Adventures of Mark Twain

Steiner

The Bridge of San Luis Rey

Dimitri Tiomkin

Casanova Brown

Arthur Lange

Christmas Holiday

Hans J. Salter

Double Indemnity

Miklós Rózsa

The Fighting Seabees

Walter Scharf & Roy Webb

The Hairy Ape

Edward Paul & Michel Michelet

It Happened Tomorrow

Robert Stolz

Jack London

Fred Rich

Kismet

Herbert Stothart

None but the Lonely Heart

Hanns Eisler & Constantin Bakaleinikoff

The Princess and the Pirate

David Rose

Summer Storm

Karl Hajos

Three Russian Girls

Franke Harling

Up in Mabel's Room

Paul

Voice in the Wind

Michelet

Wilson

Alfred Newman

The Woman of the Town

Rózsa

Scoring of a Musical Picture

Cover Girl

Stoloff & Carmen Dragon

Brazil

Walter Scharf

Higher and Higher

Constantin Bakaleinikoff

Hollywood Canteen

Ray Heindorf

Irish Eyes Are Smiling

Newman

Knickerbocker Holiday

Werner R. Heymann & Kurt Weill

Lady in the Dark

Robert Emmett Dolan

Lady, Let's Dance

Edward Kay

Meet Me in St. Louis

Georgie Stoll

The Merry Monahans

Hans J. Salter

Minstrel Man

Ferde Grofe & Leo Erdody

Sensations of 1945

Mahlon Merrick

Song of the Open Road

Charles Previn

Up in Arms

Heindorf & Louis Forbes

1945(18th)

Music Score of a Dramatic or Comedy Picture

Spellbound

Miklós Rózsa

The Bells of St. Mary's

Robert Emmett Dolan

Brewster's Millions

William Walton

Captain Kidd

Werner Janssen

The Enchanted Cottage

Roy Webb

Flame of Barbary Coast

Morton Scott & Dale Butts

G. I. Honeymoon

Edward J. Kay

G. I. Joe

Louis Applebaum & Ann Ronell

Guest in the House

Werner Janssen

Guest Wife

Daniele Amfitheatrof

The Keys of the Kingdom

Alfred Newman

The Lost Weekend

Miklós Rózsa

Love Letters

Victor Young

The Man Who Walked Alone

Karl Hajos

Objective, Burma!

Franz Waxman

Paris Underground

Alexandre Tansman

A Song to Remember

Miklós Rózsa & Morris Stoloff

The Southerner

Werner Janssen

This Love of Ours

Hans J. Salter

The Valley of Decision

Herbert Stothart

The Woman in the Window

Arthur Lange & Hugo Friedhofer

Scoring of a Musical Picture

Anchors Aweigh

Georgie Stoll

Belle of the Yukon

Arthur Lange

Can't Help Singing

Jerome Kern (posthumously) & Hans J. Salter

Hitchhike to Happiness

Morton Scott

Incendiary Blonde

Robert Emmett Dolan

Rhapsody in Blue

Ray Heindorf & Max Steiner

State Fair

Alfred Newman & Charles Henderson

Sunbonnet Sue

Edward J. Kay

The Three Caballeros

Charles Wolcott, Edward Plumb & Paul Smith

Tonight and Every Night

Marlin Skiles & Morris Stoloff

Why Girls Leave Home

Walter Greene

Wonder Man

Ray Heindorf & Lou Forbes

1946(19th)

Music Score of a Dramatic or Comedy Picture

The Best Years of Our Lives

Hugo Friedhofer

Anna and the King of Siam

Bernard Herrmann

Henry V

William Walton

Humoresque

Franz Waxman

The Killers

Miklós Rózsa

Scoring of a Musical Picture

The Jolson Story

Morris Stoloff

Blue Skies

Robert Emmett Dolan

Centennial Summer

Alfred Newman

The Harvey Girls

Lennie Hayton

Night and Day

Ray Heindorf & Max Steiner

1947(20th)

Music Score of a Dramatic or Comedy Picture

A Double Life

Miklós Rózsa

The Bishop's Wife

Hugo Friedhofer

Captain from Castile

Alfred Newman

Forever Amber

David Raksin

Life with Father

Max Steiner

Scoring of a Musical Picture

Mother Wore Tights

Alfred Newman

Fiesta

Johnny Green

My Wild Irish Rose

Ray Heindorf & Max Steiner

Road to Rio

Robert Emmett Dolan

Song of the South

Daniele Amfitheatrof, Paul Smith & Charles Wolcott

1948(21st)

Music Score of a Dramatic or Comedy Picture

The Red Shoes

Brian Easdale

Hamlet

William Walton

Joan of Arc

Hugo Friedhofer

Johnny Belinda

Max Steiner

The Snake Pit

Alfred Newman

Scoring of a Musical Picture

Easter Parade

Johnny Green & Roger Edens

The Emperor Waltz

Victor Young

The Pirate

Lennie Hayton

Romance on the High Seas

Ray Heindorf

When My Baby Smiles at Me

Newman

1949(22nd)

Music Score of a Dramatic or Comedy Picture

The Heiress

Aaron Copland

Beyond the Forest

Max Steiner

Champion

Dimitri Tiomkin

Scoring of a Musical Picture

On the Town

Roger Edens & Lennie Hayton

Jolson Sings Again

Morris Stoloff & George Duning

Look for the Silver Lining

Ray Heindorf

text:
Year

Film

Nominees

1950(23rd)

Music Score of a Dramatic or Comedy Picture

Sunset Boulevard

Franz Waxman

All About Eve

Alfred Newman

The Flame and the Arrow

Max Steiner

No Sad Songs for Me

George Duning

Samson and Delilah

Victor Young

Scoring of a Musical Picture

Annie Get Your Gun

Adolph Deutsch & Roger Edens

Cinderella

Oliver Wallace & Paul Smith

I'll Get By

Lionel Newman

Three Little Words

André Previn

The West Point Story

Ray Heindorf

1951(24th)

Music Score of a Dramatic or Comedy Picture

A Place in the Sun

Franz Waxman

David and Bathsheba

Alfred Newman

Death of a Salesman

Alex North

Quo Vadis

Miklós Rózsa

A Streetcar Named Desire

North

Scoring of a Musical Picture

An American in Paris

Johnny Green & Saul Chaplin

Alice in Wonderland

Oliver Wallace

The Great Caruso

Peter Herman Adler & Johnny Green

On the Riviera

Alfred Newman

Show Boat

Adolph Deutsch & Conrad Salinger

1952(25th)

Music Score of a Dramatic or Comedy Picture

High Noon

Dimitri Tiomkin

Ivanhoe

Miklós Rózsa

The Miracle of Our Lady of Fatima

Max Steiner

The Thief

Herschel Burke Gilbert

Viva Zapata!

Alex North

Scoring of a Musical Picture

With a Song in My Heart

Alfred Newman

Hans Christian Andersen

Walter Scharf

The Jazz Singer

Ray Heindorf & Max Steiner

The Medium

Gian Carlo Menotti

Singin' in the Rain

Lennie Hayton

1953(26th)

Music Score of a Dramatic or Comedy Picture

Lili

Bronisław Kaper

Above and Beyond

Hugo Friedhofer

From Here to Eternity

Morris Stoloff & George Duning

Julius Caesar

Miklós Rózsa

This Is Cinerama

Louis Forbes

Scoring of a Musical Picture

Call Me Madam

Alfred Newman

The Band Wagon

Adolph Deutsch

Calamity Jane

Ray Heindorf

The 5,000 Fingers of Dr. T

Friedrich Hollaender & Morris Stoloff

Kiss Me Kate

André Previn & Saul Chaplin

1954(27th)

Music Score of a Dramatic or Comedy Picture

The High and the Mighty

Dimitri Tiomkin

The Caine Mutiny

Max Steiner

Genevieve

Larry Adler [note 4]

On the Waterfront

Leonard Bernstein

The Silver Chalice

Franz Waxman

Scoring of a Musical Picture

Seven Brides for Seven Brothers

Adolph Deutsch & Saul Chaplin

Carmen Jones

Herschel Burke Gilbert

The Glenn Miller Story

Joseph Gershenson & Henry Mancini

A Star Is Born

Ray Heindorf

There's No Business Like Show Business

Alfred & Lionel Newman

1955(28th)

Music Score of a Dramatic or Comedy Picture

Love Is a Many-Splendored Thing

Alfred Newman

Battle Cry

Max Steiner

The Man with the Golden Arm

Elmer Bernstein

Picnic

George Duning

The Rose Tattoo

Alex North

Scoring of a Musical Picture

Oklahoma!

