Music in Film Online

Total Page:16

File Type:pdf, Size:1020Kb

Music in Film Online MUSIC IN FILM Rutgers University online Semester/Year: Spring 2021 Sections: 07:700:230:90 and 91 TAs: TBD Modality: Online Instructor: Joseph Turrin Email: Use course email (inbox icon in red navigation bar to the left) Course Description: This course examines music created for film from both historical and analytical perspectives. The objective is to establish an appreciation for the art of film music, to understand its nature and requirements, and to study the composers and directors who work in the medium. Topics studied will include the functions of the film score, aesthetics, the film industry, synchronization, the early sound film, the rise of the symphonic film score, and composers from the 1930s to the present. The class will consist of lecture presentations, viewing film excerpts, discussion forums, two 1500-word essays, two exams (mid-term and final), and one student presentation. No prior knowledge of music is required. Course Goal: Students will cultivate musical perception—developing the ability to discern the function of music in film, the relationship of composers and directors as the work together, as well as, the particular musical characteristics of preeminent film composers past and present. Students will identify various film composers, musical styles, historical relationships, film genres, narrative structure, use of musico-cinematic devices such as motives, etc. Students will gain an understanding of the operational aspects of the industry and the resulting development of music written for the movies over the past 100 years. Course Objectives: Learning Outcomes By the end of the semester, the student should be able to: 1. Develop a musical perception—with the ability to discern the function of music in film. 2. Acquire an understanding of the operational aspects of the industry and the resulting development of music written for the movies over the past 100 years. 3. Students would be able to critically evaluate the relationship between the visual and aural dimensions of film. Goals will be assessed through tests, threaded discussions, one final project, essays and analytical papers. Course Materials: No Text Required. Equivalent of course readings will be provided in the course as media files and excerpts of relevant films and music scores which may be used to teach or elicit critical analysis from the student. Course Assignments List and describe each assignment below. 1. Discussion Forum (2 points per Unit) = 28 points 2. Essays (2) = 15 points each. 3. Final presentation (1)= 12 points. 4. Exams (2): Mid Term= 15 points, Final Exam= 15 points Course Grading Grading is based on the assignments [ Final Grade Calculation Points/Percentage Type Discussion Forum (2 points per Unit) = 28 points 28 points Essays (2) = 15 points each. 30 points Final presentation (1)= 12 points. 12 points Exams (2): Mid Term= 15 points, Final Exam= 15 points 30 points TOTAL 100 points Rutgers Grading Scale Points Grade Description 90-100 A Excellent, superior achievement 85-89 B+ 80-84 B Good, exceeding all requirements 75-79 C+ 70-74 C Average, satisfactorily meeting all requirements 60-69 D Poor , unsatisfactory 59 or lower F Failing or withdrawal while doing failing work This course follows all Rutgers grade regulations, policies, and standards as stated in the student handbook. Review the catalog for conditions under which an incomplete may be granted http://nbregistrar.rutgers.edu/facstaff/regis.htm and http://www.rutgers.edu/academics/catalogs. Course Schedule: Start Points and Date Due Date @ 11:59 Unit Assignment percentage 12:01 PM value AM Explore the functions of film Discussion Forum Week 1: UNIT 1: MUSIC IN music & discuss the various Due: 1/23 by 11:59 2 points 1/17 FILM sample clips. PM Discussion Forum Week 2 UNIT 2: THE SILENT Origins and history of early film Due:1/30 by 11:59 2 points (1/24) FILM development. The silent film. PM Early experiments with Discussion Forum Week 3 UNIT 3: SOUND & synchronization, vitaphone, Due:2/6 by 11:59 2 points (1/31) FILM sound recording, Thomas Edison PM and others. Discussion Forum Max Steiner (father of the film Due: 2/13 by 11:59 score), Korngold, Waxman, and 2 points PM UNIT 4: THE Newman. King Kong (1933). Week 4 DRAMATIC FILM (2/7) Paper Due: 2/16 by SCORE Assignment: 1000 word paper 11:59 PM (minus 2 on the early evolution of the points for every 15 pts. Dramatic Film Score day late) Discussion Forum Week 5 UNIT 5: VIENNA & The Leitmotif, Tone Poem, the Due: 2/20 by 11:59 2 points (2/14) HOLLYWOOD orchestra PM The studio system, composers, UNIT 6: THE GOLDEN Discussion Forum Week 6 directors & actors. Gone with AGE OF Due: 2/27 by 11:59 2 points (2/21) the Wind, Casablanca, The