Dissertations / Theses: 'Film music studies'

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Bidgood, Lee. "Collaboration, Fieldwork, and Film." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1039.

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Excerpt: I never imagined that I would help produce a documentary film based on my ethnographic fieldwork. Meeting documentary filmmaker Shara Lange during new faculty orientation at the university where we were both newly hired eventually led to our film Banjo Romantika (2013)—a full-length feature based on my research on bluegrass music in the Czech Republic, in which I play a key role as writer, producer, and on-screen character. Taking part in this film project has led me to consider how film enriches relationships with field colleagues, providing new opportunities for teaching and learning. I find that collaborations like ours can reframe and extend ethnomusicological work in productive ways.

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Mera, Miguel. "Second Generation Film Musicology: Fundamental Issues in the Progression of Film Music Studies." Thesis, Oxford Brookes University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490515.

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This thesis is based on eight of the author's published works that challenge some of the disciplinary biases, methodological approaches, and deficiencies in first generation film musicology. Creating a balance between theoretical and practicebased approaches, these works are: Writing l. Mera, M. M)'chael Danna's The Ice Storm. Lanham, MD: Scarecrow Press, 2007. 2. Mera, M. and Bumand, D. European Film Music. Aldershot: Ashgate, 2006. 3. Mera, M. 'Takemitsu's Composed Space in Kurosawa's Ran', in Robynn Stilwell and Peter Franklin, eds., Cambridge Companion to Film Music. Cambridge: Cambridge University Press, [in press, forthcoming]. 4. Mera, M. 'Reap Just What You Sow: Trainspotting's Perfect Day', in Steve Lannin and Matthew Caley, eds., Pop Fiction- the Song in Cinema. Bristol: Intellect, 2005, 86-97. Film Compositions 5. Mera, M. Broken, dir. Vicki Psarias, Ten Thousand Films, 2007 6. Mera, M. What Does Your Daddy Do? dir. Martin Stitt, Sprig Productions, 2006. 7. Mera, M. Moth, dir. Simon Corris, Amulet Films, 2005. 8. Mera, M. The Goodbye Plane, dir. David Bartlett, Kewhaven Pictures, 2003. The term 'second-generation' in relation to film musicology was first coined by Robynn Stilwell to identify a productive shift away from the ideas of scholars such as Kathryn Kalinak and Claudia Gorbman. Gorbman's seminal text, Unheard Alelodies, for example, contained recurrent arguments about film music as a subservient element in a narrative system, an invisible discourse that 'functions to lull the spectator into being an untroublesome (less critical, less wary) viewing subject.' (1987, 15). More broadly first-generation film musicology was focused on mainstream Hollywood scoring, narrative causality, and the non-diegetic score, often at the expense of other elements of the soundtrack. The Critical Appraisal demonstrates how the author's published work positions itself in relation to and against this first-generation work, seeking to expand the field by employing new methodologies and exploring hitherto undervalued areas of study. The specific areas of examination are: (a) Film music beyond the mainstream Hollywood studio system ('Indiewood', Europe, Japan, Britain); (b) The use of silence, space and ambiguity as a scoring approach and the means by which this empowers the audience, demanding their active engagement with the filmic text, and; (c) Methods of collaboration and communication and their effect on compositional process and product, with a particular focus on the temp-track. As a practising film composer, the author has a unique perspective from which to explore this subject area. In particular, political context, industrial and collaborative practice, and technological methods are interrogated in a manner that is borne out of personal experience. The relationship between the published written and composed texts, therefore, challenges idealistic and mythologized notions of film music that fail to reflect how political structures and creativity interact. The Critical Appraisal also suggests some future directions for study in a rapidly progressing and vibrant field of study.

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Bezzerides, Marianthe E. "Score analysis for music written for "Dead Man's Bluff"." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10024094.

