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Dissertations / Theses on the topic 'Film scoring'
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Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.
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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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Ellis-Geiger, Robert Jay. "Trends in contemporary Hollywood film scoring : a synthesised approach for Hong Kong cinema." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486141.
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Within the context of contemporary Hollywood film music production; this thesis explores the use and application of technology for orchestral composition, orchestral music recording, through to the final delivery and integration of music on the dubbing stage. It also looks at the impact of technology on the entire post-production process and explores alternative ways for a more integrated filmmaking experience between director and composer. This empirical· research was successfully applied to the production of two Hong Kong feature film scores for Election 2 (2006) and· After This Our Exile (2006) and the production of the first Hong Kong film orchestral scoring session at Shaw Studios on the 22nd of February 2007.
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Sapiro, Ian Peter. "Scoring the score : The role of the orchestrator in the contemporary Bristish film industry." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535662.
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Dunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.
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Lawson, Matthew. "Scoring the Holocaust : a comparative, theoretical analysis of the function of film music in German Holocaust cinema." Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8840/.
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Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialisation process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The musical score often goes unnoticed, but may also contain emotional qualities. It can make an audience laugh, cry or alter their perception of the narrative. The three countries of East, West and reunified Germany have each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This thesis combines three key existing fields of academia: film music theory, Holocaust representation in film, and German politics, history and culture. Through comparative textual analyses of six film case studies, two each from East, West and reunified Germany, this thesis examines whether there are examples of similarities or inherent, reoccurring musical characteristics which define the Holocaust on screen. Furthermore, the six analyses will be supported by contextual examinations of the respective countries, directors and composers in order to ascertain whether there were political, cultural and/or social considerations which impacted upon the film scores. The original contribution to knowledge to which this thesis lays claim is that it forms the first significant scholarly engagement with not only the film music of German Holocaust cinema specifically, but, on a broader scale, the ongoing theoretical discourse surrounding film music and representation. This new contribution to Holocaust knowledge also extends to a continued development of the understanding of and engagement with the event and its audio-visual representations.
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Ahn, Soo H. "Metropolis : music score for the film directed by Fritz Lang ; Scoring Metropolis : the development of my compositional practice." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/31449/.
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This commentary documents the compositional process of writing film music for the classic expressionist silent film Metropolis (Lang, 1927), using MIDI-based orchestral sound resources. Metropolis was chosen from within other possibilities, such as Battleship Potemkin or Nosferatu, not only due to the belief that the film’s surreal eerie mood and machine-like characters could be represented well by the Second Viennese School’s musical style that I intended to adopt, but also due to a judgment that leitmotivic transformation and use of themes as character links fit into a work so rich with characters’ showing subtle psychological states. I set out to compose an original orchestral score for Metropolis with the idea in mind, that film music should contribute to the audience’s integration with the drama and reinforcement of dramatic tensions by strategically supporting the film’s plot and narrative, and that an agreeable conceptual blending between film and music would be crucial to a successful composition. For this task, a thorough review of the leitmotif and related literature about music semiotics and meanings, together with a brief discussion of the MIDI sampler orchestra, proved to be necessary. Metropolis, a pioneering masterpiece of sci-fi, which contains a gloomy portrait of the futuristic world, encouraged me to experiment with the diverse possibilities not only of the leitmotif, but also of kaleidoscopic sound originating from various combinations of virtual instruments of the MIDI sampler orchestra and ultimately to show my musical process. The document traces the leitmotif as a primary compositional device for thematic manoeuvre in both film composers’ scores and major scholars’ discussions; it also incorporates current scholarly research about music semiotics and meanings, which has guided choices in each stage of my compositional process. I have revealed how I applied such lessons as Ennio Morricone’s microcell technique, Danny Elfman’s transformation approaches to thematic material, Howard Shore’s reflection of meaning onto music, and Ilan Eshkeri’s use of themes as character links to my Metropolis. I organized the main character’s associate themes using microcell and transformation techniques and contextualised them as character links. For instance, I produced tunes for cold-hearted characters, such as Rotwang, robot Maria, and high buildings, with the twelve-tone technique, poignant dissonances through interval-classes 1 and 6, recursive rhythmic patterns, or their combinations; I also adopted two distinct types of an octatonic scale to describe contrasting personalities of the two characters and a chord based on 2nd intervals to express the moment when Rotwang’s evil reaches its zenith. Metropolis serves not only as an artistic repository for numerous symbols, but also as a web of leitmotifs towards musical and filmic unity.