Robert Russell Bennett, Jay Blackton & Adolph Deutsch

Daddy Long Legs

Alfred Newman

Guys and Dolls

Jay Blackton & Cyril J. Mockridge

It's Always Fair Weather

André Previn

Love Me or Leave Me

Percy Faith & Georgie Stoll

1956(29th)

Music Score of a Dramatic or Comedy Picture

Around the World in 80 Days

Victor Young (posthumously)

Anastasia

Alfred Newman

Between Heaven and Hell

Hugo Friedhofer

Giant

Dimitri Tiomkin

The Rainmaker

Alex North

Scoring of a Musical Picture

The King and I

Alfred Newman & Ken Darby

The Best Things in Life Are Free

Lionel Newman

The Eddy Duchin Story

Morris Stoloff & George Duning

High Society

Johnny Green & Saul Chaplin

Meet Me in Las Vegas

Georgie Stoll & Johnny Green

1957(30th)  [note 5]  [8]

The Bridge on the River Kwai

Malcolm Arnold

An Affair to Remember

Hugo Friedhofer

Boy on a Dolphin

Perri

Paul Smith

Raintree County

Johnny Green

1958(31st)

Music Score of a Dramatic or Comedy Picture

The Old Man and the Sea

Dimitri Tiomkin

The Big Country

Jerome Moross

Separate Tables

David Raksin

White Wilderness

Oliver Wallace

The Young Lions

Hugo Friedhofer

Scoring of a Musical Picture

Gigi

André Previn

The Bolshoi Ballet

Yuri Fayer & Gennady Rozhdestvensky

Damn Yankees

Ray Heindorf

Mardi Gras

Lionel Newman

South Pacific

Ken Darby & Alfred Newman

1959(32nd)

Music Score of a Dramatic or Comedy Picture

Ben-Hur

Miklós Rózsa

The Diary of Anne Frank

Alfred Newman

The Nun's Story

Franz Waxman

On the Beach

Ernest Gold

Pillow Talk

De Vol

Scoring of a Musical Picture

Porgy and Bess

André Previn & Ken Darby

The Five Pennies

Leith Stevens

Li'l Abner

Nelson Riddle & Joseph J. Lilley

Say One for Me

Lionel Newman

Sleeping Beauty

George Bruns

text:
Year

Film

Nominees

1960(33rd)

Music Score of a Dramatic or Comedy Picture

Exodus

Ernest Gold

The Alamo

Dimitri Tiomkin

Elmer Gantry

André Previn

The Magnificent Seven

Elmer Bernstein

Spartacus

Alex North

Scoring of a Musical Picture

Song Without End

Morris Stoloff & Harry Sukman

Bells Are Ringing

Previn

Can-Can

Nelson Riddle

Let's Make Love

Earle Hagen & Lionel Newman

Pepe

Johnny Green

1961(34th)

Music Score of a Dramatic or Comedy Picture

Breakfast at Tiffany's

Henry Mancini

El Cid

Miklós Rózsa

Fanny

Morris Stoloff & Harry Sukman

The Guns of Navarone

Dimitri Tiomkin

Summer and Smoke

Elmer Bernstein

Scoring of a Musical Picture

West Side Story

Saul Chaplin, Johnny Green, Irwin Kostal & Sid Ramin

Babes in Toyland

George Bruns

Flower Drum Song

Alfred Newman & Ken Darby

Khovanshchina

Dmitri Shostakovich

Paris Blues

Duke Ellington

1962(35th)

Music Score — Substantially Original

Lawrence of Arabia

Maurice Jarre

Freud

Jerry Goldsmith

Mutiny on the Bounty

Bronisław Kaper

Taras Bulba

Franz Waxman

To Kill a Mockingbird

Elmer Bernstein

Scoring of Music — Adaptation or Treatment

The Music Man

Ray Heindorf

Billy Rose's Jumbo

Georgie Stoll

Gigot

Michel Magne

Gypsy

Frank Perkins

The Wonderful World of the Brothers Grimm

Leigh Harline

1963(36th)

Music Score — Substantially Original

Tom Jones

John Addison

Cleopatra

Alex North

55 Days at Peking

Dimitri Tiomkin

How the West Was Won

Alfred Newman & Ken Darby

It's a Mad, Mad, Mad, Mad World

Ernest Gold

Scoring of Music — Adaptation or Treatment

Irma la Douce

André Previn

Bye Bye Birdie

Johnny Green

A New Kind of Love

Leith Stevens

Sundays and Cybele

Maurice Jarre

The Sword in the Stone

George Bruns

1964(37th)

Music Score — Substantially Original

Mary Poppins

Sherman Brothers

Becket

Laurence Rosenthal

The Fall of the Roman Empire

Dimitri Tiomkin

Hush… Hush, Sweet Charlotte

De Vol

The Pink Panther

Henry Mancini

Scoring of Music — Adaptation or Treatment

My Fair Lady

André Previn

A Hard Day's Night

George Martin

Mary Poppins

Irwin Kostal

Robin and the 7 Hoods

Nelson Riddle

The Unsinkable Molly Brown

Robert Armbruster, Leo Arnaud, Jack Elliott, Jack Hayes, Calvin Jackson & Leo Shuken

1965(38th)

Music Score — Substantially Original

Doctor Zhivago

Maurice Jarre

The Agony and the Ecstasy

Alex North

The Greatest Story Ever Told

Alfred Newman

A Patch of Blue

Jerry Goldsmith

The Umbrellas of Cherbourg

Michel Legrand & Jacques Demy

Scoring of Music — Adaptation or Treatment

The Sound of Music

Irwin Kostal

Cat Ballou

De Vol

The Pleasure Seekers

Lionel Newman & Alexander Courage

A Thousand Clowns

Don Walker

The Umbrellas of Cherbourg

Legrand

1966(39th)

Original Music Score

Born Free

John Barry

The Bible: In the Beginning...

Toshiro Mayuzumi

Hawaii

Elmer Bernstein

The Sand Pebbles

Jerry Goldsmith

Who's Afraid of Virginia Woolf?

Alex North

Scoring of Music — Adaptation or Treatment

A Funny Thing Happened on the Way to the Forum

Ken Thorne

The Gospel According to St. Matthew

Luis Bacalov

Return of the Seven

Bernstein

The Singing Nun

Harry Sukman

Stop the World – I Want to Get Off

Al Ham

1967(40th)

Original Music Score

Thoroughly Modern Millie

Elmer Bernstein

Cool Hand Luke

Lalo Schifrin

Doctor Dolittle

Leslie Bricusse

Far from the Madding Crowd

Richard Rodney Bennett

In Cold Blood

Quincy Jones

Scoring of Music — Adaptation or Treatment

Camelot

Alfred Newman & Ken Darby

Doctor Dolittle

Lionel Newman & Alexander Courage

Guess Who's Coming to Dinner

De Vol

Thoroughly Modern Millie

André Previn & Joseph Gershenson

Valley of the Dolls

John Williams

1968(41st)

Original Score —  For a Motion Picture (Not a Musical)

The Lion in Winter

John Barry

The Fox

Lalo Schifrin

Planet of the Apes

Jerry Goldsmith

The Shoes of the Fisherman

Alex North

The Thomas Crown Affair

Legrand

Scoring of a Musical Picture — Original or Adaptation

Oliver!

Johnny Green (adaptation score)

Finian's Rainbow

Ray Heindorf (adaptation score)

Funny Girl

Walter Scharf (adaptation score)

Star!

