The document discusses different classifications and uses of sound in motion pictures. It covers synchronous vs. nonsynchronous sound, diegetic vs. nondiegetic sound, and how music and sound effects are used to shape the narrative and themes of a film. Musicians and sound designers work with the director from early stages to create a cohesive soundtrack. Sound can be recorded during filming or later added, and it can come from within or outside the world depicted on screen. The history of sound in films is also summarized, from early talkies to innovations by directors like Eisenstein and Welles in using sound montage. Music is discussed in terms of mood, location, and characterization suggestions, as well as how it can control or contrast emotional shifts

1. Classifications of Sound. Sound montage.
Functions of Music. Practical considerations.
Music and Sound

2. Motion Picture Sound
Film Aesthetics
Motion picture sound is classified in three ways:
•Sound effects, Music, and, Spoken language
Musicans and Sound designers" are are brought on staff
during the planning stages of a film working with the
director to shape an overall, consistent soundtrack that
exploits the expressive possibilities of the sound
medium. The overall sound design is organically related
to the narrative and thematic needs of the film, and has an
integrity not possible if sound is divided among an entire
bureaucracy.

3. Motion Picture Sound
Film Aesthetics
• Elements of sound can be synchronous ie recorded at
the same time as the images; or nonsyncronous, ie
recorded at a different time and dubbed onto the
image.
• These elements can also be diegetic ie where the
source is within the world depicted in the film (eg
dialogue or music from a radio in the scene; or
nondiegetic, where sound comes from outside this
world (voice overs, background music etc.)

4. DRILL
Are these following examples
Synchronous or non syncronous? Diegetic/non?
1. Dialogue … recording by mike whilst shooting.
2. Dialogue … dubbed from English to Cantonese.
3. Sound of background TV broadcast but added after.
4. Orchestral music swelling amidst desert scene?
These elements can be synchronous ie recorded at the same time as the images; or
nonsyncronous, ie recorded at a different time and dubbed onto the image.
These elements can also be diegetic ie where the source is within the world
depicted in the film (eg dialogue or music from a radio in the scene; or nondiegetic,
where sound comes from outside this world (voice overs, background music etc.)

5. Film Aesthetics Sound -- History
• In 1927, The Jazz Singer ushered in the talkie era.
• The increased realism brought on by sound forced acting
styles to become more natural -- performers didn’t need to
compensate visually for lack of dialogue.
• Early in talkies era, formalist directors like Sergei
Eisenstein were hostile to use of synchronous sound. He
believed it would limit editing and kill the very soul of film
art. Battleship Potemkin, 1925.
• Orson Wells was an important innovator in sound. He
perfected the technique of sound montage between scenes.
Citizen Kane, 1941.

6. Film Aesthetics Sound -- History
• Theories of music varies. Eisenstein insisted music not
be used as mere accompaniment -- that it should retain
its own integrity. Other filmmakers insist of purely
descriptive music or “mickeymousing” where music is
a literal equivalent to the movement.
• Beginning with opening credits, music can suggest the
mood or tone of a film as a whole. Certain kinds of
music can suggest locales, classes, ethnic groups.
• Music can be used as foreshadowing, eg. Hitchcock’s
“anxious” music he used when preparing an audience.

7. Film Aesthetics Sound -- History
• Music can control emotional shifts within a scene.
Example?
• Music can provide ironic contrast. The predominent
mood of a scene can be neutralized or even reversed
with contrasting music. Example?
• Characterization can be suggested through musical
motifs. Example?

8. Music and Sound Practicalities
• TEMPO: the rate of speed of a musical piece or passage indicated by one of a
series of directions (as largo, presto, or allegro) and often by an exact beats per minute
metronome marking. Tempo to Marks.
• PITCH and KEY. Major (cheerful), Minor (gloomy, scary).
• SIGNATURE. 4/4 Time (Almost any popular song as above.)
• 3/4 Time ( Waltz) • 7/8 Time (Nubian) (Pink Floyd)
You will always want to preset these, as in Garageband.