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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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Georgiou, Chrystalla. "Beyond narrative : a cross-modal approach to soundtrack composition." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18621.
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This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.
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Doughty, Ruth. "Scoring a black aesthetic : music in the films of Spike Lee." Thesis, Keele University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412510.
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Namanya, Anitta P. "A Heuristic Featured Based Quantification Framework for Efficient Malware Detection. Measuring the Malicious intent of a file using anomaly probabilistic scoring and evidence combinational theory with fuzzy hashing for malware detection in Portable Executable files." Thesis, University of Bradford, 2016. http://hdl.handle.net/10454/15863.
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Malware is still one of the most prominent vectors through which computer networks and systems are compromised. A compromised computer system or network provides data and or processing resources to the world of cybercrime. With cybercrime projected to cost the world $6 trillion by 2021, malware is expected to continue being a growing challenge. Statistics around malware growth over the last decade support this theory as malware numbers enjoy almost an exponential increase over the period. Recent reports on the complexity of the malware show that the fight against malware as a means of building more resilient cyberspace is an evolving challenge. Compounding the problem is the lack of cyber security expertise to handle the expected rise in incidents. This thesis proposes advancing automation of the malware static analysis and detection to improve the decision-making confidence levels of a standard computer user in regards to a file’s malicious status. Therefore, this work introduces a framework that relies on two novel approaches to score the malicious intent of a file. The first approach attaches a probabilistic score to heuristic anomalies to calculate an overall file malicious score while the second approach uses fuzzy hashes and evidence combination theory for more efficient malware detection. The approaches’ resultant quantifiable scores measure the malicious intent of the file. The designed schemes were validated using a dataset of “clean” and “malicious” files. The results obtained show that the framework achieves true positive – false positive detection rate “trade-offs” for efficient malware detection.
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OLIVEIRA, Marcos Santos. "Proposta de um modelo de Credit Scoring para uma carteira de cr??dito consignado visando a????es de Cross-Sell." FECAP, 2016. http://tede.fecap.br:8080/jspui/handle/jspui/719.
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license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2016-12-12T17:27:40Z (GMT). No. of bitstreams: 2 Marcos Santos Oliveira.pdf: 970582 bytes, checksum: 6d45d32bff529faa3e4f900f0ff06309 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-28
This work has the objective to analyze the efficiency of the credit scoring model in cross-selling action to provide greater profitability aligned with the risk of new product. This study differs from others by using a database of clients who Payroll-linked loan from the conventional modeling of a Credit Scoring offer another product, the credit card that requires a better profile for meeting payments. The study resulted in 3 of profitability and performance scenarios. In Scenario 1 without use of shoring showed profitability of R$ 0.5 million and delinquencies of 16.1%. In the others scenarios with the use of the yields scores exceeded R$ 2.3 million and delinquencies below 9%. Scenarios 2 and 3 with just score Bureau companies. Scenario 4 includes Credit scoring model developed in this work, we showed the best discrimination between good and bad customers and the highest rate of approval, 75% against 64% of the best Bureau. For this, we used data provided by a financial institution. Using SPSS and statistical techniques, the risk analysis Relative, construction of dummies and Spearman correlation analysis, generated the model Logistic Regression Binary, validated with the Kolmogorov-Smirnov test, the ROC curve and others. The model developed credit scoring showed good results as to their power of customer classification. The effectiveness of Logistic Regression as credit performance prediction tool enables the application of the use of credit scoring model by the financial institution provider of data to improve profitability and default of the customer portfolio by credit card coming from the customer base of payroll loan.
