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Dissertations / Theses on the topic 'Film soundtracks'
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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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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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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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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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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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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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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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Schofield, Guy Peter. "Soundtrack-controlled cinematographic systems." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2422.
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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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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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Ireland, David Ian. "The influence of incongruence on perceived emotional meaning in the film soundtrack." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590475.
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The terms 'congruence' and 'incongruence' recur throughout a body of experiments designed to investigate the perception of film music. These studies suggest that congruent film-music relationships result in joint encoding of auditory and visual information. Conversely, incongruent relationships can result in independent encoding processes which direct attention to the component parts of a scene: this may influence the perception of meaning and emotional response. Accordingly, certain incongruent film music combinations can be highly emotive and memorable whilst others may be significantly less so. However, the terms are not explicitly defined within the literature and whilst congruence implies fit, incongruence can connote inappropriate or misfitting elements within a relationship. Similarities can be identified with terms used to describe the film -music relationship, such as 'parallel' and 'counterpoint', which have also become dichotomies that do not reflect the levels on which such combinations can be judged: in reality, these judgements are multidimensional, context-dependent and highly subjective. Multi- and interdisciplinary study provides an effective approach which can facilitate greater understanding of the potential impact of film-music (in)congruence. This thesis seeks to reconcile information that can be obtained when incongruence is studied on perceptual and analytical levels. It is suggested that incongruence can be more holistically represented when (re)defined as 'a lack of shared dimensions' and when the various contextual influences and dimensions on which this audiovisual difference can be judged are considered from a psycho-semiotic perspective. This perspective incorporates: experimental work; analytical case-studies; and conceptual study which draws upon poststructuralist philosophy, semiotic approaches, and the history and aesthetics of film music. The incongruent perspective demonstrates how various methodologies can contextualise and complement each other to provide insight into subjective judgements, exposjng dichotomies and hegemonic influences, in order to reflect the various contextual and subjective influences which can affect a perceiver's interactions with film
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McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.
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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.
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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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O'Brien, Rebecca Ann. "WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/142.
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Science fiction film has been telling stories about artificial anthropomorphic robots and androids for almost a hundred years, spawning films, such as Metropolis (1927), Ghost in the Shell (1951), and Blade Runner (1982). Each of these science-fiction films was complemented by a musical score that helped to create an onscreen world dominated by a dystopian view of the future. Influenced by the generations of prior science-fiction films, Automata (2014), The Machine (2013), and Ex Machina (2015) are all concerned with the same narrative in which humanity is in decline while artificial robots are rising up and experiencing life in a way that humans are no longer capable of doing. These three films were all chosen as exemplars of recent science- fiction films with stories about robots versus humans. Further, this difference between robots and humans is paralleled in the film's musical scores. Humans are represented by depressive musical themes with dull and cold timbres that symbolize how empty they have become. Robots, on the other hand, are represented by bright and lively timbres that symbolize how the robots are living more vibrant lives than humans.
This thesis traces themes for humans and robots through several important moments and tropes in each film: the state of humanity, the first encounter with the robot, the quality of life for robots and humans, and the eventual conflict that erupts between artificial and organic life. This conflict ends with the arrival of a robotic Eve figure, a sole female robot that is set apart by the film score as a special being, the start of a new age that is dominated by robotic life. These films choose to portray female robots and promote the idea of Eve because the female is seen as a mysterious Other to be feared; in the same way, humans fear these female robots because of their Otherness. Analysis and conclusions were achieved through transcription of the film scores, interviews with the film composers, analysis connecting the score to the visual scene, and constructing a historical context that connects the three films to their predecessors.
Future research can expand on these findings by adding more science fiction films to the film pool, examining just how far the musical difference between humans and robots can be traced in film. Unlocking the musical themes assigned to humans and examining how they change over time can reveal how humans perceive themselves, for better or worse. This study is also meant to serve as a gateway for more science fiction films to be studied through their music, as some film's have hidden meanings that can only be understood by examining the music and how it interacts with the visual scene. A study of Automata, The Machine, and Ex Machina manifests how humanity is making way for the robotic Eve and the next stage of evolution for the world.
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Black, Katherine C. "The Relationship between Movie Scores, Visual Stimuli, and Physiological Response." Marietta College Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1272989526.
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Hoelstad, Vanegas Tania. "Hur viktig är musiken? : Att tonsätta en scen ur en animerad film." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-65389.
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I det här examensarbetet jämför jag musiken som jag själv har skrivit till en redan färdigproducerad och utgiven film med musiken som originaltonsättaren skrev till samma film. Jag satte mig in i de animerade filmernas värld och analyserade sedan filmen jag valt utifrån de kunskaper som jag samlade på mig. Jag bestämde mig för att jobba med ledmotiv och använda några av de standardiserade tekniker som finns för filmmusikkompositörer. När scenen jag valt var tonsatt, synkroniserad, mixad och mastrad jämförde jag resultatet med originaltonsättarens musik av samma scen. Musiken till den utvalda scenen är skriven för en symfoniorkester, medan originaltonsättarens komposition är för en mindre sättning. Våra versioner skiljer sig mycket åt när det kommer till tonspråk, val av synkpunkter, förstärkningar och användning av tematik. Trots den stora skillnaden i musiken är det samma grundkänsla av harmoni som genomsyrar händelseförloppet, bara att vi har valt att att uttrycka det på olika sätt. Arbetet bidrog till en ökad konstnärlig medvetenhet hos mig som tonsättare och gav mig redskap till kommande filmer.
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Soares, Duana Castro 1987. "O filme O Fabuloso Destino de Amélie Poulain, sua trilha musical e sua referência em filmes publicitários." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284521.