HOLLYWOOD PM Wizard of Oz Discussion Forum Terms and job descriptions in Due:3/6 by 11:59 the industry, the movie deal, 2 points PM spotting sessions, Temp scores, Week 7 UNIT 7: THE MOVIE click tracks, SMPTE code, etc. (2/28) BUSINESS Mid-term: 3/10 (online) Test open Exam: Mid-term on material from 12:01 AM to 15 pts. covered till now. 11:59 PM The song and its use in film. Toy Discussion Forum Week 8 UNIT 8: SONGS & Story, The Graduate, Once, The Due:3/10 by 11:59 2 points (3/7) FILM Wizard of Oz, etc. PM Discussion Forum Leonard Bernstein, Bernard Week 9 UNIT 9: COMPOSERS Due: 3/27 by 11:59 Herrmann, Aaron Copland, 2 points (3/21) OF YESTERDAY PM Alfred Newman & others. Williams, Horner, Zimmer, Discussion Forum Desplat, Elfman, and others. Due: 4/3 by 11:59 2 points PM Week UNIT 10: 10 COMPOSERS TODAY (3/28) Paper Due: 4/13 by Assignment: 1000-word paper 11:59 PM (minus 2 15 pts. on any contemporary film points for every composer. day late) UNIT 11: MODERN The synthesized score, atonality, Discussion Forum Week TECHNIQUES IN minimalism, computer generated Due: 4/10 by 11:59 2 points 11 (4/4) FILM MUSIC scores. PM UNIT 12: Week John Williams (Jaws, Star Wars, Discussion Forum REEMERGENCE OF 12 ET) Due: 4/17 by 11:59 2 points THE ROMANTIC (4/11) PM SCORE Exploring the music of horror & Week science fiction film. Nightmare Discussion Forum UNIT 13: HORROR & 13 on Elm St. The Day the Earth Due: 4/24 by 11:59 2 points SIFI FILMS (4/18) Stood Still, Avatar and The PM Matrix. Orchestra mock-ups, Midi, Discussion Forum 2 points samples, and music software Due: 4/30 by 11:59 PM Week Unit 14: COMPOSING 14 WITH SOFTWARE & (4/25) COMPUTERS Finale Project Due: 12 points Final Project: Final submitted 5/8 by 11:59 project analyzing the music of PM(minus 2 points one complete feature film of for every day late) your choice. Final Exam Due: 15 points Exam: Final Exam on material Online 5/4. Test covered in this course. open from 12:01AM till 11:59 PM. TOTAL 100 points Assessment Measures: Grading Rubrics Discussion Forums (1 per week/unit) Learning Objective/Goal: Students participate in online discussions based on topics posted by the professor in reference to the current Unit. Assessment Method: Discussion Forum: (“Lets talk about it”) 2 points per Unit = 28 points. The discussion forums will be graded on the following criteria. See discussion forum rubric below. C Contribute the equivalent of three (2) medium sized paragraphs (at least 150 words) to the discussion per week/unit based upon specific topics or question(s) posted by the instructor or alternately developed by the student. Students must also participate by responding to at least one (1) post of another student. a. Submissions must pertain to the material in the unit, be clearly stated, and cover the materials comprehensively. b. Online decorum at all times – be polite and mature. Assessment Rubrics: Discussion Forums (1 per week/unit) Criteria Outstanding Good Satisfactory Unsatisfactory A B+ B C+ C D F Participation Required number of Required number Required Limited or no posts and of posts and number of posts participation responses within responses within and responses within each each week/ unit. each week/unit. within each week/unit. Good online Good online week/unit. Good Online decorum decorum observed decorum observed online decorum not always always. always. observed observed. always. Content focused Content mostly Focus on unit Content not strongly on unit focused on unit materials shows aligned with unit materials; posts materials; posts are some lack of materials or Criteria Outstanding Good Satisfactory Unsatisfactory A B+ B C+ C D F comprehensive, somewhat understanding lacking clearly stated, and comprehensive, not and or clarity; understanding of meet the length entirely clearly barely meets concepts; posts requirement. stated, but meet the length do not meet length requirement. requirement. length requirement. Essay: 1000 word paper on the early evolution of the Dramatic Film Score. Learning Objective/Goal: Students required to understand the origin and development of the symphonic film score from 1925 to 1933 Assessment Method: Essay: 1000 word paper on the early evolution of the Dramatic Film Score (15 points). The following items must be included in this paper - the paper will be graded on the comprehension and completeness of these items. See essay and final presentation rubric below. 1. Students understanding of the historical development of the early film score. a. Composers who worked in early Hollywood and their musical backgrounds. b. The concept, origin and relation between late European musical romanticism and the dramatic film score. c. The use of music in the “silent era” d. The early development of sound in relation to film.
