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83 Cards in this Set
- Front
- Back
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Knowthe various functions of film scoring: |
1. to intensify or relax the pace of a film 2. to reflect emotion 3. to create “unspoken” thoughts of a character or unseen implications of a situation 4. to parallel or underscore the action (Mickey mouse the action) 5. to create atmosphere of time and place 6. to create comedy 7. to provide unity or coherence to the story (use of leitmotif) 8. to be used as source music (diegetic music) 9. when music plays against the action 10. to speed up slow scenes or slow down scenes that are too fast 11. to be used as a neutral background filler (wall to wall music) |
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ostinato |
a repeated note/ pattern, like the low thumping repeated pattern in the bass instruments as in the movie jaws |
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wordless choir |
achorus who sings without text. They usually sing on the vowel sound ‘ah’ or ‘oooh’ |
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Mickey mousing |
following or mimicking everymove of the character in the film |
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Leitmotif |
linking each character with his or her own musical motive |
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Non-diegetic music |
dramaticunderscoring we (the audience) hear in a movie. Some sound of music where thereis no source within the film and is also what is generally regarded as filmmusic |
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The use of silence |
the sound of silence can be more impactful than music itself. Carrie the movie. Rapa nui in the egg scene |
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Wall to wall music\ |
music playing with noapparent function |
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Implied source music
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you see the character do itex whistle
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producer |
in charge of production in terms of organizing andfinances |
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director |
the person who lends his/her visual interpretation on shooting the script |
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now the 5 types ofdirectors on |
1. one who does not want to discuss music; rely on composer ( NOT A GOOD DIRECTOR) 2. have a broad musical background and can pull examples out of existing music to discuss with the composer (GOOD TYPE OF DIRECTOR) 3. ‘know it all’ directors. They think they know much more than they actually do know 4. those who know a lot more than they let on, yet remain quiet throughout the film making process 5.the director who can not give up control (the control freak) and would writethe music themselves if they knew how |
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political business, |
“It’s who you know thatcounts”. |
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3 stages of film editing |
1. assembly cut- the arrangement of ALL of the film footage 2. rough cut- editors version of the film that might be within five to fifteen minutes of the films final length 3. fine or locked cut- the version of the film with no intention offurther editing. The version we see in the movies 4 |
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trims |
portionsof a longer scene that are trimmed |
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outs |
whole scenes that are cut out |
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answer prints |
the first combined picture and sound of the completed film
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temp track |
the temporary musical track, usually music that comes from previous movie soundtracks |
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4 reasons why we use temptracks
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1. to help film maker edit the film 2. make music more marketable 3. to determine musical score 4. to help establish the musical concept |
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2001:A Space Odyssey |
alex north wrote a score for the film had it recorded by the studio orchestra. At the world premiere of the film he sat down to watch the film and found out that his score for the film was not used. It was all temp track material |
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spotting session |
the meeting of the director, film composer, and music editor (and sometimes the producer) to discuss the role and placement of music in the film. Film editor might be there as well |
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2 most obvious decisionsmade at a spotting session |
1.to determine which scenes will have music2.where the music will start and stop |
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music cue |
each portion of the film that requires music
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spotting notes
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detailed notes done by the music editor
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timing notes
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(cuesheets) more detailed notes. These descriptions might contain specific actionsand any other helpful comments to describe what is necessary for the composerto achieve the best possible results |
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what is a package deal |
this is when a composer has to pay some of the other people out of his own salary
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orchestrators |
someone who takes the composers piano sketches and assigns the melody line and harmonic accompaniment to the instruments of the orchestra. Orchestrators need to know the characteristics of all musical styles the capabilities of all instruments and should possess additional experience of knowing what works for a given scene and what doesn’t work |
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music supervisors |
keeps tracks of all the music used in the film. They’re responsible for checking of clearance of rights therefore needs some administrative library and legal skills |
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Film composer
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emotionalchemist – they are a rare breed of musicians who must work in a world in whichalthough they have certain freedoms they must answer to people with little orno music education Most film composerscan compose an average of 2 to 3 minutes of useable music every workday. P. 28 |
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session |
musicians who are hired for a block of time which is equivalent to a 3hour ‘call’. There can be 2 or 4 sessions per day known as a double or triple call. |