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Previous issue date: 2013<br>Resumo: Esta pesquisa tem por objetivo analisar o filme O Fabuloso Destino de Amélie Poulain, sua trilha musical e apontar suas referências estéticas em filmes publicitários, a partir de materiais existentes em DVD, Internet, livros, CD das músicas e partituras. A música do filme é analisada por meio da interpretação dos momentos em que está presente na ação dramática. Os filmes publicitários são divididos em dois grupos: os que apresentam alguma referência estética e os que apresentam referência na trilha musical. A pesquisa é qualitativa, por meio da análise e da interpretação das músicas presentes no filme examinado<br>Abstract: This research aims to analyze the film Amélie, its soundtrack and its references in advertising films, from existing materials on DVD, Internet, books, CD of soundtrack and scores. Music of the film is analyzed by interpreting the moments that was present in the dramatic action. The commercials are divided into two groups: those who have some aesthetic reference and those who have reference in soundtrack. The research is qualitative, through analysis and interpretation of the songs in the film Amelie. It's a descriptive research<br>Mestrado<br>Multimeios<br>Mestra em Multimeios
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Schuster, Mariana Mignot. "Cartografia da paisagem sonora do curta-metragem De Lá pra Cá." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77089.
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O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo.<br>The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.
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Haworth, Catherine Margaret. "Dames, darlings and detectives : women, agency and the soundtrack in RKO Radio Pictures crime films, 1939-1950." Thesis, University of Leeds, 2010. http://etheses.whiterose.ac.uk/21113/.
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1940s crime and noir films are noted for their frequently subversive portrayal of gendered and sexual identities, and therefore offer a challenge to the most common theorisation of female characters in classical Hollywood cinema as lacking in the agency that is typically granted to male protagonists. This thesis investigates the role of the soundtrack in the construction and containment of female agency in the crime films produced by RKO Radio Pictures between 1939 and 1950. Case studies are grouped thematically around three of the significant and recurring characterisations of women that occur in the crime film: the victim; the investigator, and the femme fatale. The consideration of women in the role of love interest runs throughout the thesis. Music and sound are shown to be crucial elements of the way in which classical Hollywood cinema positions women, the strategies used within these films to create and contain female agency, and the potential for female characters to resist these positionings. The soundtrack facilitates and reinforces shifts between various roles occupied by female characters in relation to issues of crime, criminality, and romance, as well as aiding the creation of tension and Suspense. The contribution of music and sound to the heightened subjectivity and ambiguity that frequently characterises the 1940s crime film is discussed, and examination of this relationship demonstrates a need to extend the dominant critical theorisation of the classical Hollywood score as an authoritative and reliable guide through the narrative. The following films are examined in detail: Stranger on the Third Floor (d. Ingster; c. Webb, 1940) Suspicion (d. Hitchcock; c. Waxman, 1941) The Leopard Man (d. Tourneur; t. Webb, 1943) Experiment Perilous (d. Tourneur; c. Webb, 1944) Two O'Clock Courage (d. Mann; c. Webb, 1945) Deadline at Dawn (d. Clurman; c. Eisler, 1946) Notorious (d. Hitchcock; c. Webb, 1946) The Locket (d. Brahm; c. Webb, 1946) The Spiral Staircase(d. Siodmak; c. Webb, 1946) Out of the Past (d. Tourneur; c. Webb, 1947) A Woman's Secret (d. Ray; c. Hollaender, 1949).
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Vasconcelos, Andre Luiz Olzon. "A influencia da trilha sonora sobre a perceção da obra cinematografica = a analise filmica de Bye bye Brasil, Pra frente Brasil e Central do Brasil." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285096.
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Previous issue date: 2008<br>Resumo: Parte indissociável da composição audiovisual, a trilha sonora estabelece um diálogo com o mundo imagético proporcionando ao filme maior desenvolvimento na elaboração e desenvolvimento da sua linguagem. O objetivo desta dissertação é analisar minuciosamente os elementos sonoros ocorridos nos filmes Bye bye Brasil (1979) do diretor Carlos Diegues, Pra frente Brasil (1982) de Roberto Farias e Central do Brasil (1998) de Walter Salles e de que maneira eles atuam na construção do sentido destas obras. No recorte proposto foram escolhidos filmes significativamente representativos em suas respectivas décadas. Por meio da análise, também foi possível diferenciar as mudanças tecnológicas e estéticas em relação ao som do cinema brasileiro ocorridas durante este período. Além de revisar importantes acontecimentos na história do país sob a óptica do cinema, este trabalho também contribui para a discussão das questões referentes ao som e a música no cinema brasileiro, ampliando a bibliografia do assunto.<br>Abstract: Integrating piece of the audiovisual composition, the soundtrack establishes a dialog with the visual world, providing a better elaborated movie and facilitating the development of its language. The objective of this thesis is to perform a deep and thorough analysis of the sound elements of the Brazilian movies "Bye Bye Brasil" (1979) from Carlos Diegues, "Pra Frente Brasil" (1982) from Roberto Farias and "Central do Brasil" (1998) from Walter Salles. The subject movies were chosen due to their leading exposure and relevance in their respective decades. The time component of this work also allowed the discussion and assessment of the technologic and esthetic evolutions of the sound within the Brazilian cinema along the last decades. On top of revisiting some of the important facts of the history of Brazil from the perspective of the cinema, this work also contributes to the discussions around the sound and the music in the Brazilian cinema, expanding the bibliography on the subject.<br>Mestrado<br>Mestre em Música
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Fortea, Richard, and Nils Vennberg. "Ljudbilders Mättnad i Film : Hur tjocka och tunna ljudbilder byggs upp." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20403.