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The process of writing music for a film involves preliminary discussions between the composer and filmmakers where decisions are made on how to create an effective score that supports the story. This project report explores the composition process of Dead Man’s Bluff, a short film noir story directed by Franklin Guerrero, Jr., produced by Calvin Green, Sandra McCurdy and Matt Carmody. In this project, one musical motive representing the femme fatale character is used to create the framework for the entire score. Variations in the musical motive demonstrate nuances in the mood and tone of various scenes. The process of scoring a film also involves a stage of revisions from the filmmaker’s feedback. Final stages of creating a film score involve mixing on a professional stage where the sound effects, music and dialogue volume levels are adjusted to perfect the overall sound.

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Morris, John. "Two shadows in the moonlight : music in British film melodrama of the 1940s." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/11638.

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Includes bibliographical references (p. 135-140).
In this thesis I examine the differences between music in the two cinemas. Concentrating on exemplary films from the late 1930s to the early 1950s, I show how the apparent differences are manifested, and by analysing a number of key British films, I illustrate the modes of musical expression used. There are many ways to approach film music. My own interest lies in the connection between music of the romantic period of the 19th century and what became of it during the 20th. "Serious" music from Schoenberg onwards became increasingly dissonant, but the rich melodic tones of romantic music appear to have found a new home in the cinema, and in this thesis I explore how film composers kept the previous traditions alive.

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Bidgood, Lee. "Banjo Romantika: Film and Community Effort." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1042.

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Gouws, Eugene. "Audio Signal Processing in Ironman A development of film music analysis from a perspective of music technology." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63617.

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The advances in music technology and cinematography in recent years has granted a higher level of importance to the film music. There exists a gap in the academic study of film music as it relates to music technology, as no appropriate methodology exists that can accurately measure the contribution that music technology makes towards the music as it exists in film. This study aims to contribute towards existing methodologies for analysing film music, but from the perspective of music technology, and more specifically how audio processing in the domains of dynamic, spectral, spatial and temporal processing contribute towards the music in the film. This is achieved by building on the proposed methodologies of the study of film music as proposed by Kassabian (2009) and Altman (2000). This new method can be utilized to create a reference list of contributions that audio processing can make towards the soundtrack of a film by isolating the particular contribution that every moment of music is contributing to the film, and then finding how audio processing adds to this.
Mini Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted

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Motazedian, Tahirih. "To Key or Not to Key| Tonal Design in Film Music." Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10584956.

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Scholars have long been dismissive of the viability of long-range tonal organization in film music. Controversy over questions of authorial intent, aural perception and tonal memory, and the ability of a sound track to function as a cohesive "work" have led scholars to steer dear of (or reject) the concept of tonal design in film. To date, filmic tonal design has been explored by only a few scholars in the context of a few films. Having analyzed over sixty films, my work addresses this lacuna, and establishes a systematic methodology for tonally analyzing film sound tracks. My analyses reveal overarching tonal organization and elaborate networks of harmonic relationships, in which specific keys serve explicit functions within the filmic narrative and structure. In addition to overturning prevalent assumptions about the feasibility of large-scale tonality in film, my findings foster a fascinating new level of engagement between a film's music and narrative, and challenge the sedimented notion that key is an irrelevant parameter in the study of film music.

The following films will be analyzed: The Talented Mr. Ripley (1999), The English Patient (1996), Breaking and Entering (2006), The Grand Budapest Hotel (2014), The Royal Tenenbaume (2001), Fantastic Mr. Fax (2009), Moonrise Kingdom (2012), The Darjeeling Limited (2007), Persuasion (1995), Emma (1996), and Amadeus (1984). i

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Marks, Martin Miller. "Music and the silent film : contexts and case studies, 1895-1924 /." New-York ; Oxford : Oxford university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb36988683h.

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Alpizar, Mark. "Miklos Rozsa's "The Killers"| Comparing the concert suite to the original film score." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591620.