Este trabalho tem o objetivo de analisar a efici??ncia do modelo de credit scoring na a????o de cross-selling para proporcionar uma maior rentabilidade alinhada ao risco do novo produto. A realiza????o deste estudo se diferencia dos demais por utilizar uma base de dados com clientes que realizaram empr??stimo Consignado, a partir da modelagem convencional de um Credit Scoring ofertar outro produto, o Cart??o de Cr??dito que exige um melhor perfil para cumprimento dos pagamentos. O estudo resultou em 3 cen??rios de rentabilidade e desempenho. No Cen??rio 1 sem uso do escoramento apresentou rentabilidade de R$ 0,5 milh??es e inadimpl??ncia de 16,1%. Nos demais cen??rios com uso de escores as rentabilidades ultrapassaram R$ 2,3 milh??es e inadimpl??ncias abaixo de 9%. Os Cen??rios 2 e 3 apenas com escore de empresas Bureau. O Cen??rio 4 inclui o modelo Cr??dit Scoring desenvolvido neste trabalho, apresentou a melhor discrimina????o entre clientes bons e maus e a maior taxa de aprova????o, sendo 75% contra 64% do melhor Bureau. Para isso, utilizou-se de dados fornecido por uma institui????o financeira. Utilizando o SPSS e t??cnicas estat??sticas, a an??lise de Risco Relativo, constru????o de dummies e a an??lise de correla????o de Spearman, foi gerado o modelo de Regress??o Log??stica Bin??ria, validado com o teste Kolmogorov-Smirnov, a Curva ROC e outros. O modelo de Credit Scoring desenvolvido apresentou resultados satisfat??rios quanto a seu poder de classifica????o dos clientes. A efic??cia da Regress??o Log??stica, como ferramenta de predi????o de performance de cr??dito, habilita a aplica????o da utiliza????o do modelo Credit Scoring pela institui????o financeira provedora dos dados para melhorar a rentabilidade e a inadimpl??ncia da carteira de clientes com Cart??o de Cr??dito oriundo da carteira de clientes do empr??stimo Consignado.
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CHAN, SHEVAUN, and 陳善朗. "The Analysis of Film Scoring, as the example of the re-scoring of Lavatory-LoveStory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/jums6r.
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碩士輔仁大學
音樂學系
106
This paper is based on an animation Lavatory-LoveStory which is produced by a Russian animation director Konstantin Bronzit. The author of this paper re-scores the soundtrack and re-makes the sound effects for the animation. The study can be concludes the ideas and the concepts of composing. Besides, the whole writing is divided into two sections as following. They are discussion of the original soundtrack and analysis of the reproduction. To discuss of the original soundtrack, we have to understand the producer’s background before organizing the characteristics of music and discussing compositional techniques in the original version. In the section of reproduction, the technique“idee fixe” dominates on the work. First of all, the author elaborates the theory and then explains the re-scoring part by motives, orchestration and tonality. On the part of sound effects, several clips are chosen to present the application of sound effects. After the discussion of these two sections, the author makes a comparison at last. To sum up, the author points out the concepts of the film scoring composition and expects the paper can be a good example on creating more different types of music in the future.
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Gallon, Courtenay Glenn Brewer Charles E. "Liquid Sky Cult cinema, film scoring, and the Fairlight CMI /." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11132007-163416/.
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Thesis (M.M.) Florida State University, 2007.Advisor: Charles E. Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-14-2008). Document formatted into pages; contains 57 pages ; appendices contained in separate PDF documents. Includes biographical sketch. Includes bibliographical references.
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HUANG, WEN-TING, and 黃文渟. "The Analysis of Film Scoring, Sound Effects and Audio Mixing of the Animation “The Last Belle”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/77451951917557082213.
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碩士輔仁大學
音樂學系
104
The author produced the background music and sound effects for the animation “The Last Belle”, and wrote this thesis to analyze the composing techniques and the concepts of the music production. The analysis is described in three different sections: the production of the film scoring, the design of the sound effects and the practice of audio mixing. In the section of the film scoring, the author described the composing concepts and techniques by orchestration, tonality, and the use of musical themes. In the analysis of the sound effects, the author chose several important sections from the animation to demonstrate the use of the sound effects, and to illustrate how the different categories of the sound effects are used in the different scenes. The practice of the audio recording and mixing is analyzed in two parts, which include the set-up of the metronome in order to synchronize the audio and video during the recording, and the audio mixing of the dialogues, sound effects and the recording of the real and virtual instruments. Also, the author also collected audio mixing references and documented the procedures of the audio mixing of this project in order to systematically represent the concepts of the audio mixing. In the conclusion, I summed up the concepts used in the musical composition and reviewed the problems happened during the process of the production in the hope to improve my composing techniques; moreover, to utilize these skills and concepts in the future.