Recommended publications
  • Cue the Music: Music in Movies Kelsey M
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2017 yS mposium Apr 12th, 3:00 PM - 3:30 PM Cue the Music: Music in Movies Kelsey M. DePree Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, Film and Media Studies Commons, and the Other Music Commons DePree, Kelsey M., "Cue the Music: Music in Movies" (2017). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2017/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Music We Watch Kelsey De Pree Music History II April 5, 2017 Music is universal. It is present from the beginning of history appearing in all cultures, nations, economic classes, and styles. Music in America is heard on radios, in cars, on phones, and in stores. Television commercials feature jingles so viewers can remember the products; radio ads sing phone numbers so that listeners can recall them. In schools, students sing songs to learn subjects like math, history, and English, and also to learn about general knowledge like the days of the week, months of the year, and presidents of the United States. With the amount of music that is available, it is not surprising that music has also made its way into movie theatres and has become one of the primary agents for conveying emotion and plot during a cinematic production.
    [Show full text]
  • The Use of Music in the Cinematic Experience
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance.
    [Show full text]
  • Telling Stories with Soundtracks: an Empirical Analysis of Music in Film
    Telling Stories with Soundtracks: An Empirical Analysis of Music in Film Jon Gillick David Bamman School of Information School of Information University of California, Berkeley University of California, Berkeley [email protected] [email protected] Abstract (Guha et al., 2015; Kociskˇ y` et al., 2017), natural language understanding (Frermann et al., 2017), Soundtracks play an important role in carry- ing the story of a film. In this work, we col- summarization (Gorinski and Lapata, 2015) and lect a corpus of movies and television shows image captioning (Zhu et al., 2015; Rohrbach matched with subtitles and soundtracks and et al., 2015, 2017; Tapaswi et al., 2015), the analyze the relationship between story, song, modalities examined are almost exclusively lim- and audience reception. We look at the con- ited to text and image. In this work, we present tent of a film through the lens of its latent top- a new perspective on multimodal storytelling by ics and at the content of a song through de- focusing on a so-far neglected aspect of narrative: scriptors of its musical attributes. In two ex- the role of music. periments, we find first that individual topics are strongly associated with musical attributes, We focus specifically on the ways in which 1 and second, that musical attributes of sound- soundtracks contribute to films, presenting a first tracks are predictive of film ratings, even after look from a computational modeling perspective controlling for topic and genre. into soundtracks as storytelling devices. By devel- oping models that connect films with musical pa- 1 Introduction rameters of soundtracks, we can gain insight into The medium of film is often taken to be a canon- musical choices both past and future.
    [Show full text]
  • Film Scoring
    Film Scoring Film scoring is the act of creating background music to accompany a film. The film scoring process has a number of steps and contributors. Below are just a few of the jobs necessary to creating a film score. Composing the Score A film composer scores music to accompany a motion picture for film or television. This could be of any genre and include any instrumentation. Film scores consist of music composed specifically for the movie or TV show, and should not be confused with a movie soundtrack, which is a collection of pre-existing songs used in a movie or show. Editing the Music A music editor is responsible for mixing and synchronizing the music with the film and mixing the music with the film soundtrack. The music editor must be have a good ear for musical balance as well as an awareness of how music can make or break a dramatic scene; all combined with knowledge of the special technology used in synchronizing music tracks to film or tape. Programming/Sequencing The programmer utilizes music sequencing software and sometimes notation software to produce MIDI keyboard/synthesizer tracks for inclusion in the film score. Other times, a programmer will sequence a piece of music or a composition by this means, which will allow the composer and music editor an opportunity to hear the composition before it reaches the scoring stage. Orchestrating The film music orchestrator is responsible for writing scores for an orchestra, band, choral group, individual instrumentalist(s), or vocalist(s). Also, an orchestrator transposes music from one instrument or voice to another in order to accommodate a particular music instrument, musician, or group.
