Film Notes

Using Music for Film-Makers By Peter Mcilwain Email: [email protected] Web: sonicdesign.com.au What will you learn from this course? Music is one of the most powerful elements in a film but as a film-maker do you know much about what music can do in a film? Just as there are techniques for developing a screen play there are also techniques for developing approaches to the film’s music. Often people tend to think of music in terms of its emotional impact. While this is important, there are many other things that music can do including; setting the time and place of the film, indicating the point of view of a shot, creating structure in the story and telling the audience things that dialogue and images can’t. This course looks at how music can be used and what the conventions that have evolved around its use in film. The learning objective is to give you the intellectual tools to think creatively and effectively music. It will show you ways that composers think and work when making music for a film and help you work effectively by being able to tell them not just what music you want but why you want it. We will look at historical developments in the use of music and some theoretical functions of film music as well. While we are doing this we will look at and listen to a large number of films and discuss what the music is doing. We will do practical exercises that explore different approaches to using music and sound and we will develop musical approaches for your films. Teacher: Peter Mcilwain Peter has been Lecturer in Composition at the School of Music at Monash University for 13 years. He has taught film music courses for over 15 years. He has experience in film composing receiving commissions from institutions such as the Science Works Museum. He has a vast experience and knowledge in composition and has been a leading figure in the development on computer music in Australia. “He is a world-class lecturer (from my experience studying in the US).” Thomas Wolff (former student). “I cannot speak highly enough of the calibre of Peter's instruction, performance, research, and compositional career. He was and is an important influence on my own professional growth as my advisor.” Professor Patrick Liddell (former student). Course Topics 1. 2. 3. 4. 5. 6. 7. 8. 9. How can thinking about Music and Sound influence you as a film-maker? Why did music come to be used with film? The evolution of conventions in the use of music: Silent Film The evolution of conventions in the use of music: Sound Film Some Landmarks in Film Music Diegetic and Non-Diegetic Modes Film Music Function and Principals The Composition Process Applying theory to Practice Using Sound and Music for Film Makers 1 How can thinking about Music and Sound influence you as a film-maker? Sound and Music to Establish Point of View Thinking about the presence of sound and music can change how you approach screenwriting. This exercise gives the opportunity to explore integrating sound and music into the fabric of the screenwriting. (this is a reworking of the homework exercise from Introduction to Screenwriting by Coral Drouyn) Step 1 Split the following paragraph - a short film scenario - into separate scenes without adding anything to the scenario. A woman is leaving for work. She grabs hers keys and handbag and locks the house. In the garage she starts the car and the radio comes on. She opens the automatic door and backs out. In the street, unseen by her, a toddler is riding his tricycle on the footpath. He is going to cross the driveway in the path of the reversing car. Across the street Mr Jones is collecting his morning paper. He glances sideways and sees the impending disaster. He screams out but is not heard by the driver. Inside the house his wife hears the scream and looks through the window, horrified. Inside the car the radio blares and the driver is oblivious to what is happening. Mr Jones drops the paper - rushes across the road and snatches the toddler from the tricycle as it goes under the wheels of the car. The car screeches to a halt. The toddler cries. Behind their curtains neighbours watch. Some spill into the street, and react with shock. As Mr Jones comforts the child, the driver gets out of the car and, seeing the mangled tricycle, becomes hysterical. Possible Visual Approaches: 1. Straight story telling. Visuals show scenes from a the viewers perspective. Multiple points of view. 2. Point of view of the woman driver dominant with short cuts to other elements. 3. Point of view of the child dominant with short cuts to woman leaving. 4. Point of view of Mr Jones is dominant with short cuts to woman leaving. Approach 1 might give equal weight to all participants in the scenario. Approach 2 emphasises the experience of the woman and possibly highlights her hysteria when she finds out what has happened. Approach 3 emphasises the child and the danger that the child is in. Approach 4 emphasises the actions of Mr Jones possibly casting him in an heroic light. Step 2 Do step 1 again this time identifying dominant sounds in the scene. Which of these sounds could be used to establish point of view? Sonic Approach 1. Sounds used that reflect what would be heard from the various perspectives discussed in visual approaches 1 - 4. 