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Detta kandidatarbete undersöker ljudbilder i film och vad som påverkar ljudbildens mättnad. Med stort fokus på Walter Murchs Dense Clarity, Clear Density (2005) bryter vi ner uppbyggnaden av en ljudbild för att få bättre förståelse kring detta. Med en egenframtagen analysmetod som fokuserar på filmers ljudbild analyserar vi scener ifrån flertalet filmer och tv-program, hittar mönster kring deras ljudläggning och hur det påverkar ljudbilden. Därefter bygger vi upp en lista med förhållningspunkter för olika typer av ljudbilder. Resultatet av undersökningen blir en förklaring av hur man uppnår olika former av ljudbilder i film och varför det blir så.
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Spada, Thiago Gobet. "Caminhos brasileiros = na trilha musical de David Tygel." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284976.
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Previous issue date: 2006<br>Resumo: David Tygel é um compositor brasileiro de trilhas musicais atuante desde o início dos anos 80 até os dias de hoje. É reconhecido pelo meio cinematográfico brasileiro, com uma filmografia de cerca de 26 longas metragens, e diversos outros trabalhos, tendo sido premiado com quatro kikitos no festival de gramado. David Tygel também é reconhecido no meio educacional, sendo um dos primeiros a compartilhar sua experiência e seus conhecimentos em cursos sobre o assunto no Brasil, atualmente é o professor responsável pela disciplina de Trilhas Musicais na PUC do Rio de Janeiro. Este trabalho visa a análise de suas trilhas musicais nos longas metragens para os quais compôs no período de 1980 a 2005. São analisados aspectos tanto do ponto de vista cinematográfico e narrativo quanto musical. São comentadas suas abordagens composicionais, a estruturação formal da música com relação à estrutura narrativa do filme, o uso de leitmotivs, instrumentação, inserções diegéticas e não-diegéticas, uso de efeitos e sintetizadores, e o uso de elementos da música brasileira. O trabalho disponibiliza ao leitor, a oportunidade de assistir, ouvir e tocar a música de David Tygel, através de exemplos em vídeo, áudio e partituras, permitindo não apenas a assimilação dos procedimentos observados e citados no texto, tornando acessível este material como referência para outros estudos ligados ao cinema brasileiro e sua música<br>Abstract: David Tygel is a brazilian soundtrack composer, actively working since the early eighties until nowadays. He is well known in the brazilian cinematographic mainstream, with a credits list with more than 26 feature films, and many other works, have been awarded with 4 kikitos of Gramado's cinema festival. David Tygel is also known in the educational mainstream, being one of the pioneers to share his experience and knowledge through his courses about the subject in Brazil, actually being the Soundtrack professor at PUC in Rio de Janeiro. This work analises his musical scores for the feature films he worked from 1980 to 2005. It analises aspects from both cinematographic, narrative and musical points of view. It comments about aspects like his compositional approaches, music formal structure in relation with film narrative structure, the use of leitmotivs, instrumentation, diegetic and non-diegetic insertions, the use of effects and synths, and the use of brazilian music elements. This work brings to the reader the opportunity to watch, listen, and play the music of David Tygel through examples in video, audio and musical scores, allowing not only the learning of the procedures observed and quoted in the text, but also that the reader himself could make his conclusions and making this material acessible as reference for other studies on brazilian cinema and its music<br>Dissertação (mestrrado) - Univ<br>Mestre em Música
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Nicolino, Marcelo Sarra. "A espectromorfologia na análise da composição do desenho de som cinematográfico: um estudo de caso." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-08092016-153324/.
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Este trabalho estuda a utilização da ferramenta gráfica de análise espectromorfológica desenvolvida por Lasse Thoresen como auxiliar na análise da composição do sound design cinematográfico, com o desenvolvimento de partituras de escuta. Avaliamos uma forma de notação dos eventos sonoros presentes na trilha sonora cinematográfica com a adaptação desta ferramenta de notação, partindo da identificação dos critérios apontados por técnicas de análise audiovisual, aliadas posteriormente às metodologias de análise do objeto sonoro comumente utilizadas na música eletroacústica. Como estudo de caso, realizamos as transcrições espectromorfológicas de cinco sequências do filme A Conversação (1974), dirigido por Francis Ford Coppola, e desenho de som de Walter Murch, destacando pontos formadores do contrato audiovisual.<br>This paper studies the use of the spectromorphological analysis graphical tool developed by Lasse Thoresen as an aid in analyzing the composition of the cinematic sound design with the development of listening scores. We evaluate a notation form of sound events present in the film soundtrack by adapting the notation tool, starting from the identification of the criteria set out by techniques of audiovisual analysis combined with the analysis methodology of the sound object commonly used in electroacoustic music. As a case study, we made the spectromorphological transcription for five sequences of the film The Conversation (1974), directed by Francis Ford Coppola, and sound designed by Walter Murch, highlighting the audiovisual contract building points
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Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.
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Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.<br>The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.
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Lundberg, Elena. "Musikens gestaltande och funktion i film : En kvalitativ studie om musikens gestaltande och funktion i musikalfilmen Les Misérables." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28867.