    [Show full text]
  • Click to Download
    v8n4 covers.qxd 5/13/03 1:58 PM Page c1 Volume 8, Number 4 Original Music Soundtracks for Movies & Television Action Back In Bond!? pg. 18 MeetTHE Folks GUFFMAN Arrives! WIND Howls! SPINAL’s Tapped! Names Dropped! PLUS The Blue Planet GEORGE FENTON Babes & Brits ED SHEARMUR Celebrity Studded Interviews! The Way It Was Harry Shearer, Michael McKean, MARVIN HAMLISCH Annette O’Toole, Christopher Guest, Eugene Levy, Parker Posey, David L. Lander, Bob Balaban, Rob Reiner, JaneJane Lynch,Lynch, JohnJohn MichaelMichael Higgins,Higgins, 04> Catherine O’Hara, Martin Short, Steve Martin, Tom Hanks, Barbra Streisand, Diane Keaton, Anthony Newley, Woody Allen, Robert Redford, Jamie Lee Curtis, 7225274 93704 Tony Curtis, Janet Leigh, Wolfman Jack, $4.95 U.S. • $5.95 Canada JoeJoe DiMaggio,DiMaggio, OliverOliver North,North, Fawn Hall, Nick Nolte, Nastassja Kinski all mentioned inside! v8n4 covers.qxd 5/13/03 1:58 PM Page c2 On August 19th, all of Hollywood will be reading music. spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures.
    [Show full text]
  • An Analysis of Sound and Music in the Shining and Bridget Jones' Diary
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 2019 The oundS s Behind the Scenes: An Analysis of Sound and Music in The hininS g and Bridget Jones’ Diary Abby Fox Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Communication Commons, and the Film and Media Studies Commons Running head: THE SOUNDS BEHIND THE SCENES The Sounds Behind the Scenes: An Analysis of Sound and Music in The Shining and Bridget Jones’ Diary Abby Fox Communication Studies Advisor: Satish Kolluri December 2018 THE SOUNDS BEHIND THE SCENES 2 Abstract Although often subtle, music and sounds have been an integral part of the motion picture experience since the days of silent films. When used effectively, sounds in film can create emotion, give meaning to a character’s actions or feelings, act as a cue to direct viewers’ attention to certain characters or settings, and help to enhance the overall storytelling. Sound essentially acts as a guide for the audience as it evokes certain emotions and reactions to accompany the narrative unfolding on-screen. The aim of this thesis is to focus on two specific films of contrasting genres and explore how the music and sounds help to establish the genres of the given films, as well as note any commonalities in which the films follow similar aural patterns. By conducting a content analysis and theoretical review, this study situates the sound use among affect theory, aesthetics and psychoanalysis, which are all highly relevant to the reception of music and sound in film. Findings consist of analyses of notable instances of sound use in both films that concentrate on the tropes of juxtaposition, contradiction, repetition and leitmotifs, and results indicate that there are actually similar approaches to using sound and music in both films, despite them falling under two vastly different genres.
    [Show full text]
  • Elmer Bernstein Elmer Bernstein
    v7n2cov 3/13/02 3:03 PM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 2 OSCARmania page 4 THE FILM SCORE HISTORY ISSUE RICHARD RODNEY BENNETT Composing with a touch of elegance MIKLMIKLÓSÓS RRÓZSAÓZSA Lust for Life in his own words DOWNBEAT DOUBLE John Q & Frailty PLUS The latest DVD and CD reviews HAPPY BIRTHDAY ELMER BERNSTEIN 50 years of film scores, 80 years of exuberance! 02> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n2cov 3/13/02 3:03 PM Page c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Spring Edition: April 23, 2002 Film & TV Music Summer Edition: August 20, 2002 Space Deadline: April 5 | Materials Deadline: April 11 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n02 issue 3/13/02 5:16 PM Page 1 CONTENTS FEBRUARY 2002 departments 2 Editorial The Caviar Goes to Elmer. 4News Williams Conducts Oscar, More Awards.
