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Relevant bibliographies by topics / Film soundtracks

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Dissertations / Theses

Academic literature on the topic 'Film soundtracks'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Dissertations / Theses on the topic "Film soundtracks"

1

Soulodre, Gilbert A. "Adaptive methods for removing camera noise from film soundtracks." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0017/NQ55423.pdf.

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2

Levy, Michelle. "Nostalgia and renewal : the soundtracks of Rushmore and High Fidelity." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98551.

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This thesis is an analysis of two film soundtracks, High Fidelity and Rushmore, and how each conforms to, and moves away from, trends in soundtrack production. The analysis begins by examining the relationship between film and music through the progression of key figures and moments leading to the current state of the film soundtrack. The soundtracks of High Fidelity and Rushmore are situated within the contexts of youth and rock culture as a means of illuminating their compilations and prospective audiences. The conclusion of this thesis is that these particular films and their soundtracks are entrenched in a dialogue about nostalgia and the superiority of archival music and provide clear examples of the growing use of nostalgia within cultural contexts generally.

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3

Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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4

Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.

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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience.<br>Department of Telecommunications

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5

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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6

McCann, Mark. "Penser l'écran sonore les théories du film parlant /." Click here to access, 2006. http://thesis.library.adelaide.edu.au/public/adt-SUA20070320.161033/index.html.

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7

DeGalan, Anna Jean. "Crescendos of the Caped Crusaders: An Evolutionary Study of Soundtracks From DC Comics' Superheroes." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1598268218822254.

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8

Schofield, Guy Peter. "Soundtrack-controlled cinematographic systems." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2422.

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9

Jewell, Michael O. "Motivated music : automatic soundtrack generation for film." Thesis, University of Southampton, 2007. https://eprints.soton.ac.uk/263924/.

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Automatic music composition is a fast-moving field which, from roots in serialism, has developed techniques spanning subjects as diverse as biology, chaos theory and linguistic grammars. These algorithms have been applied to specific aspects of music creation, as well as live performances. However, these traditional approaches to generation are dedicated to the creation of music which is independent from any other driving medium, whereas human-composed music is most often written with a purpose or situation in mind. Furthermore, the process of composition is naturally hierarchical, whereas the use of a single algorithm renders it a monolithic task. In order to address these issues, a model should be able to encapsulate a sense of composer motivation whilst not relying on a single algorithm for the composition process. As such, this work describes a new framework with the ability to provide a means to generate music from film in a media-driven, distributed, manner. This includes the initial annotation of the media using our new OntoMedia ontology; the mapping of annotated information into parameters suitable for compositional algorithms; the design and implementation of an agent framework suitable for the distribution of multiple composing algorithms; and finally the creation of agents capable of handling the composition of musical elements such as rhythm and melody. In addition, a case study is included which demonstrates the stages of the composition process from media annotation to automatic music generation.

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10

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.<br>Music

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