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In 2005, materials from Hungarian composer Miklós Rózsa's personal collection were donated to Syracuse University. Among them were copies of materials used in the recording of the original film score to the 1946 movie, The Killers. In this report, these materials are analyzed and compared to the concert suite that was orchestrated by Patrick Russ and John Kull at the request of the composer. This comparison is augmented by an analysis of each of the score's themes including their cinematic functions and discussion of The Killers' origin as a short story by Ernest Hemingway. A brief historical overview of Rozsa's life and notable works is also included.

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Falconi, James. "...COME IL VENTO ATTRAVERSO UN PAESAGGIO DESOLATO AND THE USE OF FILM EDITING CONCEPTS IN MUSIC COMPOSITION." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/235377.

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Music Composition
D.M.A.
...come il vento attraverso un paesaggio desolato, a composition for chamber orchestra in one movement (about 19-20 minutes in duration), demonstrates a personal method for writing instrumental music--one that mimics filmmaking processes. Using my own fictional narrative as a guide, I created the piece as a series of scenes made up of musical images. Within each image, I organize the musical materials as a filmmaker organizes elements of the mise en scène. Exploring the parallels between these two media further, I cut from one image to another, manipulating the music with the mindset of a film editor. This paper is divided into six chapters. Chapter 1 provides background on the genesis of my approach to instrumental music composition. Chapter 2 offers personal observations on film editing and narrative. Chapter 3 is a brief discussion of connections between film editing and instrumental music. Chapter 4 is an examination of narrative in instrumental music. Chapter 5 explores the concept of the musical image. Chapter 6 is an analysis of ...come il vento attraverso un paesaggio desolato, including: the use of narrative, the translation of mise en scène to the musical image, the translation of film editing concepts to organize musical ideas, my choices in timbre and instrumentation, and, finally, a conclusion on this approach to composition.
Temple University--Theses

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Lin, Zhichun. "Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374231964.

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Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.

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Bauer, Shad A. "Film, Music, and the Narrational Extra Dimension." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365444831.

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Sallustio, Edward John. "Scoring Masculinity in Crisis: Thomas Newman’s Sonic World and the Disintegration of the Indiewood Male." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1544183693252701.

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Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music. Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era. The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.

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Green, Dusin J. "The Synthesizer: Modernist and Technological Transformations in Film Sound and Contemporary Music." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/700.

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The invention of the synthesizer meant the possibility of achieving virtually any sound in one mechanism, a superbly convenient device for musical creativity. Perhaps the perfect space for this approval of sound creativity was in the modern electronic film score. The synthesizer also flourished in popular music immediately following its emergence, but a common form began to solidify itself among synthesizer music. Shortly after, improvements in electronic instrument technology led to the democratization of electronic music and equipment, ultimately leading to electronic music as the new mainstream.

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Lehman, Frank Martin. "Reading Tonality through Film: Transformational Hermeneutics and the Music of Hollywood." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10219.

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Film musicology is growing at a heartening pace, but the discipline is still bereft of sustained contributions from music theory. The current study seizes the opportunity presented by the underanalyzed repertoire of film music, offering an argument for applying the techniques of transformational analysis, and neo-Riemannian analysis in particular, to the interpretation of music for the moving image. Film musical style and form respond strongly to a transformational approach, which adapts well to both the triadic chromaticism characteristic of Hollywood’s harmonic practice and the dynamic and contingent condition of musical design inherent to the medium. Concurrently, the analytic tools and conceptual structure of neo-Riemannian theory benefit from exposure to a fresh repertoire with different analytic needs than those of art music. In this dissertation, the author scrutinizes the capacity for tonality to act as a unifying and dramatically potent force in film. With parameters of effective cinematic tonal design established, the adapted transformational methodology responds faithfully to the expressive and temporal qualities of the soundtrack. The author develops a model for harmonic associativity and a general hermeneutics of transformation, extrapolated from analyses of scores from John Williams, James Horner, Jerry Goldsmith, and many others. The power of the transformational approach to capture tonal phenomena through spatial representations is marshaled to perform critical readings of scores for A Beautiful Mind and Star Trek. Not only can the neo-Riemannian stance illuminate the way film music works, but it can train the listener and analyst to perceive and enjoy film with more sensitive ears.
Music

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Nguyen-Phuong, Jessica. ""All You Need Is Love": The Rising Importance of Celebrity Status, Social Media, and Fandoms in the Music Industry." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/478.