Lennie Hayton (adaptation score)

The Young Girls of Rochefort

Michel Legrand (music and adaptation score) & Jacques Demy (lyrics)

1969(42nd)

Original Score —  For a Motion Picture (Not a Musical)

Butch Cassidy and the Sundance Kid

Burt Bacharach

Anne of the Thousand Days

Georges Delerue

The Reivers

John Williams

The Secret of Santa Vittoria

Ernest Gold

The Wild Bunch

Jerry Fielding

Scoring of a Musical Picture — Original or Adaptation

Hello, Dolly!

Lennie Hayton & Lionel Newman (adaptation score)

Goodbye, Mr. Chips

Leslie Bricusse (music and lyrics) & Williams (adaptation score)

Paint Your Wagon

Nelson Riddle (adaptation score)

Sweet Charity

Cy Coleman (adaptation score)

They Shoot Horses, Don't They?

Johnny Green & Albert Woodbury (adaptation score)

text:
Year

Film

Nominees

1970(43rd)

Original Score

Love Story

Francis Lai

Airport

Alfred Newman (posthumously)

Cromwell

Frank Cordell

Patton

Jerry Goldsmith

Sunflower

Henry Mancini

Original Song Score

Let It Be

The Beatles (music and lyrics)

The Baby Maker

Fred Karlin (music) & Tylwyth Kymry (lyrics)

A Boy Named Charlie Brown

Rod McKuen & Uncle John (music) McKuen, Bill Melendez & Al Shean (lyrics), & Vince Guaraldi (adaptation score)

Darling Lili

Henry Mancini (music) & Johnny Mercer (lyrics)

Scrooge

Leslie Bricusse (music and lyrics), Ian Fraser & Herbert W. Spencer (adaptation score)

1971(44th)

Original Dramatic Score

Summer of '42

Michel Legrand

Mary, Queen of Scots

John Barry

Nicholas and Alexandra

Richard Rodney Bennett

Shaft

Isaac Hayes

Straw Dogs

Jerry Fielding

Scoring: Adaptation and Original Song Score

Fiddler on the Roof

John Williams (adaptation score)

Bedknobs and Broomsticks

Sherman Brothers (song score) & Irwin Kostal (adaptation score)

The Boy Friend

Peter Maxwell Davies & Peter Greenwell (adaptation score)

Tchaikovsky

Dimitri Tiomkin (adaptation score)

Willy Wonka & the Chocolate Factory

Leslie Bricusse & Anthony Newley (song score) & Walter Scharf (adaptation score)

1972(45th)

Original Dramatic Score

Limelight [note 6]

Charlie Chaplin, Raymond Rasch (posthumously) & Larry Russell (posthumously)

Images

John Williams

Napoleon and Samantha

Buddy Baker

The Poseidon Adventure

Williams

Sleuth

John Addison

Scoring: Adaptation and Original Song Score

Cabaret

Ralph Burns (adaptation score)

Lady Sings the Blues

Gil Askey (adaptation score)

Man of La Mancha

Laurence Rosenthal (adaptation score)

1973(46th)

Original Dramatic Score

The Way We Were

Marvin Hamlisch

Cinderella Liberty

John Williams

The Day of the Dolphin

Georges Delerue

Papillon

Jerry Goldsmith

A Touch of Class

John Cameron

Scoring: Adaptation and Original Song Score

The Sting

Marvin Hamlisch (adaptation score)

Jesus Christ Superstar

André Previn, Herbert W. Spencer & Andrew Lloyd Webber (adaptation score)

Tom Sawyer

Sherman Brothers (song score) & Williams (adaptation score)

1974(47th)

Original Dramatic Score

The Godfather Part II

Nino Rota & Carmine Coppola

Chinatown

Jerry Goldsmith

Murder on the Orient Express

Richard Rodney Bennett

Shanks

Alex North

The Towering Inferno

John Williams

Scoring: Adaptation and Original Song Score

The Great Gatsby

Nelson Riddle (adaptation score)

The Little Prince

Alan Jay Lerner & Frederick Loewe (song score), Angela Morley & Douglas Gamley (adaptation score)

Phantom of the Paradise

Paul Williams (song score and adaptation score) & George Tipton (adaptation score)

1975(48th)

Original Score

Jaws

John Williams

Birds Do It, Bees Do It

Gerald Fried

Bite the Bullet

Alex North

One Flew Over the Cuckoo's Nest

Jack Nitzsche

The Wind and the Lion

Jerry Goldsmith

Scoring: Original Song Score and Adaptation or Scoring: Adaptation

Barry Lyndon

Leonard Rosenman (adaptation score)

Funny Lady

Peter Matz (adaptation score)

Tommy

Pete Townshend (adaptation score)

1976(49th)

Original Score

The Omen

Jerry Goldsmith

Obsession

Bernard Herrmann (posthumously)

The Outlaw Josey Wales

Jerry Fielding

Taxi Driver

Herrmann (posthumously)

Voyage of the Damned

Lalo Schifrin

Original Song Score and Its Adaptation or Adaptation Score

Bound for Glory

Leonard Rosenman (adaptation score)

Bugsy Malone

Paul Williams (song score and adaptation score)

A Star Is Born

Roger Kellaway (adaptation score)

1977(50th)

Original Score

Star Wars

John Williams

Close Encounters of the Third Kind

Williams

Julia

Georges Delerue

Mohammad, Messenger of God

Maurice Jarre

The Spy Who Loved Me

Marvin Hamlisch

Original Song Score and Its Adaptation or Adaptation Score

A Little Night Music

Jonathan Tunick (adaptation score)

Pete's Dragon

Al Kasha & Joel Hirschhorn (song score) & Irwin Kostal (adaptation score)

The Slipper and the Rose

Sherman Brothers (song score) & Angela Morley (adaptation score)

1978(51st)

Original Score

Midnight Express

Giorgio Moroder

The Boys from Brazil

Jerry Goldsmith

Days of Heaven

Ennio Morricone

Heaven Can Wait

Dave Grusin

Superman

John Williams

Adaptation Score

The Buddy Holly Story

Joe Renzetti

Pretty Baby

Jerry Wexler

The Wiz

Quincy Jones

1979(52nd)

Original Score

A Little Romance

Georges Delerue

The Amityville Horror

Lalo Schifrin

The Champ

Dave Grusin

Star Trek: The Motion Picture

Jerry Goldsmith

10

Henry Mancini

Original Song Score and Its Adaptation or Adaptation Score

All That Jazz

Ralph Burns (adaptation score)

Breaking Away

Patrick Williams (adaptation score)

The Muppet Movie

Paul Williams (song score and adaptation score) & Kenny Ascher (song score)

text:
Year

Film

Nominees

1980(53rd)

Fame

Michael Gore

Altered States

John Corigliano

The Elephant Man

John Morris

The Empire Strikes Back

John Williams

Tess

Philippe Sarde

1981(54th)

Chariots of Fire

Vangelis

Dragonslayer

Alex North

On Golden Pond

Dave Grusin

Ragtime

Randy Newman

Raiders of the Lost Ark

John Williams

1982(55th)

Original Score

E.T. the Extra-Terrestrial

John Williams

Gandhi

Ravi Shankar & George Fenton

An Officer and a Gentleman

Jack Nitzsche

Poltergeist

Jerry Goldsmith

Sophie's Choice

Marvin Hamlisch

Original Song Score and Its Adaptation or Adaptation Score

Victor/Victoria

Henry Mancini (song score and adaptation score) & Leslie Bricusse (song score)

Annie

Ralph Burns (adaptation score)

One from the Heart

Tom Waits (song score)

1983(56th)

Original Score

The Right Stuff

Bill Conti

Cross Creek

Leonard Rosenman

Return of the Jedi

John Williams

Terms of Endearment

Michael Gore

Under Fire

Jerry Goldsmith

Original Song Score and Its Adaptation or Adaptation Score

Yentl

Michel Legrand and Alan & Marilyn Bergman (song score)

The Sting II

Lalo Schifrin (adaptation score)

Trading Places

Elmer Bernstein (adaptation score)

1984(57th)

