Edited by RichardW on 8/9/2015, 11:44 am
I would certainly count The Wrong Man and Vertigo as film noir and Herrmann's scores as noir scores. Listen to Cape Fear, Sisters, Taxi Driver and Obsession. Truth is many of Herrmann's non-film noir scores could easily be perceived as noir. Listen to his score for Fahrenheit 451. There's no sci-fi in the music; it's the sound of a man's mad rush to self-destruction. It comes out of a deep dark well, that score does. The Ghost and Mrs. Muir -- his finest score, in my opinion -- is a ghost story and a romance about unrequited love, but the infinite sadness of it belies the surface sweetness. It's a noir score if ever I heard one.
Personally, I think too many of Rozsa's scores sound alike and could be applicable to any genre film. Whereas Herrmann worked on a darker canvas.
Jazz is associated with film noir as much as torch ballads. Watch Ella Raines degrade herself on the dance floor to a jazz band to find out information in Phantom Lady (1944). Wailing saxes = wild abandonment.