2. From the point where the woman is in the car all sound is excluded except for the radio and car noise. The scream of Mr Jones is not heard but inferred by his actions. The sound of the tricycle being mangled is heard from inside the car. Then when the car door opens the sound of the outside world floods in. The wife hearing the scream of Mr Jones might need to be deleted for this approach to work. Approach 1 supports and focuses attention on the visual aspects of the scenario. Approach 2 gives the audience the sonic experience of the woman in the car. By sonically detaching the audience from the sounds outside the car, focus can be given to the impending danger of the child by placing sound and vision in conflict. This approach would also highlight the reactions of all of the participants once the car door is opened and we suddenly hear the child crying, the sounds of worried neighbours and the hysterical response of the woman driver. Crucial too this approach is that the music of the radio is the main element that causes the danger. Given this the type of music used here should not connect with the drama. Using Sound and Music for Film Makers 2 Why did music come to be used with film? Imagine seeing a film for the first time in the 1890ʼs – remember no one else would have seen a film either. What would the experience be like? “Since their beginning, motion pictures have been accompanied by music. The pure cinema must have had a ghostly effect like that of the shadow play – shadows and ghosts have always been associated. The magic of function of music … consisted in appeasing the evil spirits unconsciously dreaded. Music was introduced as a kind of antidote to the picture. The need was felt to spare the spectator the unpleasantness involved in seeing effigies of living, acting, and speaking persons, who were at the same time silent.” Hanns Eisler, Composing for Films ... aesthetically and psychologically, the most important reason for the existence of music in the cinema is, undoubtedly, the film rhythm as a kinetic art. We are not used to perceiving movement as an art form, unless it is accompanied by sounds or at least by acoustic rhythms. Every film should dispose of a rhythm which would determine the form. The role of music was to give sound depth and tone to the form and to the inner rhythm of the film… Kurt London, Film Music Other reasons that music and film were combined from the beginning might be: • Presenting film in a way that might familiar in other genres. For example opera. • Covering the noise of the early projectors. • Music and sound can transport the audience into the world of the film – discuss Takemitsu and the peephole. Film without music or sound can be confronting to an audience – this was used to great effect by Fellini in his film 8 ½ [example - opening sequence]. The evolution of conventions in the use of music: Silent Film First known example of music with film was Dec 28 1895 by the Lumiere family (pioneers of motion picture technology). Early film was presented with whatever music was available – the exhibitor decided what music was to be used. Often the music had little dramatic relationship to the film. 1908 Saint-Saens commissioned by Le Film d’Art for a score for “L’Assassinat du Duc de Guise” (concert piece Opus 128). This approach was expensive and required an orchestra. 1909 Edison Film Comp. issued “specific suggestions” for music with films that they produced. Collections of music for specific moods or dramatic situations where published for example Giuseppe Becce’s Kinobibliothek. 1919 - Guiseppe Becce "Kinobibliothek" (or Kinothek for short) Compendium/catalog of musical excerpts that could appropriately accompany specific dramatic situations. For example from another similar catalog "The Handbook of Film Music": Dramatic Expression (Main Concept) 1. Climax (subordinate concept) a) catastrophe b) Highly dramatic agitato c) Solemn atmosphere; mysterious in nature 2. Tension – Misterioso a) Night: sinister mood b) Night: threatening mood c) Uncanny agitato d) Magic: apparition e) Impending doom: "something is going to happen" Here dramatic relationships are being established between music and film, however it was up to the musicians (who started to appear in orchestras and as solo pianists in 1913 in cinemas) to decide which mood was appropriate and where to music should start and finish. Using Sound and Music for Film Makers 3 1912 – Max Winkler created cue sheets with selected music for a specific films. Here specific times are given for when the music is to occur. These cue sheets where in great demand and Winkler’s company could not keep up supply so they began to use music from the old masters – Beethoven, Bach, Mozart, Verdi, Wagner etc (the material was also out of copyright). Did this start a stylistic precedent? Here we see the style of classical and romantic music established in relation to film (this may have greatly influenced the stylistic development of film music this century). Transitory music was needed to join the pieces together (for modulation between the differing keys of the pieces used). This did not work so well when there were rapid scene changes. This gave rise to the development of composed score for films. As the industry became established this was now economically possible however there was still some difficulties: • • • How was the music to be synchronised? Theatres didn’t always have a standard orchestra (if there is a standard at all). Conductors believed that