Original Score

A Passage to India

Maurice Jarre

Indiana Jones and the Temple of Doom

John Williams

The Natural

Randy Newman

The River

Williams

Under the Volcano

Alex North

Original Song Score

Purple Rain

Prince

The Muppets Take Manhattan

Jeff Moss

Songwriter

Kris Kristofferson

1985(58th)

Out of Africa

John Barry

Agnes of God

Georges Delerue

The Color Purple

Quincy Jones, Jeremy Lubbock, Rod Temperton, Caiphus Semenya, Andrae Crouch, Chris Boardman, Jorge Calandrelli, Joel Rosenbaum, Fred Steiner, Jack Hayes, Jerry Hey & Randy Kerber

Silverado

Bruce Broughton

Witness

Maurice Jarre

1986(59th)

Round Midnight

Herbie Hancock

Aliens

James Horner

Hoosiers

Jerry Goldsmith

The Mission

Ennio Morricone

Star Trek IV: The Voyage Home

Leonard Rosenman

1987(60th)

The Last Emperor

Ryuichi Sakamoto, David Byrne & Cong Su

Cry Freedom

George Fenton & Jonas Gwangwa

Empire of the Sun

John Williams

The Untouchables

Ennio Morricone

The Witches of Eastwick

Williams

1988(61st)

The Milagro Beanfield War

Dave Grusin

The Accidental Tourist

John Williams

Dangerous Liaisons

George Fenton

Gorillas in the Mist

Maurice Jarre

Rain Man

Hans Zimmer

1989(62nd)

The Little Mermaid

Alan Menken

Born on the Fourth of July

John Williams

The Fabulous Baker Boys

Dave Grusin

Field of Dreams

James Horner

Indiana Jones and the Last Crusade

Williams

text:
Year

Film

Nominees

1990(63rd)

Dances with Wolves

John Barry

Avalon

Randy Newman

Ghost

Maurice Jarre

Havana

Dave Grusin

Home Alone

John Williams

1991(64th)

Beauty and the Beast

Alan Menken

Bugsy

Ennio Morricone

The Fisher King

George Fenton

JFK

John Williams

The Prince of Tides

James Newton Howard

1992(65th)

Aladdin

Alan Menken

Basic Instinct

Jerry Goldsmith

Chaplin

John Barry

Howards End

Richard Robbins

A River Runs Through It

Mark Isham

1993(66th)

Schindler's List

John Williams

The Age of Innocence

Elmer Bernstein

The Firm

Dave Grusin

The Fugitive

James Newton Howard

The Remains of the Day

Richard Robbins

1994(67th)

The Lion King

Hans Zimmer

Forrest Gump

Alan Silvestri

Interview with the Vampire

Elliot Goldenthal

Little Women

Thomas Newman

The Shawshank Redemption

1995(68th)  [note 7]

Original Dramatic Score

The Postman (Il Postino)

Luis Bacalov

Apollo 13

James Horner

Braveheart

Nixon

John Williams

Sense and Sensibility

Patrick Doyle

Original Musical or Comedy Score

Pocahontas

Alan Menken (music and orchestral score) & Stephen Schwartz (lyrics)

The American President

Marc Shaiman

Sabrina

Williams

Toy Story

Randy Newman

Unstrung Heroes

Thomas Newman

1996(69th)

Original Dramatic Score

The English Patient

Gabriel Yared

Hamlet

Patrick Doyle

Michael Collins

Elliot Goldenthal

Shine

David Hirschfelder

Sleepers

John Williams

Original Musical or Comedy Score

Emma

Rachel Portman

The First Wives Club

Marc Shaiman

The Hunchback of Notre Dame

Alan Menken (music and orchestral score) & Stephen Schwartz (lyrics)

James and the Giant Peach

Randy Newman

The Preacher's Wife

Hans Zimmer

1997(70th)

Original Dramatic Score

Titanic

James Horner

Amistad

John Williams

Good Will Hunting

Danny Elfman

Kundun

Philip Glass

L.A. Confidential

Jerry Goldsmith

Original Musical or Comedy Score

The Full Monty

Anne Dudley

Anastasia

Stephen Flaherty (music), Lynn Ahrens (lyrics) & David Newman (orchestral score)

As Good as It Gets

Hans Zimmer

Men in Black

Danny Elfman

My Best Friend's Wedding

James Newton Howard

1998(71st)

Original Dramatic Score

Life Is Beautiful

Nicola Piovani

Elizabeth

David Hirschfelder

Pleasantville

Randy Newman

Saving Private Ryan

John Williams

The Thin Red Line

Hans Zimmer

Original Musical or Comedy Score

Shakespeare in Love

Stephen Warbeck

A Bug's Life

Randy Newman

Mulan

Matthew Wilder (music), David Zippel (lyrics) & Jerry Goldsmith (orchestral score)

Patch Adams

Marc Shaiman

The Prince of Egypt

Stephen Schwartz (music and lyrics) & Hans Zimmer (orchestral score)

1999(72nd)

The Red Violin

John Corigliano

American Beauty

Thomas Newman

Angela's Ashes

John Williams

The Cider House Rules

Rachel Portman

The Talented Mr. Ripley

Gabriel Yared

text:
Year

Film

Nominees

2000(73rd)

Crouching Tiger, Hidden Dragon

Tan Dun

Chocolat

Rachel Portman

Gladiator

Hans Zimmer [note 8]

Malèna

Ennio Morricone

The Patriot

John Williams

2001(74th)

The Lord of the Rings: The Fellowship of the Ring

Howard Shore

A.I. Artificial Intelligence

John Williams

A Beautiful Mind

James Horner

Harry Potter and the Sorcerer's Stone

Williams

Monsters, Inc.

Randy Newman

2002(75th)

Frida

Elliot Goldenthal

Catch Me If You Can

John Williams

Far from Heaven

Elmer Bernstein

The Hours

Philip Glass

Road to Perdition

Thomas Newman

2003(76th)

The Lord of the Rings: The Return of the King

Howard Shore

Big Fish

Danny Elfman

Cold Mountain

Gabriel Yared

Finding Nemo

Thomas Newman

House of Sand and Fog

James Horner

2004(77th)

Finding Neverland

Jan A. P. Kaczmarek

Harry Potter and the Prisoner of Azkaban

John Williams

Lemony Snicket's A Series of Unfortunate Events

Thomas Newman

The Passion of the Christ

John Debney

The Village

James Newton Howard

2005(78th)

Brokeback Mountain

Gustavo Santaolalla

The Constant Gardener

Alberto Iglesias

Memoirs of a Geisha

John Williams

Munich

Pride & Prejudice

Dario Marianelli

2006(79th)

Babel

Gustavo Santaolalla

The Good German

Thomas Newman

Notes on a Scandal

Philip Glass

Pan's Labyrinth

Javier Navarrete

The Queen

Alexandre Desplat

2007(80th)

Atonement

Dario Marianelli

The Kite Runner

Alberto Iglesias

Michael Clayton

James Newton Howard

Ratatouille

Michael Giacchino

3:10 to Yuma

Marco Beltrami

2008(81st)

Slumdog Millionaire

A. R. Rahman

The Curious Case of Benjamin Button

Alexandre Desplat

Defiance

James Newton Howard

Milk

Danny Elfman

WALL-E

Thomas Newman

2009(82nd)

Up

Michael Giacchino

Avatar

James Horner

Fantastic Mr. Fox

Alexandre Desplat

The Hurt Locker

Marco Beltrami & Buck Sanders

Sherlock Holmes

Hans Zimmer

text:
Year

Film

Nominees

2010(83rd)

The Social Network

Trent Reznor & Atticus Ross

How to Train Your Dragon

John Powell

Inception

Hans Zimmer

The King's Speech

Alexandre Desplat

127 Hours

A. R. Rahman

2011(84th)

The Artist

Ludovic Bource

The Adventures of Tintin

John Williams

Hugo

Howard Shore

Tinker Tailor Soldier Spy

Alberto Iglesias

War Horse

John Williams

2012(85th)

Life of Pi

Mychael Danna

Anna Karenina

Dario Marianelli

Argo

Alexandre Desplat

Lincoln

John Williams

Skyfall

Thomas Newman

2013(86th)