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Over the past several years, the economics of the music industry has completely shifted: positive online presence, a widespread fan base, and the celebrity status have overridden high record sales. The music industry isn’t just about the music anymore. Admiration for ones talent has quickly diminished into admiration for ones celebrity status. Those attempting to break the entertainment industry must seek the approval of the harshest critics – the public – before even thinking of success. Through different generations, trends, and eras, boy bands have stood the test of time. The cookie cutter formula for a boy band has always proven successful in the music industry as boyishly good looks, harmonies, and dance moves are a sure winner. Through the case study of Beatlemania and One Direction, this thesis will explore the changes in the music industry and what it takes to become an established artist in this generation.

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Edmonds, Brianna Phylice. "A Study of Animating to Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/504.

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I have always had an interest in musicals. I enjoy the way storytelling can happen through a single musical segment. I have always been interested in how music can set the tone in an instant. Because, of this I decided my thesis would be more of a conceptual one. My vision for my thesis project was to create a sequence that is animated to music and will tell a story through a sequence that is set to music.

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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.

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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen. Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.

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Lewis, Hannah Rose. "Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11376.

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This dissertation examines music's role in cinema in the early years of synchronized sound film in the United States and France. Working against the historical and technological determinism that often plagues narratives of the transition to sound, I investigate the myriad ways in which directors, producers, and composers approached the new technology. Films acted as artistic manifestoes on the new technology and its aesthetic potential as filmmakers experimented with the musical soundtrack. Through multi-site archival research and close analyses of films and their music, I point to the heterogeneity of film music practices during synchronized sound's nascent years, considering early sound films as sites of aesthetic contestation and negotiation.
Music

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Lange, Shara K. "Screening: Banjo Romantika: American Bluegrass Music and the Czech Imagination." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3649.

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Musundwa, Sibongile C. "Discursive practices around film and music piracy in selected newspaper articles and radio broadcasts in South Africa." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13765.

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This thesis analyses South African news media discourses on piracy to consider whether corporate interests or those of civil society are served by stories about copyright infringement and piracy awareness campaigns. This thesis employs critical discourse analysis to show that hegemonic interests are ultimately served by news coverage, made up of selected newspaper articles and radio broadcast over a ten year period, that frames a range of commercial and non-commercial copying activities as criminal acts. Two dominant frames are identified: piracy as an economic issue and piracy as a crime. The thesis shows how the harms of copyright infringement are conflated by ideologies of the 'pirate' as a violent criminal and 'piracy' as an activity against commerce. The thesis finds a fracturing boundary between the orders of discourse of corporate and civil interests and those of news media. Entertainment media, as one block, garners a way to construct and sustain alliances with news and information media (such as newspapers and news and talk radio), taking on an ideological form. When this type of consent is won, and thus elite interests served, the ability to ensure a richly sourced and diverse public domain and public sphere is compromised.

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Mcdowell, Michael A. "Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6319.

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The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.

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Shankar, Vikram A. "Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1493750469131887.

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Dittrich, Elisabeth, and Rebecka Karlström. "Musik i Film : The Sound of Movies." Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.

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The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.

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Schweitzer, Dennis Christopher. "Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.

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Webster, Jamie Lynn 1974. "The music of Harry Potter: Continuity and change in the first five films." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10597.