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doubling |
- musicians who play more than one instrument during the studio sessions. |
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cartage fee |
for musicians who play oversized instruments receive additional money
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concert hall composers vs. film composers |
concerthall composers have stated that they felt that film composers have prostitutedtheir talent in writing commercial music for movie soundtracks instead ofserious music for the concert hall just to make a few bucks fast. More people will hear the music of a singlefilm composer in one weekend than ever heard the music of Beethoven during hisentire fifty six years of life. Film composers must remember that dialogueremains supreme |
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movie trailer composer and movie trailers |
movietrailers are 2 to 4 minute coming attraction preview from a movie that we seein movie theaters or on a video before the feature film starts. Movie trailercomposers specialize un composing music specifically for the movie trailer of comingattractions |
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4 factors to considerin developing the concept for the score see |
1.consider the period of history of the movie 2.look at the location and ethnic background of the movie 3.look at the major character or characters of the film 4.look at the films overall dramatic theme |
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main title music |
themusic heard near or at the beginning of a movie where we see the title of the movieand the credits that’s follow. It helps prepare us for the drama before itoccurs. Main title music is crucial to setting the overall tone of the picture |
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Punch and streamer method |
usually used to mark visualcues on the actual film stock that are to coincide with the exact spot to be ‘hit’with the beginning nd ending of a music cue. The standard lemgth of a streamer is 3 feet. The length of thestreamer will move across the screen from oleft to right in exactly two seconds |
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The stopwatch method |
method of free timing. A large clock will bepresented on or near the conductors music stand. Hitting points will have to bearrived at the time of the clock |
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The click track method |
a repetition of steady ‘clicks’ heard by thecomposer and studio musicians in their headphones. The click track Is preparedby the music editor and is created by using a digital metronome or a computergenerated click track system |
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wild recording |
recording muic for a movie wihout the benefit of seeing the movie projected on a screen or a video monitor |
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tracking |
filmmakers decide in advance that they wish nooriginal score for their film. Tracking is when filmmakers uses prerecordedmusic cues from another source. This is done when filmmaker uses a temp track |
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picture cueing |
a technique used in motion picture scoring whereinthe musical conductor is looking at the moving images on screen for cueingpurposes uring the scoring session |
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free timing |
the name given for two ways of lining up music with picture cues, either punch and streamer method or the stopwatch method. it allows some elasticity or ‘give and take’ to the tempo, thus being free |
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music editor |
is present at the spotting sessions and prepares spotting notes that will be turned into timing or breakdown notes for the composer to use while composing the music cues |
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side line |
the term used to describe looking like you are playing a musical instrument on screen even though you actually aren’t |
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booth person |
usually the primary orchestrator or music editorwho will sit in the engineers recording booth during scoring sessions who willaid the composer/conductor by following the score to check for wrong notes outof tune passages bad synchronization and the like |
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looping/ ADR |
used during the postproduction phase of film making, ADR is when a performer will watch a playback of a certain scene and will rerecord a better version of the original production sound |
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foley artist, foley walker |
a specialist who creates sound on the foley stage to match and enhance especially the body movements of actors to make them more audible for playback on the soundtack In the theater. Named after jake foley a man who created this technique |
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production sound
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a person who designs needed sounds for a movie and or lays in recording of existing sounds from a prerecorded library of special sounds
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dialogue mixer |
captain in charge or supervisor because dialougue must always reign supreme
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kinetoscope
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a machine that would loop continuously, allowing for an uninterrupted performance as the customer watched the moving image by looking down into the hand cranked machines |
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lumiere brothers |
gave the first known publicperformance of cinema accompanied by live music. They used a pianist to excitethe audience when they performance. The use of music in this way started the traditionthroughout the entire period of silent pictures. |
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single shot films |
camera focuses on only one scene for the entire film. The great train robbery film changed that . |
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early uses of music withthe cinema |
(1. Cover up noise of projector and 2. Convey mood and add emphasis to emotions on silent screen). o Music covered up thesound of the noisy movie projectors. o Music also provided emphasis on moods andactions on the screen as wellas blocking the noisy distracting sound from projectors. Music was alsoprovided as a hook to movie goers |
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Cinematograph |
lightweight handcranked camera that doubled as the apparatus that also projected their films—this is where the name cinema comes from |
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Know where cinema was firstshown |
