• Abstract and Figures
• Public Full-text

GCSE MUSIC – F I L M M U S I C K NOWLEDGE ORGANISER Film Music is a type of Descriptive Music that represents a mood, story, scene or character through music; it is The Purpose of Music in Film designed to support the action and emotions of the film on screen. To create or enhance a mood To function as a Leitmotif To emphasise a gesture To provide unexpected juxtaposition/irony Frequent effects used by Film Music A frequently recurring short melodic or This is known as MICKEY-MOUSING and is Using music which the listener/viewer composers to create or enhance a mood harmonic idea which is associated with a used especially in animated films, cartoons wouldn’t normally expect to hear creating a include: character, event, concept, idea, object or and comedy films and is where the music sense of uneasiness, A repeated OSTINATO pattern situation which be used directly or indirectly mimics every small movement reinforcing or comparison or even Sustained notes of LONG DURATION to remind us of one not actually present on illustrating the action e.g. sliding trombones humour e.g. TREMOLO strings screen. Leitmotifs can be changed as characters journey up and down in a lift, a Tchaikovsky’s “Swan A CRESCENDO with the DYNAMICS gradually getting louder (sequencing, repetition, modulation) giving a descending chromatic scale as a character Lake” is heard in the Increasing TEMPO (Accelerando) hint as to what goes down a set of ‘Dracula’ (1931) film. PITCH getting higher will happen later stairs. Timing is To influence the pacing of a scene making it The use of SILENCE before something in the film or may crucial when using appear faster/slower/more comprehensive dramatic (to make you jump!) Unusual harmonies such as the use of minor be heard in the Mickey-Mousing and Film Music composers often use fast, and DISSONANT or CHROMATIC CHORDS, background Film Music composers dramatic music in action sequences to “drive DISCHORDS and DIMINISHED CHORDS giving a “subtle often use CLICK the action and pace forward”. In love or IRREGULAR TIME SIGNATURES (5/4, 7/8) hint” to the TRACKS to help them romantic scenes, a slow, sweeping theme on Rapid Scale Patterns help create a frantic viewer/listener. time their music mood and a feeling of unrest and urgency the Strings can be used to “slow the pace INTERRUPTED CADENCES create a sense of exactly. down”. tension and suspense To link one scene to another and smooth To illustrate geographic location or th To give added commercial impetus The use of the TRITONE (Augmented 4 ) over visual cuts, providing continuity historical period The use of low pitch brass and strings to provide a “dark sound” Repeated sections of music can be used to The independent commercial ‘afterlife’ of Westerns often use music “from the time” to The use of percussive metallic sounds link different parts of the film together – it the film score has become an increasingly set the scene using ‘traditional’ instruments. The use of SUSPENSIONS that don’t resolve can remind you of something that happened important aspect of Film Music. “Hit” songs Films set in a different country often to build tension and make you think danger earlier in the film. The style of music can will help sell the film and are often used in combine traditional instruments “associated is near Frequent changes in DYNAMICS to hint an also change within a film with different the opening or closing credits. Songs may be with a particular country” in their imminent danger sections of the film having different moods – used as title tracks but can return ‘in the soundtracks to help the audience imagine The use of electronic sounds and love, humour, battle/war. Film scores may background’ of the film soundtrack later. All the film’s setting and give a sense of “place” synthesisers be MONOTHEMATIC where the entire film of the James Bond films feature ‘big songs’ e.g. the Sitar can help “place a film” in India The use of SAMPLED SOUNDS score is based upon a single melody e.g. often released as popular music singles or the Bagpipes help “place a film” in The use of effects such as REVERB or DISTORTION applied to electronic, David Raksin’s “Laura” (1944) which is heard independently to help advertise the film and Scotland. Films set in a particular historical synthesised or sampled sounds to change so often and in many different add period e.g. the 1970’s or 1980’s, may use and manipulate the sound circumstances, that it comes to “haunt the commercial pop songs from the time to set the scene The use of unusual (often electronic) listener”. impetus. with the audience recognising the songs and instruments e.g. Rósza’s use of the Theremin in his soundtrack to Alfred Hitchcock’s reminding them of that particular decade. thriller ‘Spellbound’ (1945) P A G E 1 O F 5 ©WWW.MUSICALCONTEXTS .CO.UK