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Johnston, Phillip. "The polysynchronous film score: the relationship between music and image/narrative in contemporary scores for silent film." Thesis, 2015. http://hdl.handle.net/1959.13/1306492.
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Research Doctorate - Doctor of Philosophy (PhD)The medium of contemporary scores for silent film offers extraordinary opportunities for innovative relationships between music and film. The “polysynchronous film score” is a term suggested for the purpose of this paper, referring to film scores whose relationship to the image/narrative falls outside the established analytical dichotomy of the terms synchronous/asynchronous, upon which the prevailing discourse in film music studies has been based. The research has a threefold intention: i) to identify the dominant conventions of film music, and silent film music in particular, and show how they are adhered to in contemporary scores for silent film. ; ii) to show why the art form of contemporary scores for silent films provides unique opportunities to work outside of these conventions. ; iii) to point the way to possible alternative relationships between music and film. I begin by discussing current thinking about the relationship between music and film, and how film music conventions are maintained in contemporary scores for silent films, as well as the ways in which assumptions about “silent film music” influence the latter. I then discuss both the history and technique of silent film scores in their original incarnation (circa 1895–1930). This is followed by a short history of the art form of contemporary scores for silent film, focusing mainly on a discussion of the work of some important practitioners and an analysis of excerpts from their work in terms of the conventions that I have discussed in earlier chapters. I then give some specific examples that exemplify some of the possibilities for the polysynchronous approach, drawn from my own work. The last part of my written thesis is an exegesis of my current creative practice work: the 65-minute score for Lotte Reiniger’s 1927 silhouette animation The Adventures of Prince Achmed, focusing on the ways in which it expresses the ideas of polysynchronicity and innovation in silent film scoring.
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Sheikhkhan, Sharareh. "Analysis of Iranian film music (with focus on some contemporary composers) = Analyse de la musique de film iranien (avec un accent sur certains compositeurs contemporains)." Thesis, 2020. http://hdl.handle.net/1866/25401.
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La musique existe depuis des siècles mais la composition de musique pour film est un art
relativement nouveau. Cela implique un équilibre délicat et une attention critique aux
relations entre ce que l'art visuel présente et comment la musique devrait accompagner
l'image pour transmettre un sentiment. Au fur et à mesure que ce nouveau domaine de la
musique évolue, les recherches et les expérimentations qui l'entourent évoluent
également. Partout dans le monde, nous voyons des musiciens ainsi que des chercheurs
en musique jeter un oeil à différents aspects de la façon dont la musique peut élargir
l'image. Dans un pays comme l'Iran, avec une histoire du cinéma presque aussi vieille que
le cinéma lui-même, il y a très peu de connaissances dans ce domaine. Seuls quelquesuns
des compositeurs qui ont travaillé sur la musique de films au siècle dernier du cinéma
iranien avaient une connaissance académique de la musique, sans parler de la musique
pour écran. Dans cette recherche, nous examinons l'histoire de la musique pour le cinéma
en Iran, depuis le tout début en 1900 jusqu'à ces dernières années. Nous présentons un
bref historique des premières années ainsi qu'une analyse de la façon dont la musique s'est
progressivement répandue dans la production cinématographique. Ensuite, nous
discutons de quatre générations de compositeurs de films iraniens, chacune représentée
par un compositeur éminent de cette génération. Nous analysons leur style et leur travail,
puis nous analysons spécifiquement l'une de leurs oeuvres les plus marquantes.Music has existed for centuries but composition of music for film is a relatively new art. It involves a delicate balance and critical attention to the relations between what the visual art presents, and how music should accompany the picture to convey a feeling. As this newly formed field of music evolves, so does the research and experimentations around it. All around the world we see musicians as well as music researchers peeking at different aspects of how music can expand the image. In a country like Iran, with a history of cinema almost as old as cinema itself, there is very little knowledge of this field. Only a few of the composers who worked on film scoring in the last century of Iranian cinema had academic knowledge of music, let alone music for the screen. In this research, we examine the history of music for cinema in Iran, from the very beginning in 1900, to the recent years. We present a brief history of the early years along with analysis of how music gradually became widespread in film production. Then we discuss four generations of Iranian film composers, each represented by a prominent composer of that generation. We analyze their style and work, then we specifically analyze one of their most prominent works.