they should pick the music to be used “an infringement of their artistic domain” – they boycotted the use of style sheets. Some answers explored where: • • Machines like the “rhytmonome” which supplied a kind of visual metronome (which could vary in tempo). a picture of a conductor on the screen or the score put on the screen with an indication as to where the musicians should be up to (the sing-a-long bouncing ball is an example of this). None of these methods worked very well but a fascinating approach was taken with mechanical music machines for example: Music machines – like pipe organs with extra features: “The greatest achievement of the American Photoplayer Company was the Fotoplayer Style 50 product, of which only one still exists today, in such a state that allows it to function. One of the best automatic musical instruments that were ever made, the Fotoplayer Style 50 was 21 feet (7 meters) long, 5 feet (1,65 meters) wide and 5 feet 2 (1,70 meters) tall. It had the capacity to reproduce the mass of a twenty-piece orchestra, plus a full size harmonium and an incredible collection of sound effects, like cow mewing, the sound of horse hoofs, some horn variations, sounds of traffic, sounds of burning wood, brushing sounds, guns, pistols and machine guns, even the sound of a 75mm French cannon.” Samuel A. Peeples, in an article in Films in Review. 1925 – Edmund Meisel score for the “Battleship Potemkin” (director Sergei Eisenstein) – first contemporary film with music. • Not always melodic the music tends to be a response to the textures and rhythms in the film. • In the section “Meeting the Squadron” the music tries to create the sound world of the film by relying on only the beating of the percussion instruments. In silent film, music developed as the narrative voice –this probably had a strong influence on the future development of film music. Using Sound and Music for Film Makers 4 The evolution of conventions: Sound Film How might approaches to using music change once sound was introduced to film? 1928 – sound film technology was developed which brought in a period of adaptation from the silent film era. Sound was not considered artistically superior and was met with a mixed response because: • Dreamlike world of silent film disappeared. • Sound film is more immersive • Cameras where fixed (due to sound proofed camera cubicles which weighed several tons) which caused the films to be visually static. • Without sound dubbing (where the audio could be mixed in at a later date) everything that was to be seen or heard had to be recorded at once – any mistakes and the whole thing had be recorded again. With a large production crew (actors, lighting, camera, sound and an orchestra) the chances of mistakes where great and also expensive. • Dialogue and sound replaced many of the functions that music served (significantly the narrative voice) In addition to these restrictions the medium required the development of new conventions: • Camera angles and framing which could illustrate dialogue in films (eg. the development of cross cut point of view shots for conversations). • Distinctions between diegetic and non-diegetic sound needed to be established. Several approaches to music: “raw realism” of sound films, directors and producers in the 30’s felt that there had to be a reason for music being in the film. The concern was that music which just occurred without any visible means of production might cause confusion (or at least some level of distraction) to the audience. So music was only used if it had a visual source. This technique is still used today (as in Schindler’s List). “Many strange devices were used to introduce music. For instance, a love scene might take place in the woods and in order to justify the music thought necessary to accompany it, a wandering violinist would be brought in for no reason at all. Or, again, a shepherd would be seen herding his sheep and playing his flute, to the accompaniment of a fifty-piece orchestra.” Max Steiner, We Make the Movies. • • “music as decoration” from the early days of silent film where the music was wall to wall, this had one advantage in that there was less need to provide sound effect (eg doors slamming etc). the movie musical where the musicians or the dancers where present Why is this not the case, why is it that well written music today seems to fit so well with the images and sounds in the film? Films have developed a structure, which contain phases with differing levels of realism ranging from very realistic here and now sequences to unreal dream sequences. Audiences have learned to project themselves into different planes of reality. Therefore music which is unsourced can simply be attributed to a different plane. These conventions where established gradually over time. Developments in exploring different relationships between music and film: • Experiments by the German Film Research Institute in Berlin which looked at the relationship between image, sound and music – montages of images where created using the forms and structures of music. They tried (inconclusively) to find correlations between musical characteristics and visual ones. Discuss: There was no direct connection found - therefore connection between music and image occur through association. • • For some composers there was the renewed possibility (because of sound film) that music might be