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xx, 800 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Despite the immense popular and critical response given to the Harry Potter narrative and phenomenon, little has been written about the music for the Harry Potter films. I establish that the aesthetic differences that viewers perceive between the different Harry Potter films are largely due to the musical approaches of composers John Williams, Patrick Doyle, and Nicholas Hooper over the course of four director/composer collaborations for the first five films. This study provides a rare opportunity to examine the work of different composers for a continuing narrative. Moreover, when we explore how music is used in varied ways within the films, we see how each musical approach shapes film visuals into the narrative that the filmmakers sought to convey; when the music changes, the story changes. Music creates the geographic, cultural, and temporal landscapes that draw us in to Harry's 'muggle' and magical worlds. Music defines the way we perceive Harry's emotional experiences of love, joy, loss, and death, and also defines the philosophical perspectives on the nature of evil and its conquest. Sometimes, the music provides clues to the mystery long before visuals and dialogue address them, and musical relationships (with visuals and within the music itself) allow us to perceive the properties and powers of magic and humanity that may otherwise transpire unseen. Music also plays a role in the types of humor that are represented in the films--from socially-sanctioned transgressions, to macabre, to bawdy, deadpan, and caricature. However, while the core narrative themes in the films are closely related to the main themes in Rowling's original novels, an examination of how Rowling's descriptions of musical events compare with representations of these events in the films reveals that Rowling created a more nuanced social landscape (especially with regard to gender) than is re-contextualized with music in the films.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Mark Levy, Member, Music; Carl Bybee, Outside Member, Journalism and Communication

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Shaw, John Brendan. "Touching History to Find “a Kind of Truth”: Black Women’s Queer Desires in Post-Civil Rights Literature, Film, and Music." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468845503.

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Andersson, Anton, and Tobias Eriksson. "Effekten av Mickey-Mousing i datorspel : En studie av Mickey-Mousing och dess effektivitet i dynamiska datorspel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17145.

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Mickey-Mousing är en ljudläggningsmetod som använts sedan de tidiga tecknade filmerna i slutet på 1920-talet och beskrivs som en ”musikalisk imitation av fysisk rörelse”. Det har använts genom tiderna för att betona och förstärka de grafiska händelser som sker på filmduken, och har nu även förts in i ett nytt medie - datorspel. Det som undersöks i detta forskningsarbete är användandet av Mickey-Mousing, och dess legitimitet inom spelgenren fumblecore. Frågeställningen som undersökts lyder: Hur påverkar Mickey-Mousing spelupplevelsen i fumblecore-spel jämfört med diegetisk, realistisk ljudläggning?

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Alexandersson, Sara. "Sångens roll i filmmusik : En undersökning om filmmusik utan film kan gestalta en tydlig berättelse med känsla och budskap." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4074.

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One thing that has inspired me about film music is that it has always managed to easily pull me into a different reality. In this essay I have gone deeper into different methods of convey- ing storytelling through music. I have composed nine songs to four different filmmakers materials. This was performed at KMH the 6th of April. I did some thorough research before composing, which affected my way of approaching the music. The methods I used was proven helpful for me, not only in a compositional stage, but useful also in my vocal interpretation, when conveying the material to a band and when thinking about how the concert was going to be executed. I will use these methods further in my work as a singer and composer.

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Wood, Nicole E. "Conducting Experiments: On the Connections Between Experimental Art Praxes and Performance Studies." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1047.

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This dissertation explores experimentation--across experimental music, experimental theatre, and experimental film, in addition to the term's etymology, scientific usage, and colloquial deployment--in order to derive a deeper understanding of what we mean when we say an artwork is experimental, and how this term can help us understand current artistic praxes and products emerging from performance studies contexts. In this document, I advocate for the term experimental performance as both an umbrella term and as a specific genre name for the artistic activity of contemporary artists working between experimental theatre and performance art, often within performance studies contexts. Ultimately, citing the historical richness of experimental art and its long-standing relationship to the academy as evidence, I advocate for the further academic acknowledgement of experimental performance.