Gravity

Steven Price

The Book Thief

John Williams

Her

William Butler & Owen Pallett

Philomena

Alexandre Desplat

Saving Mr. Banks

Thomas Newman

2014(87th)

The Grand Budapest Hotel

Alexandre Desplat

The Imitation Game

Desplat

Interstellar

Hans Zimmer

Mr. Turner

Gary Yershon

The Theory of Everything

Jóhann Jóhannsson

2015(88th)

The Hateful Eight

Ennio Morricone

Bridge of Spies

Thomas Newman

Carol

Carter Burwell

Sicario

Jóhann Jóhannsson

Star Wars: The Force Awakens

John Williams

2016(89th)  [9]

La La Land

Justin Hurwitz

Lion

Hauschka & Dustin O'Halloran

Jackie

Micachu

Moonlight

Nicholas Britell

Passengers

Thomas Newman

2017(90th)

The Shape of Water

Alexandre Desplat

Dunkirk

Hans Zimmer

Phantom Thread

Jonny Greenwood

Star Wars: The Last Jedi

John Williams

Three Billboards Outside Ebbing, Missouri

Carter Burwell

text: Notes[edit]

text:
Jump up ^ From 1934 until 1937, nominated films were represented by the head of the film studio's music department rather than the composer. Each film's actual composer(s) are listed in parentheses.

Jump up ^ Captain Blood was not officially nominated for this award, but appears in Academy records because it placed third in voting as a write-in candidate in 1935.

Jump up ^ From 1937 until 1945, film studios could submit one eligible film of their choosing, guaranteeing it a nomination.

Jump up ^ Blacklisted composer Larry Adler's name was removed from American prints of the British-made Genevieve. The film's arranger and orchestrator Muir Mathieson was credited instead and received an Oscar nomination. In 1986, the Academy's Board of Governors removed Mathieson's name from the nomination and gave it to Adler.

Jump up ^ In 1957, dramatic and comedy films competed with musicals in a combined category called Music – Scoring. Fifteen scores were shortlisted with ten from dramatic and comedy films and five from musicals. Voting resulted in no musical nominees.

Jump up ^ Limelight was originally released in 1952, but had never screened theatrically in Los Angeles until 1972, at which point it became eligible for Oscar consideration.

Jump up ^ From 1995 until 1998, Best Original Score was split into Original Dramatic Score and Original Musical or Comedy Score. For musicals and comedies, songwriters and lyricists along with orchestral underscore composers were eligible for nomination.

Jump up ^ Lisa Gerrard and Klaus Badelt also received screen credit for the Gladiator score, but only Zimmer was deemed eligible for the nomination.

text: Superlatives[edit]

text: These are only for nominations in the Scoring categories. Nominations in other categories, such as the Original Song category, are not included.

text:
Category

Name

Superlative

Notes

Most Awards

Alfred Newman

9 awards

Awards resulted from 41 nominations

Most Nominations

John Williams

46 nominations

Nominations resulted in 5 awards

Most Nominations without an Award

Alex North

14 nominations

Received an Academy Honorary Award

text: Only one composer has won two Scoring Oscars the same year: in 1973, Marvin Hamlisch won Original Dramatic Score for The Way We Were and Best Adaptation Score, for The Sting. Hamlisch also won Best Song that year for The Way We Were (song), making him the only composer to win three music Oscars in the same year.

text: Only one composer has won Oscars three years in a row: Roger Edens won for Easter Parade (1948), On the Town (1949) and Annie Get Your Gun (1950).

text: Eight composers have won Oscars two years in a row:

text:
Ray Heindorf won for Yankee Doodle Dandy (1942) and This is the Army (1943).
Franz Waxman won for Sunset Boulevard (1950) and A Place in the Sun (1951).
Alfred Newman won for With a Song in My Heart (1952) and Call Me Madam (1953). He won again for Love is a Many-Splendored Thing (1955) and The King and I (1956).
Adolph Deutsch won for Seven Brides for Seven Brothers (1954) and Oklahoma! (1955).
André Previn won for Gigi (1958) and 1959's Porgy and Bess (1959). He won again for Irma La Douce (1963) and My Fair Lady (1964).
Leonard Rosenman won for Barry Lyndon (1975) and Bound for Glory (1976).
Alan Menken won for Beauty and The Beast (1991) and Aladdin (1992).
Gustavo Santaolalla won for Brokeback Mountain (2005) and Babel (2006).

text: Female nominees[edit]

text: Three women have won in the scoring categories. Two are composers: Rachel Portman, who won for Emma (1996), and Anne Dudley, who won for The Full Monty (1997); the third, is lyricist Marilyn Bergman, who won for Yentl (1983) in the Original Song Score category, sharing the award with co-lyricist Alan Bergman (her husband) and composer Michel Legrand.

text: The only female composers nominated for multiple Scoring Oscars are Rachel Portman, who was nominated for Emma (1996) (for which she won for Best Original Score), The Cider House Rules (1999) and Chocolat (2000); and Angela Morley, who was nominated twice in the Original Song or Adaptation Score category for The Little Prince (1974) and The Slipper and the Rose (1976).

text: In total, only five women have been nominated in Music Score categories: Rachel Portman, Anne Dudley, Marilyn Bergman, Angela Morley and Micachu.

text: Notable nominees[edit]

text: Dmitri Shostakovich and Duke Ellington were both nominated the same year but lost to arrangers of West Side Story.

text: The scores of Midnight Express by Giorgio Moroder in 1979, Slumdog Millionaire by A. R. Rahman in 2009, The Social Network in 2011 by Trent Reznor and Atticus Ross and Her by William Butler and Owen Pallett in 2014 are the only scores with electronic based music ever to be nominated, with the first three winning the award.

text: Noted nominated composers known for their music mostly outside the film world include: Aaron Copland, Kurt Weill, Gian-Carlo Menotti, Philip Glass, John Corigliano, Peter Maxwell Davies, Randy Newman, Richard Rodney Bennett, Stephen Schwartz, Andrew Lloyd Webber, Artie Shaw, Trent Reznor, Quincy Jones, Herbie Hancock and Jonny Greenwood.

text: Rock musicians and pop stars are most often nominated in the songwriting category. A handful that were nominated in the Scoring categories includes: The Beatles, Prince, Pete Townshend, Rod McKuen, Isaac Hayes, Kris Kristofferson, Quincy Jones, Randy Newman, Anthony Newley, Paul Williams, Tom Waits, David Byrne, Ryuichi Sakamoto, Trent Reznor and Matthew Wilder.

text: Record producers George Martin (the Beatles) and Jerry Wexler (Atlantic Records) also received nominations in the Scoring categories.

text: At the age of 87, Ennio Morricone became the oldest winner in Oscar history at the time for a competitive award.[10][11]

text: Multiple nominations[edit]

text: The following is a list of composers nominated more than once and winning at least one Academy Award (in this category). This list is sorted by number of awards, with the number of total nominations listed in parentheses. These do not include nominations (or awards) in the Best Original Song category.

text:
9: Alfred Newman (43)
5: John Williams (46)  Also received 5 nominations for Best Original Song, which brings his total to 51 - the most nominated person in all of the music categories combined.
4: Johnny Green (12)
4: André Previn (11)
4: John Barry (6)
4: Alan Menken (5)
3: Max Steiner (24)
3: Ray Heindorf (17)
3: Morris Stoloff (17)
3: Miklós Rózsa (16)
3: Dimitri Tiomkin (14)
3: Maurice Jarre (8)
3: Ken Darby (6)
3: Roger Edens (6)
3: Saul Chaplin (5)
3: Adolph Deutsch (5)
2: Franz Waxman (11)
2: Alexandre Desplat (9)
2: Henry Mancini (7)
2: Lennie Hayton (6)

2: Michel Legrand (6)
2: Irwin Kostal (5)
2: Marvin Hamlisch (4)
2: Leonard Rosenman (4)
2: Ralph Burns (3)
2: Howard Shore (3)
2: Gustavo Santaolalla (2)
1: Jerry Goldsmith (17)
1: Victor Young (17)
1: Herbert Stothart (11)
1: Hans Zimmer (11)
1: Elmer Bernstein (10)
1: Hugo Friedhofer (9)
1: Lionel Newman (9)
1: Georgie Stoll (9)
1: James Horner (8)
1: Leigh Harline (7)
1: Charles Previn (7)