written first with the visuals edited to suit (which would be a similar process to what occurs in opera where the music is the backbone and central feature of the production). This did develop to a certain extent in the advent of movie musicals, however this was developed primarily due to the financial success of the Broadway musicals. In fact the great costs of producing films tended to be the overriding influence in the development of film and film music. Another example of commercial influence re music – Theme songs – this was developed as a way of marketing the film – a memorable song would help people remember the film. Artistically this can be problematic, as at some point during the film the song has to be produced in its entirety which, unless it is set up well, can disrupt the flow of the film. Despite these developments music has always tended to be use to support rather than feature in films – why might this be the case? Using Sound and Music for Film Makers 5 My opinion – music is more specific than image, in terms of mood and texture so that it is much harder to find the images with just the right feel to match the music. On the other hand music is more plastic and can be changed to suit a wide range of images. Some Landmarks in the development of film music Worried about the credibility of the eighteen-inch models used in the creation of the monster in King Kong (1933), the film's director, Merian C. Cooper (1893–1973), asked Max Steiner (1888–1971) to write music to bring Kong to life. And bring Kong to life he did, scoring over three-quarters of the film's onehundred-minute runtime. The success of King Kong validated Steiner's saturated scoring techniques. From: http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Music-THECONVERSION-TO-SOUND.html • • • • • • • • • • • • • • • • • • 1935 The Informer – Max Steiner - links between actions and music 1938 Alexandr Nevsky – Sergei Prokofiev (director Sergei Eisenstein) – music sometimes composed before the film was made, experiments with acoustics and balance in the recording 1941 Citizen Kane - Bernard Herrmann (director Orson Welles) - sound used as an independent element – use of music for montage sequences. 1944 Laura – David Raskin – psychological drama, use of effected piano, theme song became a popular hit. 1948 The Adventures of Don Juan – Max Steiner – action film, strong underscoring 1951 A Streetcar Named Desire – Alex North 1952 introduction of stereo sound 1953 Julius Caesar – Miklo Rozsa – made use of stereo separation 1954 On the Waterfront – Leonard Bernstien During the 1950’s television was introduced (by 1962 the movie audience fell to 10%) – studios responded by developing technology like wide screen formats. Psycho – Bernard Herrmann 1966 The Redeemer – David Raskin 1970’s increasing use of popular music and orchestration – synthesisers where gradually being used 1974 Chinatown - Jerry Goldsmith 1977 Star Wars – John Williams – return to the big orchestral sound Mid 1980’s introduction of digital audio and editing equipment – the distinction between “sound” and “music” begins to blur. 1990’s computer generation of visual images and digital image editing makes complex editing image to sound much more feasible - much of the equipment becomes relatively cheap, powerful and extremely versatile giving rise to evolution of small specialised production houses and a shift away from the centralised film companies. 2000’s sophisticated methods for spatial control and projection of audio (eg 5.1, 7.1, 9.1 sound formats) Diegetic and Non Diegetic Modes The diegesis of a film is the world or reality represented on the screen therefore: The Diegetic mode is where: • Music is associated with a visual source (ie musicians on the screen) • The source of the music is inferred as coming from the diegesis because the music seems to control or motivate what is happening on the screen (as in dance sequences) • Cartoon “micky mousing” – in which the actions are synchronised to a very high degree And the Non-diegetic musical mode is where: • music has no discernible source on the screen (including the underscoring of action sequences) The Non-diegetic mode • • • • The characters don’t seem to hear or respond to the music – indicating a removal from the diegesis of the film (Woody Allen breaks this convention for comical effect). Where music does correlate with action sequences the moments of synchronisation are kept to a minimum (otherwise the effect can be comical) The music can seem to exist outside the time frame of the film – which makes it useful in montage sequences. Sound and dialogue can be presented non-diegetically also – the voice of the narrator, sounds which may be heard internally by a character (eg a Vietnam vet hears helicopters in a supermarket). Using Sound and Music for Film Makers 6 As film music developed composers began to use the distinctions between diegetic and non-diegetic music creatively: • Bernard Hermann developed motives from music which was heard first diegetically thus changing the significance of the music. The vast majority of film music is non-diegetic – important implications: • The response to films are mythologically based (the music removes the possibility that the film is an unaltered interface with reality). • Film music serves a structural role in indicating plains of reality (ie “here and now”, memories of the