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Howard, Amy L. "Stormy Weather: Lena Horne, Dorothy Dandridge and the Cultural Politics of Stardom." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626198.

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Ndaliko, Cherie. "Beyond Charitable Imperialism: Intersections of Third Cinema, Music, and Social Change in (Post-) Conflict Democratic Republic of the Congo." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10170.

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Beyond Charitable Imperialism investigates the role of film, digital media, and music in mediating social and political change in conflict regions with specific attention to the aesthetic choices, ethical implications, and lived consequences of audio-visual production in and about Congo. This study intervenes in the discourse on activist African cinema through a bi-directional investigation of (1) increasingly prominent instances of aesthetic and ideological practices in Congolese film that are emerging as central to larger projects of social transformation, and (2) the extent to which humanitarian narratives depicting present-day Congo obscure or expose the ongoing, neo-colonial power struggle between Congo and the West. My research includes critical analyses of temporality, memory, and language in audio-visual representations of Congo, as well as extensive field research investigating embodied instances of the 'film act.' In this context I advocate a historically informed reading of the correlation between current cinema practices and contemporary history based on the evolutionary relationship between audio-visual media, politics, and identity. Drawing on frameworks of militant Third Cinema this study interrogates the role of media in the creation and dissemination of 'Truth' and thereby draws pointed attention to global consequences that form the basis of what I call charitable imperialism. With methodological inspiration across disciplinary lines from scholars including Frantz Fanon, Teshome Gabriel, and Stuart Hall, I offer an anatomy of the particular ways in which film can emerge as a real means of social transformation in the face of conflict and mental colonization. Central to this inquiry is the history of resistance embedded in Congolese musical practices. I suggest that, fortified by intersections with visual technology, the elevated cultural capital of song as a vehicle of social mobilization is reconstituting both music and visual media and increasingly allowing Congolese voices to participate in global dialogues on their own terms. Ultimately I conclude that mediated agency effectively challenges charitable imperialism and repositions Congolese subjects as viable agents of sustainable social transformation.
African and African American Studies

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Petersen, Theodore G. "Documenting Dylan : how the documentary film functions for Bob Dylan fans." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001902.

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Ma, Siyuan. "To Utopianize the Mundane: Sound and Image in Country Musicals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6112.

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Many consider music, songs, and dance performance as utopian signifiers for cinema, but few has entered the utopian discourse of country musicals, a small genre of cinema usually known as country music films. By closely scrutinizing Pure Country (1992), this thesis aims to reveal how country music—as music numbers and as background cues— integrate and connect the fragmented on-screen world for the country musicals so as to offer audiences a fullness of utopian experience, and how this utopian effect are culturally significant for American audiences due to country music’s unique mechanism of constructing utopia and nostalgia in its past-orientations, sentimentalities, and alleged authenticities. I argue because of the American country music’s internal need for utopia as an individual and social agent, Pure Country, as well as the neo-traditionalism country music defined by Pure Country, reconciles the pop and the old time country music, and also conciliates the tension expressed in such music tastes between the rural and urban communities. This reconciliation makes Pure Country a not so perfect cinematic text for documenting country music’s authenticity and origin, but fully and clearly reflects the utopian meaning of country music on an individual and social level.

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Bruce, Amanda P. "Constructed and Manifest Truths in Music for Andrzej Wajda's Man of... Film Trilogy." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu15280135787607.

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Colombo, Ambrose. "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/83.

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Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.

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Chandler, Yuell "Chuck" E. IV. "OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/1.

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The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.

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Schlotterbeck, Jesse Keith. "The popular musical biopic in the post-studio era: four approaches to an overlooked film genre." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3530.