1: Paul Smith (7)
1: Dave Grusin (6)
1: Ennio Morricone (6) Also received an Academy Honorary Award.
1: Leslie Bricusse (5)
1: Georges Delerue (5)
1: Richard Hageman (5)
1: Bernard Herrmann (5)
1: Nelson Riddle (5)
1: Oliver Wallace (5)
1: Aaron Copland (4)
1: Ernest Gold (4)
1: Leo F. Forbstein (4)
1: Richard M. Sherman (4)
1: Robert B. Sherman (4)
1: Louis Silvers (4)
1: Frank Churchill (3)
1: Elliot Goldenthal (3)
1: Erich Wolfgang Korngold (3)

1: Bronislau Kaper (3)
1: Dario Marianelli (3)
1: Rachel Portman (3)
1: Stephen Schwartz (3)
1: Harry Sukman (3)
1: Gabriel Yared (3)
1: John Addison (2)
1: Luis Enríquez Bacalov (2)
1: Robert Russell Bennett (2)
1: Jay Blackton (2)
1: John Corigliano (2)
1: Michael Giacchino (2)
1: Michael Gore (2)
1: W. Franke Harling (2)
1: A. R. Rahman (2)
1: Heinz Roemheld (2)
1: Nino Rota (2)
1: Leo Shuken (2)

text: The following composers have been nominated for a Best Original Score Oscar more than once but have yet to garner one. The number of nominations is listed in parentheses. These do not include nominations (or awards) in the Best Original Song category.

text:
Deceased:

Alex North (14) Received an Academy Honorary Award.
Roy Webb (7)
Werner Janssen (6)
Edward Ward (5)
Frank Skinner (4)
Frank De Vol (4)
Richard Rodney Bennett (3)
Louis Gruenberg (3)
Marvin Hatley (3)
Ernst Toch (3)
Jack Nitzsche (2) Has won 1 Oscar Award for Original Song.
Richard Robbins (2)
Victor Schertzinger (2)
Meredith Willson (2)
Jóhann Jóhannsson (2)

Living:

Thomas Newman (13)
Randy Newman (8) Has won 2 Oscars Awards for Original Song.
James Newton Howard (6)
Lalo Schifrin (5)
Danny Elfman (4)
George Fenton (4)
Philip Glass (3)
Alberto Iglesias (3)
Quincy Jones (3) Has won the Jean Hersholt Humanitarian Award, a special Academy Award.
Marc Shaiman (3)
Marco Beltrami (2)
Carter Burwell (2)
Patrick Doyle (2)
David Hirschfelder (2)


document_title: Natural and legal rights

question_text: whose new political ideas of natural rights influenced the declaration of independence

root

text: Natural and legal rights

text: History[edit]

text: The idea that certain rights are natural or inalienable also has a history dating back at least to the Stoics of late Antiquity and Catholic law of the early Middle Ages, and descending through the Protestant Reformation and the Age of Enlightenment to today.[citation needed]

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text: The existence of natural rights has been asserted by different individuals on different premises, such as a priori philosophical reasoning or religious principles. For example, Immanuel Kant claimed to derive natural rights through reason alone. The United States Declaration of Independence, meanwhile, is based upon the "self-evident" truth that "all men are … endowed by their Creator with certain unalienable Rights".[6]

text: Likewise, different philosophers and statesmen have designed different lists of what they believe to be natural rights; almost all include the right to life and liberty as the two highest priorities. H. L. A. Hart argued that if there are any rights at all, there must be the right to liberty, for all the others would depend upon this. T. H. Green argued that “if there are such things as rights at all, then, there must be a right to life and liberty, or, to put it more properly to free life.”[7] John Locke emphasized "life, liberty and property" as primary. However, despite Locke's influential defense of the right of revolution, Thomas Jefferson substituted "pursuit of happiness" in place of "property" in the United States Declaration of Independence.

text: Ancient[edit]

text: Stephen Kinzer, a veteran journalist for The New York Times and the author of the book All The Shah's Men, writes in the latter that:

text: The Zoroastrian religion taught Iranians that citizens have an inalienable right to enlightened leadership and that the duty of subjects is not simply to obey wise kings but also to rise up against those who are wicked. Leaders are seen as representative of God on earth, but they deserve allegiance only as long as they have farr, a kind of divine blessing that they must earn by moral behavior.

text: The Stoics held that no one was a slave by nature; slavery was an external condition juxtaposed to the internal freedom of the soul (sui juris). Seneca the Younger wrote:

text: It is a mistake to imagine that slavery pervades a man's whole being; the better part of him is exempt from it: the body indeed is subjected and in the power of a master, but the mind is independent, and indeed is so free and wild, that it cannot be restrained even by this prison of the body, wherein it is confined.[8]

text: Of fundamental importance to the development of the idea of natural rights was the emergence of the idea of natural human equality. As the historian A.J. Carlyle notes: "There is no change in political theory so startling in its completeness as the change from the theory of Aristotle to the later philosophical view represented by Cicero and Seneca.... We think that this cannot be better exemplified than with regard to the theory of the equality of human nature."[9] Charles H. McIlwain likewise observes that "the idea of the equality of men is the profoundest contribution of the Stoics to political thought" and that "its greatest influence is in the changed conception of law that in part resulted from it."[10] Cicero argues in De Legibus that "we are born for Justice, and that right is based, not upon opinions, but upon Nature."[11]

text: Modern[edit]

text: One of the first Western thinkers to develop the contemporary idea of natural rights was French theologian Jean Gerson, whose 1402 treatise De Vita Spirituali Animae is considered one of the first attempts to develop what would come to be called modern natural rights theory.[12]

text: Centuries later, the Stoic doctrine that the "inner part cannot be delivered into bondage"[13] re-emerged in the Reformation doctrine of liberty of conscience. Martin Luther wrote:

text: Furthermore, every man is responsible for his own faith, and he must see it for himself that he believes rightly. As little as another can go to hell or heaven for me, so little can he believe or disbelieve for me; and as little as he can open or shut heaven or hell for me, so little can he drive me to faith or unbelief. Since, then, belief or unbelief is a matter of every one's conscience, and since this is no lessening of the secular power, the latter should be content and attend to its own affairs and permit men to believe one thing or another, as they are able and willing, and constrain no one by force.[14]

text: 17th-century English philosopher John Locke discussed natural rights in his work, identifying them as being "life, liberty, and estate (property)", and argued that such fundamental rights could not be surrendered in the social contract. Preservation of the natural rights to life, liberty, and property was claimed as justification for the rebellion of the American colonies. As George Mason stated in his draft for the Virginia Declaration of Rights, "all men are born equally free," and hold "certain inherent natural rights, of which they cannot, by any compact, deprive or divest their posterity."[15] Another 17th-century Englishman, John Lilburne (known as Freeborn John), who came into conflict with both the monarchy of King Charles I and the military dictatorship of Oliver Cromwell governed republic, argued for level human basic rights he called "freeborn rights" which he defined as being rights that every human being is born with, as opposed to rights bestowed by government or by human law.