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A film can attract all kinds of emotions and moods of the audience through its audiovisual communications and cinematic expression, in which music plays a significant role in both understanding and interpretation of film content. It is interesting to explore the musical significance and the emotional aspect of the film out of a media and communications perspective and visual communications perspective because it’s a subject that belongs to the communications of scientific discipline as film is a media text which is working both as communicative and as audio-visual medium with its expressive aspects. The purpose of this bachelor’s paper is to increase and deepen the understanding of music's function and significant role in context with its reinforcing sense of visual expression in film. More specifically, it aims to explore the musical value of the expressive aspect of the media text in form of film musical Les Misérables (2012), which has been transmedialised from the novel of the same name, referring to the sound, music and song in relation to the film's visual expression. The research questions are at the core of the essay study: "how is music used to reinforce the cinematic visual expression?" and "how can music signify the narrative and highlight the emotional aspect of the film?" The theoretical framework is based on some of the key scholars assumptions such as Michel Chion (1994) and Claudia Gorbman (1987), who share the same theoretical views that the soundtrack seems powerful when it expresses its participation in a scene’s emotional moods as the music follows the scene’s rhythm, the image’s flow and contributes emotional and musical codes of emotions and expressions. According to Chion sound and image interact together to tell a story where sound enrich the image with expressive and informative values. Other important researchers in the field and their theoretical frameworks are included in the theory chapter. As in whole, aspects of musical communication and sound emotionalisation are seen by the previous research as a form of expression, where visual communication in the film is considered as important as the aural and musical for the narrative storytelling, and where the musical aspect with the interaction of the cinematic visual expression highlights the characters emotions and moods. The results of the empirical work is presented in about twenty pages qualitative content analysis together with its analytical perspectives that focus on the close reading of the narrative, visual and musical elements and their abstract narratives (emotional moods) in the media text’s seven selected film–song sequences. In performing of the analysis and interpretation of the media text content, the regard was taken to these before mentioned elements to answer the research questions and emphasize the purpose of the study as relevant as possible. The conclusion is based on the empirical work analysis and results, and the scholars previous theoretical assumptions in connection with my observations. Keywords: musical film les miserables soundtrack emotions moods narrative audio visual expression communication musicology<br>En film kan locka fram alla slags känslor och stämningar hos publiken genom sin audiovisuella kommunikation och filmiska uttryck, där musiken har en betydande roll i både förståelsen och tolkningen av filmmediet. Det är intressant att utforska den musikaliska gestaltningen och den känslomässiga aspekten i film utifrån ett medie- och kommunikationsperspektiv samt visuell kommunikationsperspektiv därför att det är ett ämne som hör till den kommunikationsvetenskapliga disciplinen eftersom film är en medietext, som fungerar både som ett kommunikativt och ett audiovisuellt medium med uttrycksmässiga aspekter. Syftet med den här uppsatsen är att är att öka och fördjupa förståelsen för musikens funktion och gestaltning i sammanhang med dess förstärkande känsla i visuell gestaltning i film. Mer konkret är syftet att utforska det musikaliska värdet i den uttrycksmässiga aspekten i medietexten i form av musikalfilmen Les Misérables (2012), som har transmedialiserats från roman med samma namn, berörande ljud, musik och sång i relation till filmens visuella uttryck. Dem frågeställningar som utgör kärnan för uppsatsens ämne är: ”hur används musik för att förstärka det filmiska visuella uttrycket?” samt ”hur kan musiken gestalta det narrativa och belysa den känslomässiga aspekten i film?” Det teoretiska ramverket baseras på några av framstående forskares antaganden så som Michel Chion (1994), och Claudia Gorbman (1987) som delar likadana teoretiska uppfattningar och anser att filmmusiken verkar kraftfullt genom att den uttrycker sitt deltagande i en scens känslostämning eftersom musiken följer scenens rytm, bildernas flöde och bidrar med emotionella och musikaliska koder för känslor och uttryck. Enligt Chion verkar ljud och bild i samspel för att tillsammans berätta en historia där ljud berikar bilden med uttrycksfulla och informativa värden. Även andra viktiga forskare inom området och deras teoretiska ramverk tas upp i teori-kapitlet. I sin helhet ses aspekter av musikalisk kommunikation och ljudets emotionalisering av den tidigare forskningen som en form av uttryck, där den visuella kommunikationen i film anses lika viktig som den ljudmässiga och musikaliska för det narrativa historieberättandet och där den musikaliska aspekten i samspel med det filmiska visuella uttrycket belyser rollkaraktärers känslo- och sinnesstämningar. Resultatet av det empiriska arbetet presenterar cirka tjugo sidors kvalitativ innehållsanalys tillsammans med dess textanalytiska perspektiv som fokuserar på närläsningen av dem narrativa, visuella och musikaliska elementen samt dem abstrakta narrativerna (känslomässiga sinnesstämningar) i medietextens sju utvalda film-sångsekvenser. I utförandet av analysen och tolkningen av medietextens innehåll, togs hänsyn till dessa omnämnda element för att kunna besvara frågeställningarna och understryka syftet så relevant som möjligt. Slutsatsen baseras på det empiriska arbetets dataanalys och närläsning samt resultat och forskarnas tidigare teoretiska antaganden i koppling till mina observationer. Nyckelord: musikalfilm les miserables filmmusik ljudspår känslor stämningar narrativ audio visuell uttryck kommunikation musikologi
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Silva, Marcia Regina Carvalho da. "A canção popular na historia do cinema brasileiro." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283986.