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The mid-2000s saw a surge in the popularity of musical biopics: films such as Ray (2004) which tell the story of a star musician. While academic studies have addressed biopics treating classical and jazz composers, the popular musical biopic (encompassing blues, folk, pop, country, rap, and rock) is not only the least studied subtype of the musical biopic, but the most profitable and frequently made. I analyze four different aspects of the musical biopic that illustrate its significance: Chapter One addresses the musical biopic in the context of the post-studio era entertainment industry. I study A Hard Day's Night as a film which reconciles artistry with the commercial imperative of cross-promotion. Chapter Two surveys the increased presence of minority entertainers in post-studio era musical biopics, covering films featuring African American musicians, as well as films which pair a black mentor with a white musician or producer. Chapter Three examines the relationship between storytelling, particularly the portrayal of love relationships, and song performances. I find in that the post-studio era musical biopic often reconciles narrative structures inherited from the classical Hollywood musical with post-classical film styles. Chapter Four, a psychoanalytic study of the contemporary musical biopic, theorizes the genre's turn to the representation of flawed and scandalous subjects.

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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.

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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika: Across Genres & Disciplines." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3653.

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Gallo, Rafael Eduardo. "As trilhas musicais originais do cinema brasileiro após a retomada: os compositores e seus processos de criação e produção." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-17112015-101726/.

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O objetivo deste trabalho é estudar o cenário de composição e produção de trilhas musicais no cinema brasileiro desde o período chamado de Retomada até a atualidade, analisando como as transformações tecnológicas na produção musical e cinematográfica, as renovações no elenco de profissionais e artistas do cinema e do mercado fonográfico, o restabelecimento de uma produção cinematográfica baseada nas leis de incentivo criadas na década de 1990 e outras contingências colaboraram para a solidificação de novos modelos de produção de trilhas musicais originais na contemporaneidade. O momento atual do mercado cinematográfico brasileiro é marcado por significativas reconfigurações nas cadeias de produção, com predominância de modelos organizacionais que se caracterizam pela produção \"projeto por projeto\", dentro dos quais é comum haver um enxugamento da estrutura profissional e logística. Os compositores musicais são caso a se destacar nesse cenário, pois seu perfil contemporâneo difere-se bastante da figura tradicional, que costumava se tratar de um músico alinhado às práticas da música de concerto, com o trabalho voltado para a escrita na partitura e a ausência de relação direta com o aparato técnico de gravação e edição analógicas. Os compositores e produtores musicais de hoje, por conta dos avanços tecnológicos nas ferramentas digitais de áudio, do barateamento de equipamentos e das transformações no mercado cinematográfico, fonográfico e publicitário, caracterizam-se em geral por criarem suas músicas já no ambiente de produção digital, comumente aliando composição, gravação, execução, edição, mixagem e sincronização com a imagem no mesmo processo; são em sua maioria donos de seus próprios estúdios de gravação ou empresas produtoras de áudio e são bastante autossuficientes, centralizando no próprio trabalho muitas das tarefas que antes requeriam um número maior de profissionais, bem como estruturas mais complexas de produção, muitas vezes inviáveis na realidade cinematográfica anterior do país.
This research aims at studying the setting of composition and production of musical scores for the Brazilian cinema since the period called as Retomada until nowadays, by analyzing how the technological transformations in music and film production, the renovations in the cast of professionals and artists involved in movies and in the music market, the reinstatement of movie production based on financial incentive laws created on the 1990s and other contingencies have collaborated to solidify new models of film scores production in the contemporary years. The present moment of Brazilian cinematographic market is marked by meaningful reconfigurations in the production chains, with the predominance of organization models characterized by the \"project by project\" productions, in which is common a reduction of the professional and logistic structure. Music composers are to be distinguished in this setting, for their contemporary profile is very different than the traditional figures, who used to be musicians aligned to the classical music practices, with works based in musical notation and without much direct relationship with the technical apparatus of analog recording and editing. Music composers and producers nowadays, because of the technological advances in digital audio tools, the lower costs of the equipment and the transformations in the movies, music and publicity markets, are characterized, in general, for creating their music in digital production environment, commonly allying composition, recording, execution, editing, mixing and synchronization with the image in the same process. They are, mostly, owners of their recording studios or audio producing companies and are very self-sufficient, concentrating in their own work a lot of tasks that would require a greater number of professionals and a more complex structure of production before, which were impracticable many times in the earlier cinematographic reality of the country.