past and dream sequences) • Music in film can serve as a subtle and powerful tool for propaganda (ie moral inferences can be made – a seeming objective image of workers in a factory can be made menacing indicating that they are the enemy). • The use of the singing voice or melodies resembling the singing voice tended to be avoided – this is because it can potentially confuse the distinction between non and diegetic forms of presentation Film Music Function and Principals Principals Narrative classical film is narrative based • tells a story Are there films in which this does not happen? Example Koyanisqusi Non Narrative • when films are not narrative different relationships between music and the other elements of the film are possible Audibility • generally music is not consciously audible to the audience How is this achieved? • • • Music is subordinate to sound and dialogue – composers often write around the dialogue Music does not generally cause an event to happen Duration and tempo (or pace) is determined by the visuals – composers often write cues longer than the scene to allow for adjustment by directors Extent of audibility is determined by: • Volume level of music relative to sound (discuss scene from Edge of Darkness where music dominates dialogue) • Appropriateness of the music (discuss A Clockwork Orange) • Method of music entry • After a cut – least “audible” • Before a cut – more audible, tends to smooth over the cut • note that music can switch between diegetic and non-diegetic functions • On the cut - most audible • Before, On or After cues such as an action, a line of dialogue or a sound effect • musical entries can be instant or gradual which also effect audibility Music which is very “audible” can tend to make the drama stylized. Functions Signifier of Emotion Music can signify emotion in association with: • characters • the audience (if no characters present) Who’s emotion is being portrayed? Music as a representer of the Irrational Logic Everyday reality Control The Irrational Dream Loss of Control (Discuss the idea of polarity where a concept can be highlighted, defined by contrast with its opposite.) Using Sound and Music for Film Makers 7 Max Steiner “Some pictures require a lot of music and some of them are so realistic that music would only hurt and interfere” (therefore film music tends towards irrational or mythological modes). Realism - tendency to avoid the use of music Representer of Gender Emotional states of characters in Hollywood stereotypes associated with: Man Woman Objective Subjective Work Leisure Reason Emotion Realism Romantic Fantasy Has this approach changed? Epic Feeling Music can elevate characters or event to: • universal significance • transcendence • be links with the idea of destiny • sense of common destiny eg crowd of football fans singing club anthem (crowd speaks with one voice) Music can elevate the significance of an individuals drama to being the story of “everyman” (often in religious or historical films). The Particular The Prosaic The Present The Literal The Universal The Poetic Mythic Time The Symbolic Narrative Cueing Music can refer to demarcations and levels in the narrative of the film Beginning of the film • defines the genre • sets the stage • presents musical themes which may be developed • signals the start of the narrative and prepares the audiences attention Ending • Reinforces the films narrative • Creates closure or resolution (or not) Time Place and Stock Characterisation • Sets the time and place • Sets stock roles such as good guy bad guy Point of View • Music may associate with a character or a characters point of view (eg the music may indicate that a scene is being experienced from a particular characters point of view). Illustrative Cues Music can Illustrate, emphasise or underline points in a film Illustration • Music anchors the image in meaning (discuss the ambiguity of image re Gore Vidal and Rene Magritte) • Aids interpretation of the narrative – as opposed to demarcation. • Can amplify actions – underscoring (eg orchestral stabs in action sequences) Influencing Mood Creating the mood of the scene ie eerie, busy, calm. This can be done via: • Orchestration • Brass – hunting, anger • Winds – plaintiff • Melody or musical gesture • Military drum or bugle call for action or conflict • Pastoral melodies for scenes of nature Using Sound and Music for Film Makers 8 Rene Magritte Using Sound and Music for Film Makers 9 Continuity Formal and rhythmic continuity Music can provide • cohesion in a sequence of images (particularly in montages sequences). • Filler – filling in the empty spaces (creating forward drive) • Transitions – signifying the end of a scene or relating two scenes together in some way Unity Unity is created using repetition and variation of music • Unity of tonality (note that if there is a gap between music cues which is longer than 15 sec then audiences tend not to notice abrupt changes of key) • Use of thematic material Breaking established functions • Inappropriate music (eg A Clockwork Orange) • Music which is paced differently to the pace of the images (eg battle siege scene in Ran) • Slow motion with rapid music can draw attention to the visual detail • Fast visual action with slow music can illustrate the overall texture of the scene • Music which is dominant over dialogue or sound effects – focuses attention to a psychological state or a theme not directly connected to the visuals • Use of “Micky mousing” used for comic effect (as in Delicatessen) where music causes events to happen. The Composition Process 1) Spotting Session • composer, music editor, director and producer discuss the final cut • aesthetic approach is discussed (style and function) • decisions are made about when music should be used and why 2) Timing Breakdown Notes Elapsed Time (from beginning of scene) 00 : 00 : 00 Time Code (from beginning of the whole of the film) 42 : 47 : 10 Notes 00 : 02 : 56 42 : 49 : 27 The three men with rifles begin to move in towards the buisnessman. 