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Orientador: Claudiney Rodrigues Carrasco<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T03:28:45Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: O principal foco desta pesquisa é investigar o diálogo entre a produção musical e a produção cinematográfica brasileira a partir do mapeamento da presença da canção popular na história do cinema brasileiro. A tese apresenta um levantamento historiográfico do uso da canção popular, composta para filmes ou neles inserida, nos vários períodos que compõem a história do cinema brasileiro, desde as primeiras experiências de sonorização e o início do cinema sonoro, passando pelas tentativas de industrialização do cinema com as companhias produtoras Cinédia, Atlântida e Vera Cruz, as tendências e experimentações do Cinema Novo e Marginal até as produções mais contemporâneas do chamado cinema da retomada e os filmes da década de 2000. Esse trabalho possui um viés bastante informativo ao construir um panorama histórico que leva em conta a inegável contribuição de intelectuais, críticos, analistas e historiadores que já desbravaram outras investigações sobre o cinema brasileiro. Nele é examinada a literatura específica sobre cinema brasileiro para traçar um panorama transversal e compilar uma filmografia que coloca como foco a trilha musical, com o intuito de apresentar ao leitor a importância da canção popular ao longo da história do cinema feito no Brasil<br>Abstract: The main goal of this dissertation is to investigate the dialogue between the musical and the cinematographic production according to the presence of popular songs in the Brazilian cinema history. It presents a historiographical review on the use of songs in films, either specifically composed or just inserted in it during different historical Brazilian cinema periods. The work starts with the first experiences on sonorization and the very beginnings of sound cinema, includes the efforts to establish an industrial cinema in Brazil, with companies such as Cinédia, Atlântida and Vera Cruz; it examines new trends and experimentation of Cinema Novo and Marginal, and finally analyses the contemporary productions of the so called "Cinema da Retomada" (recovered cinema) and also films from the decade of 2000. This research integrates the incontestable contributions on Brazilian cinema investigations of intellectuals, critics, analysts and historians. This work also analyse all literature compilation that embodies this broad view of the subject is intended not only to focus on film music, but mainly to present the importance of popular songs for the history of the cinema made in Brazil<br>Doutorado<br>Doutor em Multimeios
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Alves, Bernardo Marquez. "Os estudos do som no cinema: evolução quantitativa, tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som cinematográfico." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-19112013-154644/.
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Esta dissertação pretende mapear e discutir o pensamento sonoro cinematográfico dos pesquisadores brasileiros contemporâneos através de uma revisão sistemática que aborda a evolução quantitativa, as tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som no cinema. Os estudos selecionados para tal investigação e análise foram os livros, as teses, as dissertações e os artigos acadêmicos nacionais que contemplam o universo sonoro cinematográfico, publicados no Brasil no período entre os anos 2001 e 2011, e que articulam essencialmente questões que não são específicas da trilha musical<br>This master thesis aims to map and discuss the film sound thinking of contemporary brazilian researches through a systematic rewiew that approach the quantitative developments, the thematic tendencies and the profile of Brasilian contemporary film sound studies. The studies selected for this research and analysis were national books, doctoral theses, master´s theses and academic articles the address the universe of film sound published in Brasil between 2001 and 2011, and essentially articulate issues that are not specific of the film score
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Roth, Raphaël. "Bande originale de film, bande originale de vie : pour une sémiologie tripartite de l'emblème musical : le cas de l'univers Disney." Phd thesis, Université d'Avignon, 2013. http://tel.archives-ouvertes.fr/tel-00987167.
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Cette thèse présente les résultats d'une recherche sur la musique au cinéma et la prolongation de l'expérience cinématographique en dehors de l'espace et du temps du dispositif cinématographique par l'écoute de la bande originale du film. Plus particulièrement elle aborde la bande originale du film en tant que musique emblématique de l'univers filmique. Elle instruit une réflexion sur la place de la musique dans nos vies et sa capacité à créer et recréer des expériences esthétiques du quotidien. A partir de la tripartition sémiologique développée par Jean Molino, nous proposons d'appréhender la bande originale de l'univers Disney depuis les conditions et le contexte de sa production d'abord, c'est-à-dire au niveau "poïétique ". Nous procédons à l'analyse de l'univers filmique et musical ensuite en nous plaçant au niveau " neutre " de l'œuvre. Enfin, par le biais d'une enquête par questionnaire dans le cadre d'un protocole de recherche expérimental nous analysons la réception de la bande originale de film à son niveau " esthésique ". Le mickeymousing, technique cinématographique définissant la ponctuation narrative des mouvements par la musique, est appréhendé comme une forme d'esthétisation du réel. Entre synchronisation, emblème et réel esthétisé cette recherche porte, in fine, sur l'esthétisation cinématographique du quotidien par la musique. De la bande originale de film à la bande originale de vie, les fonctions emblématiques de la musique sont décrites par une ethnographie de la musique au quotidien (festivals, trains, Disneyland, rayons des disquaires).
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Roldán, Garrote David. "Fuentes documentales para el estudio de la música en el cine español de los años 40." Doctoral thesis, Universitat Politècnica de València, 2011. http://hdl.handle.net/10251/13256.
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En "Fuentes Documentales para el Estudio de la Música en el Cine Español de los Años 40" se pretende dar una visión general de cómo se desarrollaba la labor de los compositores cinematográficos en España en los primeros años de la dictadura franquista. Para ello se recurrió a toda fuente original y secundaria de la época y posterior con el fin de, en un primer lugar, contextualizar adecuadamente, política, jurídica y cinematográficamente la investigación para de este modo comprender y analizar las diferentes problemáticas que tuvieron que afrontar los compositores de cine durante dicho periodo, tales como: problemas narrativos, técnicas, deficiencias técnicas, planteamientos teóricos, etc.
Tras este análisis, la tesis continúa con la exposición de una base de datos gnerada para la organización del abundante material recopilado a lo largo de la investigación y unas conclusiones que son seguidas por un bloque de apéndices constituidos por: entrevistas a familiares de compositores y profesionales; una recopilación de la legislación relacionada con la producción cinematográfica entre 1938 y 1950; la relación de los gobiernos franquistas del periodo abarcado; un listado de las bases de datos sobre cine existentes en Internet; una realción de los ganadores de los premios otorgados por el Círculo de Escritores Cinematográficos; y un texto sobre el análisis cinematográfico.<br>Roldán Garrote, D. (2004). Fuentes documentales para el estudio de la música en el cine español de los años 40 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/13256<br>Palancia
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Marchesseau, Nicole. "Applications of musique concrète for film soundtracks." 2001. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66393.