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Piotrowski, Stephanie Anne. ""All I've got to do is act naturally" : issues of image and performance in the Beatles' films." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/51353.

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In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.

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Villarreal-Licona, Aida M. ""Pa'l Norte," "Sueño Americano" e "Ice El Hielo": Un Análisis del Video Musical en el Desmontaje de la Retórica Anti-Inmigrante en los Estados Unidos." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/884.

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This thesis is an analytical case study of three music videos, "Pa'l Norte" by Calle 13, "Sueño Americano" by Los Rakas, and "Ice El Hielo" by La Santa Cecilia. It explores the visual and lyric narratives of these works and their role in critiquing anti-immigration rhetoric towards Latino immigrants in the United States in a post-9/11 context. Through critical analysis, this thesis argues that their work is vital in dismantling the dehumanizing and criminalizing language prevalent in legal and popular discourse, as well as challenging the manifestations of everyday "illegality."

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Zackery, Shane M. "The Genre Formerly Known As Punk: A Queer Person of Color's Perspective on the Scene." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/334.

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This video is a visual representation of the frustrations that I suffered from when I, a queer, gender non-conforming, person of color, went to “pasty normals” (a term defined by Jose Esteban Munoz to describe normative, non-exotic individuals) to get a definition of what Punk meant and where I fit into it. In this video, I personify the Punk music movement. Through my actions, I depart from the grainy, low-quality, amateur aesthetics of the Punk film and music genres and create a new world where the Queer Person of Color defines Punk. In the piece, Punk definitively says, “Don’t try to define me. Shut up and leave me to rest.”

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Christensen, Daniel. "Stereotyper i toner : Musikens roll i konstruktionen av stereotyper i svensk film under 1990- och 2000-talet." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200618.

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The aim of this paper is to investigate what part film music plays in the creation of stereo-types in the production of Swedish cinema, in the 1990s and early 2000s. This period of Swedish cinema was largely defined through the visualization of life in the smaller provinces of the country. The results were reached through the analyzing of four important works of this era, representing different provinces and genres. The examined movies have shown frequent use of extreme characters and a somewhat hostile environment in search of an interesting story. The music is used in ways of describing class differences amongst the inhabitants and to set the gen-eral mood of the concerned provinces: an agent often working in the unconscious of the viewer in order to affect the final results.

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Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.

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This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them. Through a mix of creator and player interviews, participant observation, content analysis, and autoethnography, I look at the intersection of these two literatures (the rock music video game) to see how gender is hard-coded into the game, and what opportunities, if any, exist for subversion of societal and industry gender norms. Through not just looking at the game as text, I present a more “thick description” of a video game that takes into account the creators of the games, the players that play them, and a researcher that occupies multiple identities within the space. I argue that, in an effort to replicate an authentic rock musician experience in a video game, Rock Band and Rocksmith often replicate a lot of these gendered messages. The games’ text and set list emphasize a male-centric rock music canon. Rocksmith’s original whiskey-soaked visual design and marketing skew heavily towards an older male demographic. However, resistances to these codes exist in both the players who defy expectations by showing up to perform and compete, as well as the creators who actively work to make these games more inclusive via changes to future games as well as inclusive hiring practices, marketing, and music sourcing (with varying degrees of success).

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Atterstig, Elin. "Att höra genre : Vad ljudet i filmens inledning berättar om genre." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.

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This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.

The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.

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Rogers, Katherine Linn. "The Sounds of "Pac-Man Fever": Intersections of Video Game Culture and Popular Music in America." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1559848783170242.

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Dissertations / Theses on the topic 'Film music studies'

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