    [Show full text]
  • Goldsmith 1929-2004
    Volume 9, Number 7 Original Music Soundtracks for Movies and Television Goodbye, David pg. 4 JERRY GOLDSMITH 1929-2004 07> 7225274 93704 $4.95 U.S. • $5.95 Canada v9n07COV.id 1 9/7/04, 3:36:04 PM v9n07COV.id 2 9/7/04, 3:36:07 PM contents AUGUST 2004 DEPARTMENTS COVER STORY 2 Editorial Jerry Goldsmith 1929-2004 Let the Healing Begin. It would be difficult to reflect on both Jerry Goldsmith’s film music legacy and his recent passing without devoting an entire 4 News issue of FSM to him; so that’s what we’ve done. From fan Goodbye, David. letters and remembrances to an in-depth look at his life and 5 Record Label musical legacy, we’ve covered a lot of ground. Just as impor- Round-up tant, we hope you, Jerry’s fans, find it a fitting tribute to a man What’s on the way. whose monumental work meant so much to so many. 5 Now Playing Movies and CDs in The Artist, release. 12 The Gold Standard 6 Concerts Quantifying Jerry Goldsmith’s contribution to film scoring Film music performed isn’t easy...but we’ll try anyway. around the globe. By Jeff Bond 7 Upcoming Film Assignments 19 Goldsmith Without Tears Who’s writing what The imagined, decades-long conversation with Goldsmith for whom. may be over, but his music lives on. By John S. Walsh 9 Mail Bag Lonely Are the Brave. 24 Islands in the Stream 10 Pukas Jerry’s industry contemporaries chime in on If Only It Were True.
    [Show full text]
  • Videos for Teaching the Language of Film
    Videos For Teaching The Language of Film This page is under construction. If you have suggestions for videos you think should be included here, send them to me: [email protected] Cameras/ Cinematography Aud Costu Dir io me Design ecting Editing STEAM Gr Vis aphic Design ual Effects Videos: Language of Film Teacher Media Ed Topic/Source Google PBS Discovery YouTube Other Tube Found Film Terminology And Cinematic Effects Language of film pt 2, pt 4, Lights Camera Film Glossary (w/examples) Education (AFI) Lessons in Visual Language The Vocabulary of Film (3:00) & TV See also A Movie Lover’s Guide to Film Filmmaking Language (3:42) Cinematic Storytelling- How Filmmakers Tell A Story: Understanding the Language of Film Lesson Title Cinematic Storytelling- How Filmmakers Tell A Story: Understanding the Language of Film & Arts Area School & Grades 5-12 Grade Level Arts Educator Lesson Frank Baker Designer Short statement Frank Baker is a national media educator who teaches visual, media and film literacy. He maintains the about Media Literacy Clearinghouse website (www.frankwbaker.com). He has used this activity many times as an designer & introduction to film literacy, and the language of film. lesson LRP: If the teacher is introducing techniques used in other media, this lesson plan on film making would development be a nice follow-up. After the lesson, the teacher could post the “languages of film” in the classroom as & place in a guide for future analysis of any video or film. Long Range Plans Unit UD: Using a film clip from a popular culture text (found online) students will use critical viewing Description skills to begin the process of “reading” a film Big idea? BI: Watching a film actively rather than passively Essential ES: What are the techniques and tools filmmakers use to create meaning in their works? questions? South Carolina Standard 3: The student will access, analyze, interpret, and create media texts Visual and MA5-3.5 –MA8-3.5 Identify creative techniques used in a variety of media texts (for example, television, Performing film, radio, Internet).