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Saindon, Marie-Claire. "Danse, film, théâtre : une exploration de la collaboration créative entre la musique et les arts de nature visuelle." Thèse, 2010. http://hdl.handle.net/1866/4725.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).Le programme de composition de musiques de film et multimédia de la Faculté de musique à l'Université de Montréal encourage la création de trois musiques de nature différente: acoustique, électroacoustique et mixte. Ces dernières supportent chacune une oeuvre visuelle. Pour mieux explorer les possibilités, trois projets de nature visuelle différents, soit une chorégraphie, deux court-métrages cinématographiques et une oeuvre dramatique, ont été créées en collaboration avec d'autres artistes. Pour la chorégraphie, X/Y, une trame sonore a été créée pour être jouée sur place par un petit ensemble acoustique. La musique des films, Mi Feng et Motel Pluton, est un mélange d'échantillonneurs et d'instruments acoustiques et a été enregistrée en studio. Quand à l'oeuvre dramatique, L'Araignée, la trame sonore est de nature entièrement électronique, avec des échantillonneurs et de la manipulation électroacoustique.
Université de Montréal's Film and Multimedia Music Composition program encourages the creation of three compositions in differing styles: acoustic, electro-acoustic, and mixed. These compositions each support a visual project. A choreography, two short films and a theatrical piece were created in a collaborative effort to explore the range and diversity of visual media. An acoustic score played by a small ensemble was used for the choreography X/Y. Both acoustic and digital instruments were used in recording sessions for the score of the two short films Mi Feng and Motel Pluton. The score for L'Araignée, the theatrical piece, is electro-acoustic, using samples, audio files, and digital signal processing (DSP).
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Medina, Nicolás. "The use of traditional Afro-Peruvian and Peruvian creole music in the soundtrack of commercial Peruvian feature films between 1996 and 2015 / L'utilisation de la musique traditionnelle afro-péruvienne et créole péruvienne dans la bande originale des longs métrages commerciaux péruviens entre 1996 et 2015." Thesis, 2020. http://hdl.handle.net/1866/25379.
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La façon dont les bandes sonores ont été abordées dans le cinéma péruvien au cours des dernières décennies a changé. Depuis l'apparition des techniques numériques de réalisation de films en 1996, les films ne suivent pas les mêmes conventions qui ont été établies durant la seconde moitié du XXe siècle. Cette étude vise à comprendre comment les musiques afro-péruviennes et créoles péruviennes traditionnelles ont été utilisée dans la bande originale des longs métrages commerciaux péruviens entre 1996 et 2015.
Après l'observation de 113 des 146 films péruviens commercialisés au cours de cette période, les 13 films contenant de la musique afro-péruvienne ou créole traditionnelle ont été sélectionnés afin d'analyser leur bande sonore. Chaque analyse se concentre sur les aspects généraux du film, la musique diégétique et les chansons, le style et le concept, les techniques de composition et présente une évaluation de la bande sonore. La comparaison des résultats des analyses a montré que la façon dont la musique traditionnelle a été utilisée dans le cinéma péruvien a changé par rapport aux décennies précédentes et que certains modèles de son utilisation sont apparus.The way soundtracks have been approached in Peruvian cinema during the last decades has changed. Since the apparition of digital filmmaking techniques in 1996, movies don’t follow the same conventions that were established during the second half of the 20th century. This study aims to understand how traditional Afro-Peruvian and Peruvian creole music has been used in the soundtrack of commercial Peruvian feature films between 1996 and 2015. Based on the observation of 113 of the 146 commercially released Peruvian films during this period, the 13 movies that contain traditional Afro-Peruvian or creole music were selected in order to analyse their soundtrack. Each analysis focuses on general aspects of the film, the source music and songs, the style and concept, the compositional techniques and presents an evaluation of the soundtrack. The comparison of the results from the analyses showed that the way traditional music has been used in Peruvian cinema has changed in relation to previous decades and that some patterns in its use have appeared.