Industry deep dive - using music in television & broadcast media

Music has been a key part of British television for over seven decades. We’ve created theme tunes that the whole world knows but that’s only part of a much bigger picture.

Read on to find out how music on broadcast TV and media has evolved from the 1950s until the present day and how to source and select music for your project.

The evolution of broadcast music

British TV’s love affair with music began in the 1950s, right around the time commercial television launched in 1955. Here’s how it evolved to the current day.

Music on TV

The BBC made a big splash with the Six-Five Special (1957-1958), its first live music show featuring then-rising stars like Tommy Steele and Lonnie Donegan. 

Not to be outdone, ABC Weekend TV quickly followed up with Oh Boy! (1958-1959) from then nascent and growing ITV network. The show grabbed national attention and headlines for its fast-paced, all-music format.

When Top of the Pops launched in 1964, it was a game-changer for British TV. Created by Johnnie Stewart, the show aired an incredible 2,272 episodes until its 2006 demise. 

It set the standard for musical success on television, eventually being spun off in many other countries, including France, Italy, and the U.S. Its Dutch equivalent, TopPop, ran from 1970 to 1988.

Around the world, music on TV became a cultural phenomenon. American Bandstand (1952-1989) brought dance and music to the homes of millions and made Dick Clark a household name. Likewise, Soul Train (1973-2006) provided a platform for black artists, introducing genres like soul, R&B, and hip hop.

The 1980s shook up music TV with the launch of MTV in 1981 and Channel 4 in the UK in 1982. The Tube (1982-1987) was a standout, showcasing live performances from Newcastle with a wild, unpredictable style that covered multiple musical genres.

While Top of the Tops, Soul Train, and American Bandstand are no longer on air, Japan’s Music Station of TV Asahi is still going strong. Launched in 1986, the show is a hotbed of Japanese home-grown talent and is beloved by its audience even to this day. 

TV themes as branding

In the 1960s, TV show theme tunes moved from simple orchestral themes to catchy, distinctive compositions - a trend that lasts until this day. The themes of Z-Cars, The Saint, Thunderbirds, The Prisoner, and, of course, Doctor Who are iconic examples of this early expressiveness.

Broadcasters use music branding more than ever today, embracing news themes and channel idents.

NBC in the United States has used its three-note chime since the 1930s, and it remains a hallmark of the network’s identity. NBC’s “The Mission” suite has featured on its Nightly News bulletin since 2015 with variations appearing on shows like Today and Meet The Press. 

Germany's ARD network has used the same theme tune with occasional modernisation since 1956 for its main news bulletin, Tagesschau.

ITN have used the same “News at Ten” library-inspired music since 1967. The BBC first started to unify its news theme music in 1993 with strong brass and string motifs. In 1999, they switched over to the David Lowe music based on the bottom-of-the-hour World Service countdown pips.

TV branding changes every few years and often brings a new score with it. The BBC’s balloon idents brought music for the first time to the public broadcaster’s main channel in 1997. They replaced it with the Rhythm and Movement idents four years later, which used a variety of upbeat, rhythmic arrangements to reflect different styles of dance.

Music to add depth and expression to TV

From the 1970s onward, the placement and importance of music in broadcast TV started to move beyond just the theme tune.

The Carl Davis-composed theme and score for The World at War (1973) was an unforgettable aspect of this ground-breaking series. The layering of Laurence Olivier’s narration and Davis’ solemn orchestration made the series hauntingly unforgettable.

The 1980s brought the Eric Clapton-driven soundtrack of Edge of Darkness (1985) along with the soundtrack from The Singing Detective (1986), filled with popular songs from the 1930s and 1940s that are woven into the story. 

Twin Peaks (1990-1991, 2017) by David Lynch and Angelo Badalementi remains an iconic soundtrack, capturing the discomfort and dreamlike nature of the story. Game of Thrones (2011-2019) caught the medieval zeitgeist with its stirring orchestral pieces, underscoring the epic scale and political intrigue of the series.

The Inspector Morse (1987-2000) motif played throughout the show, on one occasion spelling out the name of the killer in Morse code. Spooks (2001-2011) featured a pacy score that heightened the drama and suspense, fitting the espionage narrative perfectly.

Shows like Stranger Things (2016-present) and It’s a Sin (2021) use contemporary hits and specially arranged themes to immerse the audience in the 1980s setting of both dramas.

Examples like this have, over time, made music on TV sound closer to music in film. Although artistically preferable, this ambition is not always achievable for budgetary reasons.

 

How to make TV show music work for your production

Music budgets for TV vary from production to production. Some sources estimate this to be less than 5% of the total production budget for TV and 10 to 15% for the likes of film. However, different factors for each production will affect the total cost of using music. 

This means that directors and music supervisors must work within tight financial constraints to achieve the most impactful result. That’s whether they’re working on a nature documentary or a fast-paced and dynamic ad campaign for a client.

Collaboration between directors, producers and creative teams should interrogate their scripts to find out where to place:

• Diegetic music: Music or sounds within a scene, like a radio playing or a band performing

• Non-diegetic music: Background tracks that set the mood or make more emotion in a scene more intense

• Incidental music: Short cues or stings for specific moments like a reveal, transition scene, or cliff-hanger ending

• Sound effects: Sounds that add to the realism in a scene or highlight key actions like footsteps or a door slamming

 

Prioritise your budget for key scenes where the music will have the most impact. For other parts of your project, consider using music libraries. They can be a cost-effective way to fill in the gaps without sacrificing audio quality. 

Many libraries offer pre-cleared tracks that are easy to license, saving you time and money. This is particularly suitable for background music or when you need multiple tracks quickly, in a fast-paced reality show or live broadcast segment.

For long-running series or major ad campaigns, start planning now. For these projects, there are two main goals:

Add to the quality and effectiveness of your storytelling

Create a cohesive sound that becomes part of your project’s sonic branding over the coming years 

Achieve the right soundscape for your production

The right music in TV shows makes a difference. Register with Universal Production Music for help, guidance, and access to a world-class and extensive pre-cleared music and sound library.

We offer support at every stage of your project, with stems and edits available to ensure you find the perfect track and tailor it seamlessly to your production needs.