- Moving picture werefirst shown to the public in locations such as cafes university lecture hallsvaudeville theaters, fairgrounds, and in any vacant building available |
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Why was THE GREATTRAIN ROBBERY significant? |
it changed the way of thinking about movies. It was the first smash hit. - This movie was shot indifferent angles and areas and were all edited together to make one continuous film |
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first original move score |
The assassination of theduke of guise |
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Know in what country did the first original score appear? |
France |
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THE BIRTH OF A NATION |
was the first blockbuster film, it caused controversy in America because it showed both sides of the civil war. KKK were viewed as heroes. Was the first film to be a full length motion picture. Financial profit was made because it was a full length movie |
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D. W. Griffith |
Thedirector of the film ‘Birth of a Nation’ .one of the most important figure inthe history of American film and one of the most influential in the developmentof world cinema as an art. |
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the composer JosephCarl Breil |
composer for the 'birth of the nation' film. he wrote some original themes and used well known music for the massive three hour American civil war battle. He used classical music and also used music from American folk songs
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BEN-HUR |
wasthe most expensive movie of the silent era. The naval battle sequence tookplace in Italy, people needed money so they lied and said they could swim, 11people drowned. One person died in the chariot race so they were moved back tothe US to continue to film the race |
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William Axt and David Mendoza |
hiredby MGM to compose a score for Ben Hurr. both composers. Worked on manyassignments together including Don Juan—the first film with a fullysynchronized score. |
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BATTLESHIP POTEMKIN |
thegreatest film of all time. It left viewers numb. The scene of the woman andlittle boy who got shot and the baby in the stroller that goes down steps. |
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movie theaters of silent era |
- some of the movie theaters hold more than6,000 people. Instead of cafes and small cramped places, people satcomfortably in movie palaces. Roxy theater in NY no longer exists. |
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Piano improvisation |
pianist would follow actions on the screen and would attempt to reflect the mood and speed of the movies action with their piano. “instant composer” because it would be right on the spot. I{ |
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Use of published musicalextracts |
important to musicians of the silent era. Cue sheets would be transported from one area to the next which cause them to be lost. Cue sheets helped musicians choose what to play next. Also cue sheets would suggest what sound effect would coincide with the screen action. |
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Use of pre-arranged scores |
derived from familiar musical sources. The music director of a theater would view a fil, and coose the music that would fit the music on the screen |
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Use of original scores |
first appeared in France in 1908, but did not become popular until mid 1920’s. used now because of the overwhelming feeling of what an original score can do for a film |
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phonofilm |
sound on film system
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vitaphone |
sound on disc
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le e de forest |
perfecteda vacuum tube that greatly improved the sound on film process |
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the jazz singer |
first feature film to contain some spoken dialogue FIRST HOLLYWOOD MUSICAL thefilm that launched the sound era. Premieredat the warner theater by the warner brothers. Sam warner died and brothers didn’tmake it to the premier. |
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Know the impact of sound onmovies |
musicians were no longer needed on the setcausing many musicians to lose jobs. Deprived silent stars of their unearthlyappeal. Robbed the filmmakers of the dreamlike world of silent images. Directorscould no longer scream on the set. Posed technical problems because theinadequacy of the early microphones. The freedom of camera movement had beentaken away. |
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microphone boom |
a long pole on which a microphone is mounted sothat it can be placed over a scene for a sound recording. |
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Look at info on WarnerBros. |
how they were not present at the world premiereof THE JAZZ SINGER because Sam Warner died the day before and the Warnerbrothers were excited about having the ability to have a synchronized musicscore with the invention of sound in movie. They could care less about hearingthe actor’s voices. |
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LIGHTS OF NEW YORK |
First all-talking sound feature. It was the novelty of sound pictures that enabled the studios to survive the great depression and the competition from radio. |
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BLACKMAIL
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England’s1st sound film. There are two versions of thefilm= an England original and then in Hollywood. Also, in England it was asilent film until near the end of the film the characters talked. In hollywood,it was an all sound version using some of the original silent film scenes |
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2 primary approaches tomusic in early sound films |
1.having music throughout the entire production referred to as ‘wall to wall’ music 2.to use music only as source music- that is when the source of the music can beseen on screen |
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Know info about FRANKENSTEIN |
doesnot contain any kind of dramatic underscore. Has no wall to wall. The monsterscared everyone who watched the film |
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Busby Berkeley |
heset a standard never to be equaled again. He was known for his top shots. It enabledhim to create geometric designs and abstract patterns using young beautifulwomen. |
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Hollywood musical |
evolvedspecifically for the purpose of escapism. Many americans were affected by thegreat depression, so people wanted to get away from those harsh realities |