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Thesis (M.A.)--York University, 2001. Graduate Programme in Music.<br>Typescript. Includes bibliographical references (leaves 64-66). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66393.
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Milner, Johnny. "Sounding Country: Tracking Cultural Representations in the Soundtracks of Contemporary Australian Landscape Cinema." Phd thesis, 2016. http://hdl.handle.net/1885/118249.
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While recent scholarship demonstrates a significant increase in the level of interest in Australian film music, very little attention has been focused on the soundtracks of contemporary Australian landscape cinema — including films that explore the contentious aspects of Australia’s colonial legacy. This thesis is intended to respond to this research gap, in particular by employing textual and production analysis methodologies to track cultural identifications and representations within four recent landscape films. The films are Rabbit-Proof Fence, The Proposition, Australia and Samson & Delilah; and I look specifically at their sonic dimensions — namely, the amalgam of score, dialogue and sound effects.
The study explores the particular aesthetics and ideologies of the soundtracks; it is concerned with codification and how the soundtracks amplify — consciously and subconsciously — new and oppositional insights with respect to contemporary understandings of Australian identity and landscape. The study also argues that the soundtracks are powerful modes of expression and, as such, are themselves engaged in contemporary debates surrounding Australian history such as the ‘history wars’, ‘Mabo’ decision and the Bringing Them Home report. Unlike other important studies on Australian cinema and more specifically Australian landscape cinema, my research suggests that attending to the hitherto neglected soundtrack may present an opportunity not only for achieving a more comprehensive film criticism but also for extending the ways we address Australia’s past. Such a project, focusing on the sonic dimension, may also prove to be of fundamental significance to our present-day challenge of securing a more productive social and psychological engagement with Aboriginal Australia.
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Nijdam, Elizabeth. "Stasi, sex and soundtracks: Thomas Brussig's Postalgie." Thesis, 2007. http://hdl.handle.net/1828/182.
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Since the fall of the Wall, a new era of East German literature has emerged. This genre of
literature exists even though East Germany’s borders dissolved over a decade and half ago
and is challenging the way we think about the former German Democratic Republic. East
German author Thomas Brussig is pivotal in this new genre of literature. His novels Helden wie wir (1995), Am kürzeren Ende der Sonnenallee (1999) and Leander Haußmann’s cinematic adaptation, Sonnenallee (1999), confront the negative associations and stereotypes connected with East Germany to deconstruct how formal history has portrayed its past and its citizens.
Brussig’s texts take a completely different approach to remembering the GDR, which
simultaneously challenges history’s dominant perspective as well as the Ostalgie phenomenon. Through his texts’ recollection, Brussig subverts the East German state in hindsight and begins the construction of a new mythology with which to associate former East Germany.
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Newton, Alex Michael. "Between the ears : acoustiographic representations of character interiority." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3225.
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This essay aims to explore acoustiographies of the interior and interpret the cultural impressions that they perpetuate. While I do consider the conventional iconographies of headphones and full-body suits (e.g., spacesuits) that filmmakers employ as tools to focalize a character’s internal subjectivity, acoustiographies often supersede or occur in lieu of such visual symbols. While the acoustiography of “leakage” symbolizes the disparity between the self-perception of the self and the social perception of the self, that of “head sound” aims at placing the audience inside the head of a given character by positioning the point of audition as if it were emanating from the character’s head. Leakage is a diegetic sound that is somewhat obscured or filtered by some barrier blocking the sound’s full frequency emission, whereas sound effects or music seemingly sounding from inside a character’s head, as for example through headphones, represent head sound. These acoustiographies of leakage and head sound play a crucial role in the filmic expression of a character’s interiority, which they accomplish through their ability to physically represent interior space, but also figuratively represent a character’s subjectivity.<br>text
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Lin, Meng-Hsuan, and 林孟萱. "─My Creative Concepts and Analysis of the Film Soundtrack." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/dhcs7x.
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碩士<br>中國文化大學<br>音樂學系西洋音樂組<br>103<br>The purpose of this article was to discuss the design concept and creation approach of the background music in Freedom Jail Film Festival. Firstly, the introduction mentioned about the author’s design background and concept, and referred to the related document to probe its applied skill and theory. Because those works are of the type of soundtrack work, the introduction firstly stated the author's perspectives and applied techniques on “relationship between image and music”. In next chapter, the author introduced the used arrangement software and its practical techniques and discussed details of every work of music in separately section as following: “Mirager”, “Ripple”, “In Between”. Owing to the diversity topic of different film, the author used a variety of music style to suit the needed emotions. In the last chapter, the author mentioned the conclusion of the article for examining whether the applied software and creating techniques achieve the expected result. In addition, by this experience of film festival, the author brought out the personal experience.
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Yeh, Chia-Han, and 葉家含. "Analysis of Soundtracks of Disaster Films and Audience Emotional Responses." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/s759ez.
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碩士<br>國立臺灣大學<br>音樂學研究所<br>106<br>This study analyzed the functions of soundtracks in Hollywood disaster films and the audience’s emotional responses to disastrous scenes. Interpersonal connection scenes and disastrous scenes are two pillars of disaster films. In these scenes, soundtracks enhance audience’s engagement and feelings, as well as increase their empathy toward the characters. Musical analysis revealed that interpersonal connection scenes are usually accompanied by music with a clear tonality, a lyrical melody, and a soft pad. On the other hand, disastrous scenes are usually accompanied by music with dissonant intervals, dense rhythms, and loud foundation. Emotional-physiological data were collected from 26 participants while they were watching disastrous scenes. The results suggest that their heart rate increased when the main characters were in danger. This study advanced our understanding of how soundtracks have been employed in Hollywood disaster films, and offers a new approach for future audience studies in film and video genres.