text: The distinction between alienable and unalienable rights was introduced by Francis Hutcheson. In his Inquiry into the Original of Our Ideas of Beauty and Virtue (1725), Hutcheson foreshadowed the Declaration of Independence, stating: “For wherever any Invasion is made upon unalienable Rights, there must arise either a perfect, or external Right to Resistance. . . . Unalienable Rights are essential Limitations in all Governments.” Hutcheson, however, placed clear limits on his notion of unalienable rights, declaring that “there can be no Right, or Limitation of Right, inconsistent with, or opposite to the greatest publick Good."[16] Hutcheson elaborated on this idea of unalienable rights in his A System of Moral Philosophy (1755), based on the Reformation principle of the liberty of conscience. One could not in fact give up the capacity for private judgment (e.g., about religious questions) regardless of any external contracts or oaths to religious or secular authorities so that right is "unalienable." Hutcheson wrote: "Thus no man can really change his sentiments, judgments, and inward affections, at the pleasure of another; nor can it tend to any good to make him profess what is contrary to his heart. The right of private judgment is therefore unalienable."[17]

text: In the German Enlightenment, Hegel gave a highly developed treatment of this inalienability argument. Like Hutcheson, Hegel based the theory of inalienable rights on the de facto inalienability of those aspects of personhood that distinguish persons from things. A thing, like a piece of property, can in fact be transferred from one person to another. According to Hegel, the same would not apply to those aspects that make one a person:

text: The right to what is in essence inalienable is imprescriptible, since the act whereby I take possession of my personality, of my substantive essence, and make myself a responsible being, capable of possessing rights and with a moral and religious life, takes away from these characteristics of mine just that externality which alone made them capable of passing into the possession of someone else. When I have thus annulled their externality, I cannot lose them through lapse of time or from any other reason drawn from my prior consent or willingness to alienate them.[18]

text: In discussion of social contract theory, "inalienable rights" were said to be those rights that could not be surrendered by citizens to the sovereign. Such rights were thought to be natural rights, independent of positive law. Some social contract theorists reasoned, however, that in the natural state only the strongest could benefit from their rights. Thus, people form an implicit social contract, ceding their natural rights to the authority to protect the people from abuse, and living henceforth under the legal rights of that authority.

text: Many historical apologies for slavery and illiberal government were based on explicit or implicit voluntary contracts to alienate any "natural rights" to freedom and self-determination.[19] The de facto inalienability arguments of Hutcheson and his predecessors provided the basis for the anti-slavery movement to argue not simply against involuntary slavery but against any explicit or implied contractual forms of slavery. Any contract that tried to legally alienate such a right would be inherently invalid. Similarly, the argument was used by the democratic movement to argue against any explicit or implied social contracts of subjection (pactum subjectionis) by which a people would supposedly alienate their right of self-government to a sovereign as, for example, in Leviathan by Thomas Hobbes. According to Ernst Cassirer,

text: There is, at least, one right that cannot be ceded or abandoned: the right to personality...They charged the great logician [Hobbes] with a contradiction in terms. If a man could give up his personality he would cease being a moral being. … There is no pactum subjectionis, no act of submission by which man can give up the state of free agent and enslave himself. For by such an act of renunciation he would give up that very character which constitutes his nature and essence: he would lose his humanity.[20]

text: These themes converged in the debate about American Independence. While Jefferson was writing the Declaration of Independence, Richard Price in England sided with the Americans' claim "that Great Britain is attempting to rob them of that liberty to which every member of society and all civil communities have a natural and unalienable title."[21]:67 Price again based the argument on the de facto inalienability of "that principle of spontaneity or self-determination which constitutes us agents or which gives us a command over our actions, rendering them properly ours, and not effects of the operation of any foreign cause."[21]:67–68 Any social contract or compact allegedly alienating these rights would be non-binding and void, wrote Price:

text: Neither can any state acquire such an authority over other states in virtue of any compacts or cessions. This is a case in which compacts are not binding. Civil liberty is, in this respect, on the same footing with religious liberty. As no people can lawfully surrender their religious liberty by giving up their right of judging for themselves in religion, or by allowing any human beings to prescribe to them what faith they shall embrace, or what mode of worship they shall practise, so neither can any civil societies lawfully surrender their civil liberty by giving up to any extraneous jurisdiction their power of legislating for themselves and disposing their property.[21]:78–79

text: Price raised a furor of opposition so in 1777 he wrote another tract that clarified his position and again restated the de facto basis for the argument that the "liberty of men as agents is that power of self-determination which all agents, as such, possess."[22] In Intellectual Origins of American Radicalism, Staughton Lynd pulled together these themes and related them to the slavery debate:

text: Then it turned out to make considerable difference whether one said slavery was wrong because every man has a natural right to the possession of his own body, or because every man has a natural right freely to determine his own destiny. The first kind of right was alienable: thus Locke neatly derived slavery from capture in war, whereby a man forfeited his labor to the conqueror who might lawfully have killed him; and thus Dred Scott was judged permanently to have given up his freedom. But the second kind of right, what Price called "that power of self-determination which all agents, as such, possess," was inalienable as long man remained man. Like the mind's quest for religious truth from which it was derived, self-determination was not a claim to ownership which might be both acquired and surrendered, but an inextricable aspect of the activity of being human.[23]

text: Meanwhile, in America, Thomas Jefferson "took his division of rights into alienable and unalienable from Hutcheson, who made the distinction popular and important",[24] and in the 1776 United States Declaration of Independence, famously condensed this to:

text: We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights...

text: In the 19th century, the movement to abolish slavery seized this passage as a statement of constitutional principle, although the U.S. constitution recognized and protected slavery. As a lawyer, future Chief Justice Salmon P. Chase argued before the Supreme Court in the case of John Van Zandt, who had been charged with violating the Fugitive Slave Act, that:

text: The law of the Creator, which invests every human being with an inalienable title to freedom, cannot be repealed by any interior law which asserts that man is property.

text: The concept of inalienable rights was criticized by Jeremy Bentham and Edmund Burke as groundless. Bentham and Burke, writing in 18th century Britain, claimed that rights arise from the actions of government, or evolve from tradition, and that neither of these can provide anything inalienable. (See Bentham's "Critique of the Doctrine of Inalienable, Natural Rights", and Burke's Reflections on the Revolution in France). Presaging the shift in thinking in the 19th century, Bentham famously dismissed the idea of natural rights as "nonsense on stilts". By way of contrast to the views of British nationals Burke and Bentham, the leading American revolutionary scholar James Wilson condemned Burke's view as "tyranny."[25]

text: The signers of the Declaration of Independence deemed it a "self-evident truth" that all men are endowed by their Creator with certain unalienable Rights". In The Social Contract, Jean-Jacques Rousseau claims that the existence of inalienable rights is unnecessary for the existence of a constitution or a set of laws and rights. This idea of a social contract – that rights and responsibilities are derived from a consensual contract between the government and the people – is the most widely recognized alternative.

text: One criticism of natural rights theory is that one cannot draw norms from facts.[26] This objection is variously expressed as the is-ought problem, the naturalistic fallacy, or the appeal to nature. G.E. Moore, for example, said that ethical naturalism falls prey to the naturalistic fallacy.[citation needed] Some defenders of natural rights theory, however, counter that the term "natural" in "natural rights" is contrasted with "artificial" rather than referring to nature. John Finnis, for example, contends that natural law and natural rights are derived from self-evident principles, not from speculative principles or from facts.[26]

text: There is also debate as to whether all rights are either natural or legal. Fourth president of the United States James Madison, while representing Virginia in the House of Representatives, believed that there are rights, such as trial by jury, that are social rights, arising neither from natural law nor from positive law (which are the basis of natural and legal rights respectively) but from the social contract from which a government derives its authority.[27]

text: Thomas Hobbes[edit]

text: Thomas Hobbes (1588–1679) included a discussion of natural rights in his moral and political philosophy. Hobbes' conception of natural rights extended from his conception of man in a "state of nature". Thus he argued that the essential natural (human) right was "to use his own power, as he will himself, for the preservation of his own Nature; that is to say, of his own Life; and consequently, of doing any thing, which in his own judgement, and Reason, he shall conceive to be the aptest means thereunto." (Leviathan. 1, XIV)

text: Hobbes sharply distinguished this natural "liberty", from natural "laws", described generally as "a precept, or general rule, found out by reason, by which a man is forbidden to do, that, which is destructive of his life, or taketh away the means of preserving his life; and to omit, that, by which he thinketh it may best be preserved." (Leviathan. 1, XIV)

text: In his natural state, according to Hobbes, man's life consisted entirely of liberties and not at all of laws – "It followeth, that in such a condition, every man has the right to every thing; even to one another's body. And therefore, as long as this natural Right of every man to every thing endureth, there can be no security to any man... of living out the time, which Nature ordinarily allow men to live." (Leviathan. 1, XIV)

text: This would lead inevitably to a situation known as the "war of all against all", in which human beings kill, steal and enslave others in order to stay alive, and due to their natural lust for "Gain", "Safety" and "Reputation". Hobbes reasoned that this world of chaos created by unlimited rights was highly undesirable, since it would cause human life to be "solitary, poor, nasty, brutish, and short". As such, if humans wish to live peacefully they must give up most of their natural rights and create moral obligations in order to establish political and civil society. This is one of the earliest formulations of the theory of government known as the social contract.

