ResearchOnline@JCU This file is part of the following work: Furduj, Boris (2019) Virtual orchestration: a film composer's creative practice. PhD Thesis, James Cook University. Access to this file is available from: https://doi.org/10.25903/5e30deda5dc5a Copyright © 2019 Boris Furduj. The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owners of any third party copyright material included in this document. If you believe that this is not the case, please email [email protected] Virtual Orchestration: A Film Composer’s Creative Practice A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy from James Cook University, Australia by Boris Furduj MA (Res) College of Arts, Society and Education, September 2019 i Acknowledgements I am using this opportunity to express my gratitude to everyone who supported me throughout the course of this PhD project. This thesis would not have been possible without the help and patience of my principal supervisor, Professor David Salisbury, who has supported me throughout my candidature and given constant motivation, support and advice, over and above what was required or expected. David’s editorial assistance in the preparation of this thesis is acknowledged gratefully. Sincere thanks also go to my academic advisors, Professor Steven Campbell and Professor Ryan Daniel, for their help and guidance over the course of the study. Ana, my wife, and my daughter Katarina, you took care of me and put your trust in me and made the journey seem easy and worthwhile. You are such an inspiration and a blessing to me. ii Statement of the Contribution of Others William Williams Scholarship School of Creative Arts Financial support Stipend James Cook University Australia iii Declaration I certify that the research presented in this thesis is original work carried out by the author. The work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university other James Cook University and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. The research presented in this thesis was approved by JAMES COOK UNIVERSITY Human Research Ethics Committee, Ethics Approval Number H6731, on 27/10/2016. Name: Boris Furduj Student ID: 13239456 Date: September 2019 iv Abstract The advent of digital technologies has led to a major change in the process of film music composition; consequent developments in music technology have forced film composers to adapt to this change. Technological innovations such as digital audio workstations (DAWs) and virtual musical instruments have made possible the creation of virtual orchestras that are technologically capable of simulating the sound and behaviour of a traditional acoustic orchestra. This has had an effect on film music production and on the creative process of the professional film composer in a way that today, creating orchestral simulations or ‘mock-ups’ that imitate live orchestras (or smaller ensembles) has become a requirement in the film industry and thus an essential part of the film-scoring process. In the context of contemporary film music production, this thesis investigates how orchestral simulations are composed and created using computer music technology and virtual sample-based instruments. In asking ‘how’, the focus is on the film composer’s activities and thought processes during this creative cycle, along with the nature of the interactive relationship between composer and music materials. This study aims to show the complexity of the film composer’s creative practice and to advance understanding of how the use of computer music technology and orchestral sample libraries is influencing the compositional process and compositional outcome. To address these questions, a qualitative multiple case study methodology approach was chosen that included examination of the practice of seven professional film composers working in the field of feature film as the primary valid source of data. The exploration involved semi-structured interviews with composers, observations and v analysis of their studio practice and inspection of their compositional tools. Taken as a whole, the evidence provided by this study is that the process of creating orchestral simulations is a process of film music composition during which professional film composers are creating orchestral sounds through the use of computers, digital sequencing, samplers and sample-based virtual acoustic instruments for the realisation of musical works. It is a process of using and manipulating recorded samples of real acoustic instruments to generate an expressive and convincing musical performance through sample-based orchestral simulation. A characteristic of this compositional practice is that it is a continuous process that proceeds in stages over time where all procedures can be applied repeatedly between stages. The process of creating orchestral simulations for the purpose of the film score is a multifaceted compositional activity involving a complex set of relationships among different compositional states of mind and compositional activities in which film composers experience music and interact with musical materials and media in various ways. This creative activity is a process involving a single person and a mixture of various compositional tools, the composer’s skills and abilities brought into existence through a creative process that requires a thorough blend of art and craft to be demonstrated at all times. Keywords: virtual acoustic instruments, orchestral sample libraries, orchestral simulation, film music, film composer. vi Table of Contents Acknowledgements ............................................................................................... ii Statement of the Contribution of Others .............................................................. iii Declaration .......................................................................................................... iv Abstract ................................................................................................................ v Table of Contents ................................................................................................ vii List of Figures ........................................................................................................ x Chapter 1: Introduction ......................................................................................... 1 An overview of the thesis structure........................................................................... 5 Introducing the case studies ...................................................................................... 7 Key terminology ..................................................................................................... 8 Case study composers ............................................................................................... 9 Holkenborg ............................................................................................................. 9 Partos ..................................................................................................................... 9 Rona ..................................................................................................................... 10 Yeo ....................................................................................................................... 10 Mann .................................................................................................................... 11 Rowland ............................................................................................................... 12 Simjanovic ............................................................................................................ 12 Glossary of terms ..................................................................................................... 13 Chapter 2: Context and Literature Review ........................................................... 16 Context review ......................................................................................................... 17 Music and film .......................................................................................................... 30 Basic functions of music in film............................................................................ 33 Music as an emotive tool ..................................................................................... 38 Music as a means of communication in cinema .................................................. 40 Power to connect characters and themes ........................................................... 42 Leitmotif ............................................................................................................... 43 Technology and film music making .......................................................................... 45 Computer-assisted film music composition ............................................................ 50 The creative process ............................................................................................ 52 Compositional engagement ................................................................................. 59 The compositional user interface ........................................................................ 64 Orchestral