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HSIEH, HSIANG-TAI, and 謝祥泰. "A Study of the Animated Film: Seven Thirty Astronaut Using the Rescored Soundtrack as an Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/tr3bdf.
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碩士<br>輔仁大學<br>音樂學系<br>105<br>In multimedia era, the technology of combination of video and sound is rising and developing prosperously. The thinking and technique of animation soundtrack and sound effect design play complementary roles for animation itself. Taking the animation “Seven Thirty Astronauts” directed by Wang Wei Xiu's director as an example, the author re-produced the animation with soundtrack and sound effect, going through the relevant literature analysis, and found that with different types and functions of sound, as well as different composition of elements, features, etc. it would produce the different performance of the image media and won the emotional resonance and huge echo from the audience. This was the main goal the author wanted to achieve.
Based on the literature and theory analysis, the author explored how various elements of the music, such as orchestration, melody, harmony, rhythm and tonality could interpret and strengthen the plot of the animation, and how various types of sound effect could be designed and processed to make the animation characters and the story more vivid. By interviewing the director of this animated film, it could be concluded that the overall idea of the film director was the core of the work. Everything, including soundtrack and sound effect, must follow the film director’s idea. On the theme music, the equal level of sound and image and the remediation of the poor screen, the author could meet the director’s requirement. However, on the theme motive link, the weak loudness of music, and the lower proportion of soundtrack, there was still a slight gap comparing with the original creator’s level.
In overall view, the performance of the soundtrack and sound effect in the animation can be brought up to the full effect only if the creators manage to hold the principles of theory, take relevant studies as reference, and keep good communication with the directors. Finally, it is expected that the analysis of this study and the fruits of hard work will provide the creators of animated soundtrack and sound-effect for reference in the future.
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Sousa, Laura Salomé Ribeiro de. "A importância da música no cinema: o score." Master's thesis, 2016. http://hdl.handle.net/1822/47943.
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Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)<br>No mundo do cinema um dos fatores cruciais para a criação de um filme de qualidade é a
música. No entanto, ao responsável por esta, o compositor, raras vezes é atribuído o justo mérito.
Através da soundtrack ou score o compositor eleva o patamar de qualidade do filme. Por outro lado, o
score também ainda não viu ser-lhe dado o merecido valor não só no mundo cinematográfico, como
no mundo da música.
Neste trabalho faremos uma pequena viagem desde o século XIX até o período atual de forma
a compreendermos a evolução da música na história do cinema. Propomo-nos a apreender alguns
elementos básicos que compõem a soundtrack, a verificar até que ponto esta é não apenas mais um
elemento no processo de criação do filme, e os responsáveis por detrás da composição desta,
principalmente o compositor e o realizador.
Através da leitura de várias obras que estudam esta temática, aprofundaremos o nosso
conhecimento não apenas na história, mas também pelos testemunhos dos próprios compositores e
realizadores. Bem como, através de análises de sequências do filme “Requiem for a Dream” para
assimilar a teoria na prática.
A soundtrack está sempre presente num filme, quer seja como componente secundária, ou
como parte crucial para desenvolver, explicar e intensificar a narrativa de um filme. Esta consegue
influenciar o grau de envolvimento do espectador e despertar nele emoções.
Deste modo, abordaremos todo o processo de criação de um score, os vários intervenientes e
os elementos musicais, cinematográficos e humanos que se fundem para a criação deste. Ao longo do
trabalho vários exemplos serão mencionados e explanados, para uma melhor apreensão do tema em
questão.<br>In the world of cinema the music's quality is one of the key factor to create a film. However, the
composer, the responsible one, only has the deserved merit a few times. Through soundtrack or score
the composer rises up the film quality. On the other hand, the score has also not seen the deserved
value to be given to him not only in the film world, as in music world.
In this study we will do a little trip since the nineteen century to the present to understand the
evolution of music in film history. We intend to seize some basic elements which make the soundtrack,
to verify at which point it is not just an element on the film creation process and the responsible behind
soundtrack composition, principally the composer and the director.
By reading various works about this theme, we will deep our knowledge not only in history, but
also by some references by the own composers and directors as well as sequences' analysis of film
“Requiem for a Dream” for us to assimilate the practice theory.
The soundtrack is always present in a film as secondary component or as a crucial part to
develop, explain and intensify a film narrative. This can influence the degree of involvement of the
viewer and awaken him emotions.
In summary, we will approach the whole process of creation, the many actors and musical,
cinematic and human elements which merge for a score creation. Throughout the study many
examples will be mentioned and explained for a better apprehension of the theme in question.
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Candusso, Damian. "Dislocations in sound design for 3-d films: sound design and the 3-d cinematic experience." Phd thesis, 2015. http://hdl.handle.net/1885/15862.
Full textAbstract:
Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with
2-D film.
Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films.
Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors.
Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films?
; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design?
; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals?
; Does a language exist to describe spatial sound design in 3-D cinema?
; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema?
; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery?
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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.
Full textAbstract:
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).<br>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.<br>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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Bazika, Tomáš. "Formanův Amadeus a role hudby ve filmové naraci." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435223.
Full textAbstract:
Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...
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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.
Full textAbstract:
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.<br>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.
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Mongeau, Sophie-Agnès. "Compositions musicales à partir d'oeuvres visuelles basées sur l’émotion et le mouvement." Thèse, 2018. http://hdl.handle.net/1866/22869.
Full text
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Moreau, Patricia. "Étude de la négativité de discordance dans l'amusie congénitale." Thèse, 2013. http://hdl.handle.net/1866/10338.