text: Hobbes objected to the attempt to derive rights from "natural law," arguing that law ("lex") and right ("jus") though often confused, signify opposites, with law referring to obligations, while rights refer to the absence of obligations. Since by our (human) nature, we seek to maximize our well being, rights are prior to law, natural or institutional, and people will not follow the laws of nature without first being subjected to a sovereign power, without which all ideas of right and wrong are meaningless – "Therefore before the names of Just and Unjust can have place, there must be some coercive Power, to compel men equally to the performance of their Covenants..., to make good that Propriety, which by mutual contract men acquire, in recompense of the universal Right they abandon: and such power there is none before the erection of the Commonwealth." (Leviathan. 1, XV)

text: This marked an important departure from medieval natural law theories which gave precedence to obligations over rights.

text: John Locke[edit]

text: John Locke (1632 – 1704) was another prominent Western philosopher who conceptualized rights as natural and inalienable. Like Hobbes, Locke believed in a natural right to life, liberty, and property. It was once conventional wisdom that Locke greatly influenced the American Revolutionary War with his writings of natural rights, but this claim has been the subject of protracted dispute in recent decades. For example, the historian Ray Forrest Harvey declared that Jefferson and Locke were at "two opposite poles" in their political philosophy, as evidenced by Jefferson’s use in the Declaration of Independence of the phrase "pursuit of happiness" instead of "property."[28] More recently, the eminent[29] legal historian John Phillip Reid has deplored contemporary scholars’ "misplaced emphasis on John Locke," arguing that American revolutionary leaders saw Locke as a commentator on established constitutional principles.[30][31] Thomas Pangle has defended Locke's influence on the Founding, claiming that historians who argue to the contrary either misrepresent the classical republican alternative to which they say the revolutionary leaders adhered, do not understand Locke, or point to someone else who was decisively influenced by Locke.[32] This position has also been sustained by Michael Zuckert.[33][34][35]

text: According to Locke there are three natural rights:

text:
Life: everyone is entitled to live.[36]
Liberty: everyone is entitled to do anything they want to so long as it doesn't conflict with the first right.
Estate: everyone is entitled to own all they create or gain through gift or trade so long as it doesn't conflict with the first two rights.

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text: In developing his concept of natural rights, Locke was influenced by reports of society among Native Americans, whom he regarded as "natural peoples" who lived in a state of liberty and "near prefect freedom", but not license.[37] It also informed his conception of social contract.

text: The social contract is an agreement between members of a country to live within a shared system of laws. Specific forms of government are the result of the decisions made by these persons acting in their collective capacity. Government is instituted to make laws that protect these three natural rights. If a government does not properly protect these rights, it can be overthrown.

text: Thomas Paine[edit]

text: Thomas Paine (1731–1809) further elaborated on natural rights in his influential work Rights of Man (1791), emphasizing that rights cannot be granted by any charter because this would legally imply they can also be revoked and under such circumstances they would be reduced to privileges:

text: It is a perversion of terms to say that a charter gives rights. It operates by a contrary effect – that of taking rights away. Rights are inherently in all the inhabitants; but charters, by annulling those rights, in the majority, leave the right, by exclusion, in the hands of a few. … They...consequently are instruments of injustice.

text: The fact therefore must be that the individuals themselves, each in his own personal and sovereign right, entered into a compact with each other to produce a government: and this is the only mode in which governments have a right to arise, and the only principle on which they have a right to exist.

text: American individualist anarchists[edit]

text: While at first American individualist anarchists adhered to natural rights positions, later in this era led by Benjamin Tucker, some abandoned natural rights positions and converted to Max Stirner's Egoist anarchism. Rejecting the idea of moral rights, Tucker said there were only two rights: "the right of might" and "the right of contract".[citation needed] He also said, after converting to Egoist individualism, "In times past... it was my habit to talk glibly of the right of man to land. It was a bad habit, and I long ago sloughed it off.... Man's only right to land is his might over it."[38]

text: According to Wendy McElroy:

text: In adopting Stirnerite egoism (1886), Tucker rejected natural rights which had long been considered the foundation of libertarianism. This rejection galvanized the movement into fierce debates, with the natural rights proponents accusing the egoists of destroying libertarianism itself. So bitter was the conflict that a number of natural rights proponents withdrew from the pages of Liberty in protest even though they had hitherto been among its frequent contributors. Thereafter, Liberty championed egoism although its general content did not change significantly.[39]

text: Several periodicals were "undoubtedly influenced by Liberty's presentation of egoism, including I published by C.L. Swartz, edited by W.E. Gordak and J.W. Lloyd (all associates of Liberty); The Ego and The Egoist, both of which were edited by Edward H. Fulton. Among the egoist papers that Tucker followed were the German Der Eigene, edited by Adolf Brand, and The Eagle and The Serpent, issued from London. The latter, the most prominent English-language egoist journal, was published from 1898 to 1900 with the subtitle 'A Journal of Egoistic Philosophy and Sociology'".[39] Among those American anarchists who adhered to egoism include Benjamin Tucker, John Beverley Robinson, Steven T. Byington, Hutchins Hapgood, James L. Walker, Victor Yarros and E.H. Fulton.[39]

text: Contemporary[edit]

text: Many documents now echo the phrase used in the United States Declaration of Independence. The preamble to the 1948 United Nations Universal Declaration of Human Rights asserts that rights are inalienable: "recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world." Article 1, § 1 of the California Constitution recognizes inalienable rights, and articulated some (not all) of those rights as "defending life and liberty, acquiring, possessing, and protecting property, and pursuing and obtaining safety, happiness, and privacy." However, there is still much dispute over which "rights" are truly natural rights and which are not, and the concept of natural or inalienable rights is still controversial to some.

text: Erich Fromm argued that some powers over human beings could be wielded only by God, and that if there were no God, no human beings could wield these powers.[40]

text: Contemporary political philosophies continuing the classical liberal tradition of natural rights include libertarianism, anarcho-capitalism and Objectivism, and include amongst their canon the works of authors such as Robert Nozick, Ludwig von Mises, Ayn Rand,[41] and Murray Rothbard.[42] A libertarian view of inalienable rights is laid out in Morris and Linda Tannehill's The Market for Liberty, which claims that a man has a right to ownership over his life and therefore also his property, because he has invested time (i.e. part of his life) in it and thereby made it an extension of his life. However, if he initiates force against and to the detriment of another man, he alienates himself from the right to that part of his life which is required to pay his debt: "Rights are not inalienable, but only the possessor of a right can alienate himself from that right – no one else can take a man's rights from him."[43]

text: Various definitions of inalienability include non-relinquishability, non-salability, and non-transferability.[44] This concept has been recognized by libertarians as being central to the question of voluntary slavery, which Murray Rothbard dismissed as illegitimate and even self-contradictory.[45] Stephan Kinsella argues that "viewing rights as alienable is perfectly consistent with – indeed, implied by – the libertarian non-aggression principle. Under this principle, only the initiation of force is prohibited; defensive, restitutive, or retaliatory force is not."[46]

text: Various philosophers have created different lists of rights they consider to be natural. Proponents of natural rights, in particular Hesselberg and Rothbard, have responded that reason can be applied to separate truly axiomatic rights from supposed rights, stating that any principle that requires itself to be disproved is an axiom. Critics have pointed to the lack of agreement between the proponents as evidence for the claim that the idea of natural rights is merely a political tool.

text: Hugh Gibbons has proposed a descriptive argument based on human biology. His contention is that Human Beings were other-regarding as a matter of necessity, in order to avoid the costs of conflict. Over time they developed expectations that individuals would act in certain ways which were then prescribed by society (duties of care etc.) and that eventually crystallized into actionable rights.[47]