00 : 06 : 33 42 : 53 : 13 He starts to back away 00 : 09 : 47 42 : 56 : 24 CUT to a MS (medium shot) of the three men as they continue to move in on him. 00 : 11 : 01 00 : 11 : 97 42 : 58 : 10 42 : 59 : 09 CUT to MS of businessman as he trips and falls. CUT to a CU (close up) of telephone lines. 00 : 14 : 01 43 : 01 : 12 CUT to a FS (full shot) of a man climbing down telephone pole. 00 : 16 : 98 43 : 04 : 11 He hits the ground. 00 : 18 : 38 00 : 19 : 01 43 : 05 : 23 43 : 06 : 12 He bows to the others. CUT to a FS of rest of group with Lancaster in the foreground. 00 : 21 : 22 43 : 08 : 18 Lancaster says “No encores, letʼs keep moving.” 00 : 22 : 88 43 : 10 : 08 EOL above EOL above (end of line) as he turns and moves towards the door • list of cuts, action and dialogue with time given in hours:minutes:seconds:frames (also elapsed time of the scene) • video of final cut with SMTPE stripe and or • quicktime movies (played with MIDI sequencer) SMPTE (Society of Motion Picture and Television Engineers) is a timing code hat is used to synchronise two or more devices together (e.g. a video and a computer). For more information on SMPTE see: http://arts.ucsc.edu/ems/music/equipment/video/smpte/smpte.html 3) Composer Sketches Ideas Considerations re placement of music: • should music start on the cut or on a pivotal line or visual cue (audibility issues) • sketches done on computer and synthesised versions presented to director - confirmation or alteration of style and function parameters Using Sound and Music for Film Makers 10 4) Mapping Out the Score • composer creates a list of cue points • then determines the number of bars, tempo and metre (this process can be automated on computer) • conductor cues are determined for the creation of click tracks (free time sections are allowed for) • the score is created * Cue points or hit points are moments in the film the may be highlighted by the music (or they could have a soft reference in order to establish pace). * Click tracks are sonic pulses used by conductors to synchronise with the film however they donʼt work well for accel. , rit. or rubato passages (an important element in musical expression). There fore composers can score in free time. Here the conductor has no click track and sets the tempo by feel. Streamers and punches are used to notify the conductor as to when the click track is to come back in. • Streamers and punches are marks on the film that do not have a pulse but indicate the time until the click track starts again. streamer punch 5) Recording Session • very expensive with orchestra • conductors have a score with a readout of the timing references and a video monitor • the film is shown on a big screen 6) Tracking • before the film is finished it is often shown to investors or network executives • pre-recorded music is added to make the film more presentable, the music editor (sometimes with the composer) selects music for this purpose • this music not subject to copyright (not for release) • creates problems for composers as it often the case that directors etc want this music for the film as they are used to it. • Music libraries are avaible that supply copyright free music 7) Dubbing • Dialogu dialogue, sound effects and music are mixed together • Often music is mixed under dialogue or other sounds • Composers allow for this by writting around the dialogue (this is why timing notes have start and end of dialogue noted) • Composers often not asked to attend dubbing sessions. Applying theory to Practice In this session we will work on ideas for your film. You might have a story line, a screen play or a general idea for a film. You will have the chance to present your ideas to the class and we will discuss how music could be used. You might like to bring story boards or drafts of the story outline along. You can also bring in examples of music that you might like to think about. The sesson is very flexible but it will be directed by a very experienced composer and teacher. Using Sound and Music for Film Makers 11 Reading 1: Copland, Aaron, What to listen for in Music. New York : Mentor, c1988 pp. 252-63 Using Sound and Music for Film Makers 12 Using Sound and Music for Film Makers 13 Using Sound and Music for Film Makers 14 Reading 2: Gorbman, Claudia. Unheard melodies : narrative film. London : BFI Pub. ; Bloomington : Indiana University Press, 1987. pp. 70-91 Using Sound and Music for Film Makers 15 Using Sound and Music for Film Makers 16 Using Sound and Music for Film Makers 17 Using Sound and Music for Film Makers 18 Using Sound and Music for Film Makers 19 Using Sound and Music for Film Makers 20 Using Sound and Music for Film Makers 21 Using Sound and Music for Film Makers 22 Using Sound and Music for Film Makers 23 References: Books: Atkins, Irene Kahn, Source Music in Motion Pictures (Rutherford, Fairleigh Dickinson University Press, 1983) Nicely written book contains an excellent bibliography on film sound. Bazelon, Irwin, Knowing the Score: Notes on Film Music (New York, Van Nostrand Reinhold, 1975) Sections on the art and technique of composing for film as well as interviews with composers. Useful in places. Brand, Neil, Dramatic Notes: Foregrounding Music in the Dramatic Experience (Luton University Press, Arts Council of England, 1998) Excellent and unpretentious discussion of the affective power of music. Contains many interviews with composers e.g. George Fenton, Stephen Warbeck, Carl Davis, Judith Weir. Brown, Royal S. Overtones and Undertones: Reading Film Music (Los Angeles, University of California Press, 1994)As good as any general survey of film music. Contains interviews with composers as well as analyses of Korngold, Rózsa and Godard. Bruce, Donald Graham Bernard Herrmann: Film Music and Film Narrative (Michigan, Ann Arbor, 1985) Analyses of numerous Herrmann film scores. Thoughtful and readable. Burnand, David & Sarnaker, Benedict “The Articulation of National Identity through Film Music” in National Identities (Vol. 1, No. 1, 1999:pp7-13) Article examining the use of music in narrative film for geographical location as well as racial and ethnic characterisations. Burt, George, The Art of Film Music (Boston, Northeastern University Press, 1994) Analysis, criticism and appreciation. Chion, Michel, La musique au Cinéma (Paris, Fayard, 1995) History and criticism of film music. Copland, Aaron, What to listen for in Music. New York : Mentor, c1988 pp. 252-63 Coyle, Rebecca (ed.) Screen Scores: Studies in Contemporary Australian Film Music (Sydney, AFTRS, 1997) Series of compelling articles on a number of Australian film including Shine, Young Einstein and Priscilla Queen of the Desert. Darby, William & DuBois Jack, American Film Music: Major Composers, Techniques, Trends 1915-1990 (Jefferson, N.C. McFarland, 1990) History, analysis, criticism and appreciation. Davis, Richard. (1999). Early Films and Music: The Silent Movies. In: Feist, Jonathan Complete guide to Film Scoring. Boston MA: Berklee Press. 3-17. De La Motte-Haber, H. & Emons, Hanns Filmmusik: Eine Systematische Beschreibung (Munich, Carl Hanser Verlag, 1980), Analyses of five aesthetic models (Kracauer, Zofia Lissa, Eisenstein, Eisler – Adorno, Arnheim) Egorova, Tatiana, Soviet Film Music: An Historical Survey (London, Harwood Academic Publishers, 1997) Informative, detailed and readable history from 1917 to 1991. Ehrenstein, David & Reed, Bill, Rock on Film (New York, Delilah Books, 1982) Eisler, Hanns & Adorno, Theodor, Composing for the Films (New York, Oxford University Press, 1947/ repr. Athlone Press, 1994) Still as provocative today as when it was first published. Will yield great rewards for anyone who can see beyond its Marxist rhetoric. Evans, Mark, Soundtrack: The Music of the Movies (New York, Hopkinson & Blake, 1975/ repr. DaCapo, 1979) Anecdotal work containing historical sections and brief discussions of Hollywood film composers. Flinn, Caryl, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (Princeton University Press, 1992) Significant because it is the first, and only, work to consider gender in film music. However, it suffers from a great lack of musical justification for it arguments. Frith, Simon & Goodwin, Andrew, On Record: Rock, Pop and the Written Word (New York, Pantheon, 1990) Gabbard, Krin, Jammin’ at the Margins: Jazz and the American Cinema (Chicago, University of Chicago Press, 1996) A provocative series of essays that shed new light on how jazz fits into American life viewed through the cinema. Detailed philosophical and historical arguments. Gorbman, Claudia Unheard Melodies: Narrative Film Music (Indiana University Press, 1987) The seminal film music book. Contains historical and aesthetic arguments including the movement from silents to sound, Classical Hollywood practice and an analysis of Eisler/Adorno’s critique. Zéro de Conduite, Sous les toits de Paris and Hangover Square are also discussed. This is a must read. Hacquard, Georges La Musique et le Cinéma (Paris, Presses universitaires de France, 1959) Hagen, Earle Scoring for Films (New York, E.D.J. Music/Criterion Music Corp., 1971) Contains detailed technical explanations including click-track charts as well as considering the legal and moral obligations of the composer. Discusses principles for scoring diegetic music and underscoring dialogue. Using Sound and Music for Film Makers 24 Hoffmann, Charles Sound for Silents (New York, Drama Book Specialists, 1970) Historical and practical account, includes musical examples, with a foreword by Lillian Gish. Huntley, John British Film Music (London, 1947/ repr. Arno Press, 1972) Sections on history, the British documentary and music recording. Kalinak, Kathryn Settling the Score: Music and the Classical Hollywood Film (Madison, University of Wisconsin Press, 1992) Karlin, Fred & Wright, Rayburn On the Track: A Guide to Contemporary Film Scoring (New York, Schirmer Books, 1994) A detailed study and analysis of all aspects of film music. Especially useful for composers. Contains an excellent section on the dramatic effectiveness of certain types of orchestration. Lack, Russell Twenty Four Frames Under: A Buried History of Film