On 30 January, the film world lost one of its most prolific composers. British-born John Barry died at his home on Long Island, New York, aged 77.

Throughout his long and lucrative career, Barry composed songs and scores for many James Bond films and countless other film classics, receiving nominations for and winning countless awards in the process.

The son of a film projectionist and a classical pianist, it was probably no surprise that Barry would pursue a career combining his parents’ passions. He studied piano and trumpet, formed his own band in the 1950s, The John Barry Seven, and before long was composing themes for both the big and small screens.

Barry’s breakthrough came with his work on the first James Bond film, Dr No, in 1962 – although the famed James Bond theme launched by the film (and used in virtually all Bond films since) would be the cause of a long-running dispute with composer Monty Norman.

Barry was originally hired to work on the music composed by Norman, and when Barry claimed he had written it himself, Norman successfully sued for libel and was awarded damages.

Barry, however, would go on compose the scores for no less than a further 11 Bond films, including From Russia with Love (1963), Goldfinger (1964), On Her Majesty’s Secret Service (1969) and Octopussy (1983); his last one being The Living Daylights in 1987.

The composer’s prolific output was not, of course, limited to the Bond films. A glance at his long and extensive filmography shows at least 100 titles; not to mention the myriad TV themes, musicals and pop songs he composed throughout his career.

His trophy cabinet holds five Academy Awards, four Grammys and two Baftas, to name but a handful of a very long list of other awards and nominations.

As long as there have been films, there has been music, and the soundtrack has always been considered an integral part of the film experience – celebrating the triumphs, highlighting the joys and empathising with the sorrows of the protagonists, telling the story as much as the screenplay’s words or the actors’ performances, and Barry always understood that, his music never overwhelming the action.

Throughout his 50-year career, many film buffs have come to recognise the mastery in Barry’s works, securing millions of fans worldwide for the composer.

Barry’s Oscar-winning scores are proof positive of the power and diversity of his music; a few bars of his trademark soaring strings and bold brass arrangements – oftentimes toned down to mellower melodies – enough to conjure up vivid images of the films so enhanced by his music.

We imagine scenes of Elsa the lion raised by Joy and George Adamson in Kenya whenever the song Born Free (1966) is played; and the epic sounds of his The Lion in Winter (1968) score bring to mind the sombre majesty of the 12th-century costume dramatisation of the marriage of Henry II and Elinor of Aquitaine.

The grand musical interludes of Out of Africa (1985) evoke the vast African landscapes of the film as much as any visual featuring Meryl Streep and Robert Redford; while his equally impressive and powerful musical landscape contributes to the magic that is Dances with Wolves (1990) – from the dramatic overtures of the opening track, Looks like a Suicide, to the thrilling pounding beats of The Buffalo Hunt.

As I write this, I am listening to Moviola, a compilation of some of his better-known works released in 1992, that features many tracks from the aforementioned films, together with classic pieces from the likes of Midnight Cowboy (1969), Body Heat (1981) and Frances (1982); all perfect examples of his ability to change moods and tempos according to the story unfolding on the screen above him as he conducted his orchestra.

But who better to sum up his life than the man himself? On the sleeve notes to Moviola, he says that “Moviola is a collection of themes I have composed for motion pictures over the last 25 years.

“The binding force is my own personal affection for them, and the fact that they are all of a lyrical nature, albeit very contrasting in their character... Distant memories came back through time and one rediscovers the poignant effect music instils.”