L1 The Soundtrack


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The slides for my Music For Media 1st Lesson

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L1 The Soundtrack

  1. 1. Julio d’Escriván Senior Lecturer in Music Anglia Ruskin University Music and Performing Arts Cambridge Anatomy of the Soundtrack The Composer’s overview: Things you need to know.
  2. 2. Soundtracks are used Music for Live Action: From narration to reflection. • Music for Animation: Mickey Mousing and beyond. • Branding: identity through sonic and musical association. • Music in commercials: the miniature narration. Where every musical • element has a precise comunicational meaning. • The Sound of Painting: Imagining movement. possible implied ‘vectorisations’ of the static image.
  3. 3. Images are permeated by sound in so far as there is… • Synchresis: creating meaning through synchronizing audio elements to visual elements. Vectorized elements in film. • Empathetic and Anempathetic Music. • A presence or absence of rhythm, harmony or melody that ‘direct’ the flow of images or distort our perception of time.
  4. 4. Approaches to ‘musical sound’ • In Music for film: music is tailor made to support or contradict the narrative. • In terms of Sound Design: electroacoustic techniques are applied to creating sound effects and to the general organization of sound fx and auxiliary sound elements.
  5. 5. Technical details of how the soundtrack works… 1. measuring duration in films: Frame rates: 24, 25, 29.97 smpte hh:mm:ss:ff 2. Music synchrony: Spotting the film. Hit points; Cues vs. scenes; The Cue Sheet and author’s/performer’s rights.
  6. 6. Sound Elements in Film -Dialogue -Production Sound
  7. 7. • Foley • ADR
  8. 8. Sound that aids the narrative of the visuals and the flow of the story is said to be ‘diegetic’ Some other diegetic audio elements within the sound track are: Room Tones, Atmosphere, FX and source music. (ex. From Brazil:the small room/noises/clues of size, reverb, etc. the frozen room, ‘false’ wind fx…))
  9. 9. The Main Functions of Film Music... a summary.
  10. 10. A Summary of the main functions of Film Music From Polish musicologist Zofia Lissa, in her Asthetik der Filmmusik (1959: pp115-256). 1. Emphasis of movement (mickey mousing) 2. Emphasis of real sounds (illustration, adding character) 3. Representation of location: physical, ethnic,social, historical. 4. Source music (diegetic). 5. Comment 6. Expression of actor's emotions 7. Basis for audience's emotions 8. Symbol (one leitmotiv to illustrate a different scene)) 9. Anticipation of subsequent action (preparing or misleading) 10. Enhancement and demarcation of the film's formal structure. (Cue Point) -leitmotifs, serving to (re-)identify characters, moods, environments, etc., thereby helping to make the film emotionally more comprehensible and to glue the narrative together across heavy cuts. -openings, i.e. 'something new starts now, folks'. -links and bridges. Music bridges two scenes, often of quite disparate character, across a cut (or fade-out plus fade-in, etc.) - tails. Snippets of music, often after a change of scene, that set the mood of the new scene and tail off, often on an unresolved chord demanding that the narrative (musical or otherwise) continue, thereby leaving the acoustic space open for dialogue or sound effects. -endings, i.e. 'that's the end of that bit, folks'. (summary by P. Tagg, http://www.tagg.org/teaching/mmi/filmfunx.html)