    [Show full text]
  • Hollywood's Transformation of the Leitmotiv By
    From Alberich to Gollum: Hollywood’s Transformation of the Leitmotiv by Andrew J. Reitter A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Honors Degree in Music History and Literature with Distinction Spring 2013 © 2013 Andrew J. Reitter All Rights Reserved From Alberich to Gollum: Hollywood’s Transformation of the Leitmotiv by Andrew J. Reitter Approved: __________________________________________________________ Philip Gentry, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Russell Murray, Ph.D. Committee member from the Department of Music Approved: __________________________________________________________ James Anderson, Ph.D. Committee member from the Department of Music Approved: __________________________________________________________ Leslie Reidel, M.F.A. Committee member from the Board of Senior Thesis Readers Approved: __________________________________________________________ Michael Arnold, Ph.D. Director, University Honors Program ACKNOWLEDGMENTS I would like to acknowledge all of my readers for their guidance and support throughout this endeavor. I would like to give special thanks to Dr. Philip Gentry for his inspirational teaching and advising, which has resulted in my decision to pursue higher education in the field of Musicology, and I would also like to thank him for his steady hand and patience in working with me over the last few years. Additionally,
    [Show full text]
  • Music Scoring Guidelines & Agreement
    MUSIC SCORING GUIDELINES & AGREEMENT 2019-20 ACADEMIC YEAR This Document of Agreement is shared between students of USC THORNTON SCHOOL OF MUSIC Department Of Screen Scoring and students of USC SCHOOL OF CINEMATIC ARTS Production Division, Animation Division & Peter Stark Production Program CTPR 310, 508, 479/486, 480/546, 547, 581 CTAN 401, 450, 495, 594 CMPP (Stark) 541, 592 The faculty and staff of the USC filmmaking and scoring programs proclaim their admiration and gratitude to the late, great, Professor Kenneth Hall, who, until his untimely passing in August 2016, was the longtime occupant of the SCA Ken Wannberg Chair of Music Editing. In a manner representative of his professional commitment to students and colleagues alike, Kenny Hall promoted and maintained the formal and healthy working relationship between the students enrolled in these two world-famous programs. He wisely insisted on reminding us all that “Mutual respect for each discipline is our strength for a successful interdisciplinary collaboration and must be honored and protected at all times.” 2 All student-film projects are extra-curricular for the student composers, who are donating their time and talent in an attempt to bring the crucial element of original music to SCA projects. They do so in the spirit of collaborative filmmaking, and they welcome this opportunity to participate. Guidelines & Agreement 1. HOW TO FIND A COMPOSER FOR YOUR FILM • Screen Scoring Website Thornton’s Department of Screen Scoring has a website where filmmakers can find profiles and recent examples of musical work by the 20 graduate composers: http://uscscoring.com/students/2020 As a first step, all filmmakers should take the time to listen to the music and review the profiles of all of these composers so that they can rank them by preference (in some cases, a first and/or second choice may have scheduling conflicts, making those composers unavailable).
    [Show full text]
  • Visnja Diss FINAL
    UNIVERSITY OF CALIFORNIA Los Angeles ! ! ! ! Clint Mansell: Music in the Films Requiem for a Dream and The Fountain by Darren Aronofsky ! ! ! ! A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music ! by ! Visnja Krzic ! ! 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © Copyright by Visnja Krzic 2015 ABSTRACT OF THE DISSERTATION ! Clint Mansell: Music in the Films Requiem for a Dream and The Fountain by Darren Aronofsky ! by ! Visnja Krzic Doctor of Philosophy in Music University of California, Los Angeles, 2015 Professor Ian Krouse, Chair ! This monograph examines how minimalist techniques and the influence of rock music shape the film scores of the British film composer Clint Mansell (b. 1963) and how these scores differ from the usual Hollywood model. The primary focus of this study is Mansell’s work for two films by the American director Darren Aronofsky (b. 1969), which earned both Mansell and Aronofsky the greatest recognition: Requiem for a Dream (2000) and The Fountain (2006). This analysis devotes particular attention to the relationship between music and filmic structure in the earlier of the two films. It also outlines a brief evolution of musical minimalism and explains how a composer like Clint Mansell, who has a seemingly unusual background for a minimalist, manages to meld some of minimalism’s characteristic techniques into his own work, blending them with aspects of rock music, a genre closer to his musical origins. This study also characterizes the film scoring practices that dominated Hollywood scores throughout the ii twentieth century while emphasizing the changes that occurred during this period of history to enable someone with Mansell’s background to become a Hollywood film composer.
    [Show full text]