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J^ABBEY & PRINTING ^A Unit 3 Gabalfa Workshops Excelsior Ind Bound by University of South Wales BOOKBINDING J^ABBEY & PRINTING ^A Unit 3 Gabalfa Workshops Excelsior Ind. Est, Cardiff CF14 SAY Tel: (029) 2062 3290 Fax: (029) 2062 5420 Email: info@abbeybookbmding co.uk 2064725 Web: www.abbeybookbinding co uk A Sonic Arts Approach to Sound Design Practice Carl John Boland A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy July 2012 Certificate of Research This is to certify that, except where specific reference is made, the work described in this thesis is the result of the candidate's research. Neither this thesis, nor any part of it, has been presented, or is currently submitted, in candidature for any degree at any other University. Signed Candidate Date 2nd July 2012. Signed .......................... Director of Studies Date .......................... 11 Acknowledgements I would like to sincerely thank my Director of Studies, Paschall de Paor, for his guidance and unfailing faith in me over many years. I would also like to thank my second supervisor, leuan Morris, for his advice and valued contribution to the research. I also owe a considerable debt of gratitude to the Cardiff School of Creative & Cultural Industries for supporting my practice-research. I am eternally grateful to the filmmakers who participated in this study and gave me the opportunity to work alongside them. To Clive Myer, in particular, thank you for being such a patient mentor on the art of filmmaking. To my wife Sueko and daughter Yoshino: Without your love and encouragement, I would not have made it to the end of this journey. Thank you for all the 'little things' one cannot express in words. To my brother, Mark: You have been a steadfast supporter and source of inspiration my whole life. Thanks for not letting me give up. Finally, I would like to thank my friends Peter Rawbone and Peter Mauser for their insightful advice on all matters of research, writing, and editing. C. J. Boland Hikone, Japan, July 2012. in Abstract This practice-as-research study documents the development of a sonic arts approach to film sound design. An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. Over the course of the research, a broadening practical knowledge of theoretical applications influenced the development of the sound design approach and its conceptual framework. The term 'sonic arts' characterises the compositional tenets of the sound design approach, which takes the form of an inter-modal strategy based on the interdependence of two compositional modes. The intersonic compositional mode corresponds to sound-object design and to the forming of meaningful structural relationships between soundtrack elements. The audiovisual compositional mode corresponds to forming meaningful relationships between soundtrack elements and film images. The overall approach also reflects Walter Murch's concept of sound design as a multifaceted practice endeavour, which includes taking creative responsibility for the soundtrack in post-production (Murch 1995). The presentation of research in this thesis comprises two distinct parts. The first part outlines the sonic arts approach, defines the theoretical basis of its conceptual framework, and identifies potential practice applications. The second part presents three case studies of sound design practice for independent film projects. The case studies document applications of the conceptual framework and critically reflect on acquired practical knowledge of the sonic arts approach. The study concludes that the electroacoustic music theories of spectromorphology and indicative fields (Smalley 1986; 1992; 1997) have useful applications in sound design practice as a perception-based system of analysis. The research also illustrates that sonic landscape theory (Wishart 1986; 1996) constitutes a creatively enabling conceptual framework for sound design when it is applied to the inter-modal compositional strategy. IV Contents Certificate of Research................................................................................................... ii Acknowledgements......................................................................................... ........... Hi Abstract......................................................................................................................... iv Chapter 1: Introduction .............................................................................................. 1 1.1 Background to the Study .................................................................................................................2 1.1.1 A Synopsis of Film Sound Design Practice..............................................................................2 1.1.2 Film Sound Studies and Sound Design Practice-Research.......................................................6 1.1.3 A 'Sonic Arts' Direction for Sound Design Practice-Research.................................................8 1.2 Overview of the Study................................................................................................................... 10 1.2.1 Research Aims..................................................................................................................... 12 1.2.2 Research Design and Scope ...................................................................................................12 1.3 Structure of the Thesis.................................................................................................................. 14 Chapter 2: A Sonic Arts Approach to Sound Design .............................................. 17 2.1 Sonic Arts Influence on Soundtrack Creation ............................................................................... 18 2.1.1 The Development of Electronic Music................................................................................... 19 2. .2 Acousmatic Sound: Soundtrack Applications of Musique Concrete.............................. ....20 2. .3 Early Applications of Electronic Sound in Film.....................................................................22 2. .4 The BBC Radiophonic Workshop ..........................................................................................23 2. .5 Sound Montage ......................................................................................................................25 2. .6 Summary: Sonic Arts Influence on the Soundtrack................................................................27 2.2 The Development of Hollywood Film Sound Design ...................................................................29 2.2.1 Sound Design and Apocalypse Now.......................................................................................30 2.2.2 Sound Design in the Post-Dolby Era......................................................................................31 2.2.3 Summary: The Development of Hollywood Film Sound Design...........................................32 2.3 The Practice of Sound Design.......................................................................................................33 2.3.1 The Storytelling Functions of Sound Design..........................................................................35 2.4 A 'Sonic Arts'Approach to Sound Design ....................................................................................37 2.4.1 Compositional Modes of Sound Design.................................................................................37 2.4.2 Electroacoustic Music: Salient Perspectives for Sound Design .............................................41 2.5 Chapter Summary..........................................................................................................................43 Chapter 3: When the Ear leads the Eye...................................................................45 3.1 Preamble........................................................................................................................................45 3.2 The Semiotic Potentials of Film Sounds .... .............................................................................46 3.2.1 Film Sound as Metaphor ........................................................................................................48 3.2.2 Acousmetres...........................................................................................................................50 3.3 The Power of Silence ....................................................................................................................51 3.3.1 Silence and the Subjective......................................................................................................53 3.3.2 Focused Perceptions of Sound ...............................................................................................53 3.3.3 A Conspicuous Absence of Sound.......................................................................................... 55 3.4 Audiovisual Counterpoint..............................................................................................................56 3.4.1 Soviet Montage Theory..........................................................................................................56 3.4.2 External Logic........................................................................................................................59 3.5 'When the Ear
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