GCSE MUSIC – F I L M M U S I C K NOWLEDGE ORGANISER History of Film Music Early Film Soundtracks Film Music in the 1930’s and 40’s Film Music in the 1950’s and 60’s Film Music Today Early films had no soundtrack Soundtracks first appeared at the In the 1950’s and 1960’s, film Film music today often blends popular, electronic and classical music in a (“Silent Cinema”), so music had to end of the 1920’s and until the producers tried using flexible way that suits the needs of the particular film. Nevertheless, be provided live, usually Second World War, Hollywood contemporary popular and classical Hollywood still creates superstar composers whose film music often takes hired Classical composers to write styles, including jazz and IMPROVISED by a pianist or on a life of its own away from its original context, on CDs, downloads and huge Romantic-style film experimental music but from the organist. The first soundtracks soundtracks. 1970’s, there was a rise of post- in the concert hall. appeared in the 1920’s and used Romantic Film Music. existing music, particularly from operas and ballets (Wagner and Verdi) and libraries of “Mood Music” were formed. How Film Music is Produced Diegetic and Non-Diegetic Film Music Spotting Cue Sheets Click Tracks Storyboards Music The Film Music composer attends a Cue Sheets are then produced An electronic metronome which A graphic organizer in the form of DIEGETIC FILM MUSIC – music ‘music-spotting’ session with the containing accurate timings (in facilitates the accurate illustrations or images displayed in within the film for both the Director and decides where music seconds and fractions of seconds) synchronisation of music to events sequence for the purpose of pre- characters and audience to hear of all dialogue and descriptions of exactly – used extensively in is to feature in the finished film. visualising a motion picture, e.g. a car radio, a band in a the action. creating music for animated films and cartoons. animation, motion graphic or video nightclub or sound effects such as game sequence. guns in the distance or screeching car breaks. Also known as SOURCE MUSIC or IN-VISION MUSIC. NON-DIEGETIC FILM MUSIC – music which is “put over the top” of the action to increase the effect of the film and for the audience’s benefit and which the characters within the film can’t hear e.g. music to accompany a car chase. Also known as UNDERSCORE or INCIDENTAL MUSIC. P A G E 2 O F 5 ©WWW.MUSICALCONTEXTS .CO.UK GCSE MUSIC – F I L M M U S I C K NOWLEDGE ORGANISER Musical Features of Film Music Pitch & Melody Articulation Dynamics Texture Harmony LEAPS (DISJUNCT MELODIC LEGATO or flowing for happier LOUDER for bolder or more THIN or SPARSE textures used for DIATONIC harmony for simpler situations MOVEMENT) and CHROMATICISM for situations – STACCATO or spiky for powerful (whether good or bad) – bleak or lonely situations. and good characters. weirdness and “baddies” – STEPWISE CHROMATIC harmony for more complex more challenging ones or to SOFTER for more timid/weak THICKER or FULLER textures used situations or bad characters. (CONJUNCT MELODIC MOVEMENT) represent ‘frozen’ or ‘brittle’. CRESCENDOS used for increasing for warmer, more “normal” CONSONANCE for normal situations or and DIATONIC melodies for happiness ACCENTS (>) for violence threat, triumph or proximity – situations and THICK, DENSE “good” characters. and “goodies”. SFORZANDOS (sfz/sf) for sudden DECRESCENDOS and orchestral sounds heard during DISSONANCE for scary situations or “evil” RISING MELODIES for increasing characters often using notes which are a tension or increasing triumph – emphasis and to create a ‘shock’. DIMINUENDOS used for subsiding battles and chases. semitone apart. FALLING MELODIES for decreasing PIZZICATO (strings) – plucking the things and things ‘going away into Complex POLYPHONIC textures for MAJOR for happier – MINOR for sadder. tension or hopelessness/defeat. strings to create short, detached the distance’. confused or very active situations. SEVENTH CHORDS (including the use of the th Westerns often feature a “BIG THEME” notes. Horror Film soundtracks often use HOMOPHONIC MELODY AND flattened 7 ) often used to create harmonic richness, especially in Westerns. played on sweeping Strings. Q&A ARCO (strings) – using the bow to EXTREME DYNAMICS or SUDDEN ACCOMPANIMENT texture used Sudden changes of harmonies create phrases can represent “Good vs. Evil”. play. CHANGES IS DYNAMICS to for more straightforward or calm unexpected moods. ATONAL and BITONAL The interval of a FIFTH is often used in enhance sudden actions on-screen situations or for “love themes”. harmonies used to create ambiguous Sci-Fi film soundtracks as its “bare, and to “shock” the listener. atmospheres often in Sci-Fi or Supernatural open and sparse” sound quality Film soundtracks.

Load more

  5

Copy Link