A New Modular Approach to the Composition of Film Music Thesis and accompanying folio of creative works in two volumes. VOLUME I submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Bartlomiej Piotr Walus Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide October 2012 Contents of Volume I Abstract ............................................................................................................................. 16 Keywords .......................................................................................................................... 17 Declaration ........................................................................................................................ 18 Acknowledgements ........................................................................................................... 19 List of musical examples .................................................................................................. 21 List of audio examples ...................................................................................................... 25 List of video examples ...................................................................................................... 27 Glossary of terms .............................................................................................................. 29 Preface .................................................................................................................................. 32 Structure of the thesis ........................................................................................................... 37 Chapter 1: Introduction ............................................................................................................. 41 1.1 Film editing and narrative continuity .............................................................................. 42 1.1.1 Continuity editing .................................................................................................... 43 1.1.2 Dynamic editing ....................................................................................................... 46 1.1.3 Approaches to editing .............................................................................................. 49 1.1.4 Action sequence ....................................................................................................... 51 1.2 Sound in Film .................................................................................................................. 53 1.2.1 Construction and editing of soundtrack ................................................................... 55 1.2.2 Sound design and technology .................................................................................. 61 1.2.3 Soundtrack and narrative continuity ........................................................................ 68 1.3 Film music ...................................................................................................................... 70 1.3.1 Music as an agent of continuity ............................................................................... 70 2 1.3.1.1 Structural means ................................................................................................... 71 1.3.1.2 Psychological means ............................................................................................. 76 1.3.2 Music editor ............................................................................................................. 78 1.3.3 Scoring process ........................................................................................................ 82 1.3.4 Film editing and its impact on a musical score ........................................................ 92 1.3.5 Selected solutions to mapping and synchronisation problems ................................ 99 1.3.5.1 Erik Satie ............................................................................................................. 101 1.3.5.2 Joseph Schillinger ............................................................................................... 104 1.3.5.3 Aaron Copland .................................................................................................... 106 1.3.5.4 Bernard Herrmann .............................................................................................. 110 1.3.5.5 Technological aids .............................................................................................. 115 1.3.6 Conclusion ................................................................................................................. 119 Chapter 2: Research Methods ................................................................................................. 123 2.1 Research questions and definitions ............................................................................... 124 2.1.1 Research question .................................................................................................. 124 2.1.2 Subsidiary questions .............................................................................................. 124 2.1.3 Hypothesis ............................................................................................................. 125 2.1.3.1 Modularity in music ............................................................................................ 125 2.1.3.2 Linearity and non-linearity in music ................................................................... 130 2.1.3.3 Technology and music ........................................................................................ 134 2.2 Significance and contribution to the discipline ............................................................. 140 2.3 Methodology ................................................................................................................. 142 Chapter 3: Literature review ................................................................................................... 149 3.1 Research sources in film music studies ........................................................................ 150 3 3.1.1 Primary sources ...................................................................................................... 150 3.1.2 Secondary sources .................................................................................................. 151 3.1.2.1 Historical sources in film music ......................................................................... 152 3.1.2.2 Sources that focus on theory, aesthetics and analysis of film music .................. 153 3.1.2.3 Sources addressed at practicing film composers ................................................ 160 3.1.2.4 Biographies and interviews ................................................................................. 163 3.1.2.5 Popular sources (including magazines and websites and publications by societies on film and television music) .......................................................................................... 165 3.1.2.6 Sources on film theory, editing practices and sound in film – Supplementary sources ............................................................................................................................ 166 3.1.3 Conclusion ............................................................................................................. 168 3.2 Synchronisation of music to picture ............................................................................. 169 3.3 Tonal music in film ....................................................................................................... 185 3.3.1 Silent era ................................................................................................................ 186 3.3.2 Sound era ............................................................................................................... 190 3.4 Non-tonal music in film ................................................................................................ 195 Chapter 4: Case study 1 - Collection Basket ........................................................................... 206 4.1 Rationale for the composition ....................................................................................... 207 4.2 Methodology ................................................................................................................. 208 4.2.1 Editing .................................................................................................................... 212 4.3 Outcomes ...................................................................................................................... 218 4.4 Limitations .................................................................................................................... 221 4.5 Conclusion .................................................................................................................... 223 Chapter 5: Case study 2 - Skippy’s Adventure ........................................................................ 224 4 5.1 Rationale for the composition ....................................................................................... 225 5.2 Methodology ................................................................................................................. 226 5.2.1 Editing .................................................................................................................... 233 5.3