Music (London, Quartet books, 1997) History of film music with an examination of music’s emotional impact on the film audience. Contains an interesting section on film music and politics. Larson, Randall D. Musique Fantastique: A Survey of Music in the Fantastic Cinema (Metuchen, Scarecrow Press, 1985) Study of music for sci-fi, horror and fantasy genres. Doesn’t quite have the impact it promises to deliver. Lees, Gene & Mancini, Henry Did They Mention the Music? (Chicago, Contemporary Books, 1989) Levy, Louis Music for the Movies (London, Sampson Low, 1948) Anecdotal description of Levy’s own work for musicals and for scoring dramatic films. Lacking in technical and aesthetic detail. Limbacher, James L. Film Music: From Violins to Video (Metuchen, Scarecrow Press, 1974) Contains short articles on film music by musicians and others as well as an inaccurate list of films and their composers Lissa, Zofia Aesthetic der Filmmusik (Berlin, Henscherverlag, 1965) London, Kurt Film Music: A Summary of the Characteristic Features of its History, Aesthetics, Techniques and its Possible Developments (London, Faber & Faber, 1936/ repr. Arno Press, 1970) An excellent historical survey dealing mainly with the move from silent to sound film. Contains a penetrating section on the aesthetics of the sound film. Mancini, Henry Sounds and Scores: A Practical Guide to Professional Orchestration (Northridge Music, 1973) A master of orchestration shares some of his secrets. Manvell, Roger & Huntley, John The Technique of Film Music (London, Focal Press, 1957/ repr. Hastings House, 1975) A very detailed review of film music. Contains analyses of many scores including: 2001, Henry V, The Best Years of Our Lives and The Devils as well as numerous statements by film composers about their own techniques and preferences. Marks, Martin Miller Music and the Silent Film: Contexts and Case Studies, 1895-1924 (New York, Oxford University Press, 1997) Contains very detailed analyses of The Birth of a Nation and Entr’acte as well as sections on music in the American silent film and a discussion of the research materials available on film music. Palmer, Christopher The Composer in Hollywood (London, Marion Boyars, 1990) Discussion of American film composers. History and criticism. Dmitri Tiomkin: A Portrait (London, T.E. Books, 1984) Chronological discussion of Tiomkin’s work. Includes a complete filmography as well as analyses of Dial M for Murder, Strangers on a Train, and Gunfight at the OK Corral. Porcile, FranVois Presence de la Musique a L’ecran (Paris, Editions du Cerf, 1969) Critical and aesthetic study of film music. Contains filmographies and biographies for numerous composers. Previn, André No Minor Chords (London, Doubleday, 1992) Reminiscences of Previn’s life and work at MGM studios. Prendergast, Roy M. Film Music: A Neglected Art (New York, W.W. Norton, 1992) Well written general historical survey of film music. Is far too biased towards American film music and particularly the works of David Raksin, but very good nonetheless. Romney, Jonathan & Wooton, Adrian (eds.) Celluloid Jukebox: Popular Music and the Movies Since the 50s (London, BFI Publishing, 1995) Collection of essential articles on popular music in film. Contains interviews with Quentin Tarantino, Ry Cooder and Wim Wenders among others, as well as a good filmography. Rózsa, Miklós Double Life: The Autobiography of Miklós Rózsa (London, Midas Books, 1983) Sabaneev, Leonid Music for the Films: A Handbook for Composers and Conductors (trans. Pring, S.W., London, Pitman, 1935) One of the earliest books published about film music. Very interesting in historical terms. Schmidt, Hans-Christian Filmmusik, Musik Aktuell, Analysen, Beispiele, Kommentare (London, Barenreiter Kassel, 1982) History and criticism. Two sound discs with examples are included. Skinner, Frank Underscore (New York, Criterion Music Corporation, 1960) Practical manual for composing for films. Slightly dated but good. Smith, Jeff The Sounds of Commerce: Marketing Popular Film Music (New York, Columbia University Press, 1998) Very readable work examining the emergence and development of the soundtrack album within its economic, industrial, and historical contexts. Contains excellent chapters on the music for Goldfinger and The Good, The Bad, and the Ugly. Using Sound and Music for Film Makers 25 Smith, Steven C. A Heart at Fire’s Center: The Life and Music of Bernard Herrmann (Los Angeles, University of California Press, 1991) Excellent biography providing a real insight into the character of the man. Takemitsu, Toru “Conversation on Seeing” in Confronting Silence: Selected Writings (Berkeley, Fallen Leaf Press, 1995:pp36-45) Despite the awkwardness of translation form the Japanese, the book remains original and provocative. Thomas, Tony Music for the Movies (New York, A.S. Barnes, 1973) Readable account that evenly balances anecdotal and analytical material. Thomas, Tony Film Score: The View From the Podium (New York, A.S. Barnes, 1979) Statements from numerous film composers about their work. Includes discography. Websites: James Rogers Composer. Available http://01jamrog.wordpress.com/2011/01/31/opera-and-its-music-score/ Last accessed 5/8/2011. n/a. Lumiere Brothers Films- History. Available: http://www.holonet.khm.de/visual_alchemy/lumiere.html. Last accessed 29/1/2011. Using Sound and Music for Film Makers 26