The man whose name is for many synonymous with film music was born prematurely to Abraham and Ida Herrmann. Abraham, an optometrist, came from an intellectual family, while Ida was highly religious; the family's handsome brownstone was the scene of frequent arguments. At the age of five Herrmann began to suffer from Sydenham's syndrome, a neurological disorder that can affect personality development. A calm environment is needed for recovery, but Herrmann did not enjoy one. He grew up to be a nervous and aggressively touchy person who tended to alienate friends and associates. He was also incessantly creative, composing music at an early age. At age 13 he won a hundred-dollar prize for an orchestral composition, and this settled him on a musical career. He studied with Percy Grainger at New York University, composing much music that he later destroyed. At 20 he debuted as a conductor on Broadway, leading a ballet of his own in a musical revue called "Americana." He also founded the New Chamber Orchestra. In 1934 Herrmann began conducting and scoring for the CBS radio network. He developed a gift for quick evocation of a situation or psychological state with very short musical gestures such as a repeating note pattern, a chord, or a shift in color. Herrmann worked for Orson Welles, the young director of the Mercury Theater radio drama series. When Welles went to Hollywood to direct his debut film, Citizen Kane, he took along several Mercury Theater regulars, including Herrmann, who scored the film. With the Citizen Kane score Herrmann virtually invented a new, American film sound that stood in contrast with lush, European-derived styles. Herrmann remained with CBS, becoming conductor of the CBS Symphony Orchestra in 1940. He championed new British and American music, giving millions their first exposure to such composers as Walton and Ives. Herrmann won an Academy Award for his second film score, that for William Dieterle's The Devil and Daniel Webster. Almost alone among Hollywood composers, he did all his orchestration himself, devising such novel effects as the electronic group employed in The Day the Earth Stood Still or the massed harps of Beneath the Twelve-Mile Reef. He was noted for building his scores on ostinato patterns, often based on an unstable chord. The emotional tension thus produced made Herrmann an ideal collaborator for the master of suspense, Alfred Hitchcock. Herrmann's collaboration with Hitchcock began with the remake of The Man Who Knew Too Much, just after CBS eliminated its orchestra in 1955. Although of his 68 film scores, only eight were written for Hitchcock (Herrmann also supervised the naturalistic soundtrack for The Birds), the two were among history's greatest director-and-composer teams. Herrmann's all-string score to Psycho, with its nerve-raw shrieking violins for the knife attack scenes, was widely imitated. Angrily leaving Hollywood when producers moved toward melodious scores that could yield a hit tune as an additional profit point, Herrmann moved to London, still composing film scores for Hitchcock admirers such as François Truffaut, Martin Scorsese, and Brian DePalma. He also stepped up his concert and recording activities, committing to tape his performances of many of the classical pieces he had continued to write over the years. These include a masterly symphony and an opera version of Wuthering Heights. Herrmann died in Hollywood, passing away unexpectedly in his sleep on Christmas Eve after a scoring session for Scorsese's Taxi Driver, whose jazz-oriented music hinted at an intriguing change in direction. Commentators regard him as the greatest of American film composers or even as the greatest of any nationality, and interest in his music of all genres has shown unceasing growth since his death.