Full textAbstract:
L’amusie congénitale est un trouble neuro-développemental qui s’exprime par un déficit de discrimination tonale fine. Le cerveau des amusiques ne répond pas aux petites différences de hauteur, tel que révélé par l’absence de la composante de potentiel évoqué P3b, qui est associée aux processus de discrimination tonale tardifs et conscients. Peu d’études se sont penchées sur les mécanismes précoces et préconscients de discrimination tonale chez les amusiques, qui peuvent être étudiés par l’entremise d’une composante de potentiel évoqué appelée la négativité de discordance (MMN). Certaines études ont démontré qu’il est possible d’enregistrer la MMN pendant la présentation d’un film avec la trame sonore en simultané aux sons visant à évoquer la composante. Toutefois, une étude a démontré que la présentation de la trame sonore réduisait l’amplitude de la MMN, sans néanmoins clarifier la nature de l’effet d’interférence en cause.
Les objectifs du présent projet sont d’abord, d’investiguer les effets à l’origine de la réduction d’amplitude de la MMN observée lors de la présentation d’un film avec la trame sonore, puis d’évaluer cette même composante chez les amusiques. La première étude visait à déterminer si un effet d’interférence attentionnelle ou acoustique était en cause dans la réduction d’amplitude observée sur la MMN lors de la présentation de la trame sonore d’un film. Les résultats ont montré qu’un effet de masquage acoustique, attribuable à la trame sonore, était responsable de la réduction d’amplitude de la MMN, cette dernière augmentant au fur et à mesure que l’intensité sonore de la trame du film était réduite.
La seconde étude a été conduite dans le but d’investiguer la MMN chez les amusiques et de vérifier si le complexe d’ondes anormales N2b-P3b, observé en réponse aux grandes différences tonales chez les amusiques, pouvait être attribuable à un effet de saillance des stimuli. Dans un premier temps, nous avons comparé la MMN des amusiques à celle des contrôles, puis nous avons modifié le paradigme expérimental visant à évoquer la N2b-P3b en ajustant les probabilités d’occurrence des sons présentés aux contrôles en fonction des sons perçus par les amusiques. Les résultats ont montré que le cerveau des amusiques parvient à discriminer les différences de hauteur à un niveau précoce et préconscient, tel que révélé par une MMN normale, mais que les réponses cérébrales plus tardives, associées au processus de discrimination des hauteurs conscient, sont anormales chez les amusiques, et ce, uniquement pour les petites différences de hauteur, tel que révélé par l’absence de la P3b.
En conclusion, ces résultats démontrent que l’amplitude de la MMN est affectée de manière significative par la présentation de la trame sonore d’un film et que cela est attribuable à un effet d’interférence acoustique. Dans un deuxième temps, nous avons démontré que les mécanismes précoces et préconscients de discrimination tonale sont préservés chez les amusiques, et que le déficit sous-jacent à l’amusie congénitale est attribuable à une atteinte du processus de discrimination tonale fine associé à un niveau de traitement cérébral tardif et conscient, le complexe d’ondes anormales N2b-P3b étant pour sa part attribuable à un effet de saillance des stimuli.<br>Congenital amusia is a neurodevelopmental disorder which is characterized by a deficit in fine-grained pitch discrimination. In fact, the amusic brain does not respond to small pitch changes, such as reflected by the absence of the event-related (ERP) component P3b, which is associated to late and conscious pitch discrimination processes. Until now, very few studies focused on early preconscious levels of processing in amusia, which can be studied through an ERP component called the mismatch negativity (MMN). Some studies have demonstrated that the MMN can be recorded while playing the soundtrack of a movie in concurrence with the MMN-critical tones. However, one study demonstrated that playing the movie soundtrack reduced MMN amplitude, but did not investigate the origin of this effect.
The main goals of this project are, first, to investigate the nature of the effect responsible for the MMN reduction observed when playing a movie soundtrack, and secondly, to evaluate the MMN in congenital amusia. The first study aimed to investigate if an attentionnal or acoustical interference effect could account for the reduction in MMN amplitude observed when playing the movie soundtrack. The results showed that an acoustical masking effect of the movie soundtrack was responsible for the reduction in MMN amplitude. In fact, MMN amplitude increased as the intensity level of the movie soundtrack decreased.
The goal of the second study was to investigate the MMN in congenital amusia, but also to explore if the abnormal N2b-P3b complex observed in amusics in a previous study could be accounted for by an effect of salience of the stimuli. Thus, we first compared the MMN results between amusics and controls, and then, we modified the experimental paradigm meant to evoke the N2b-P3b by adjusting the probabilities of occurrence of the sounds presented to the controls as a function of the sounds perceived by their matched amusics. The results showed that the amusic brain can detect all pitch changes at an early and preconscious level of processing, such as demonstrated by a normal MMN in both groups. Furthermore, our results showed that the amusic brain does not respond normally solely to small pitch changes at a later conscious level of processing, such as revealed by the absence of the P3b, thus showing that the abnormal N2b-P3b complex of ERP components observed in a previous study is better explained by a saliency effect of the stimuli and does not represent an electrophysiological anomaly specific to congenital amusia.
In conclusion, our results have first shown that MMN amplitude is decreased by presenting a movie soundtrack and this is due to a masking effect at the acoustical level of the soundtrack over the MMN-critical tones. Finally, our second study showed that the early preconscious mechanisms of pitch discrimination are preserved in congenital amusia, and that the pitch deficit underlying congenital amusia is limited to an anomaly in the late and conscious processing of small pitch changes, the abnormal N2b-P3b complex being rather explained by an effect of salience of the stimuli.