Relevant bibliographies by topics / Music soundtrack

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music soundtrack'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Music soundtrack"

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Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.

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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.
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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll." Journal of Musicology 38, no. 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.

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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
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Marshall, Sandra K., and Annabel J. Cohen. "Effects of Musical Soundtracks on Attitudes toward Animated Geometric Figures." Music Perception 6, no. 1 (1988): 95–112. http://dx.doi.org/10.2307/40285417.

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We investigated the effects of musical soundtracks on attitudes to figures in a short animated film. In a preliminary study and in the main experiment, subjects saw the film accompanied by one of two soundtracks or with no soundtrack, or they heard one of the two soundtracks alone. In the main experiment, Semantic Differential judgments on Activity and Potency dimensions, obtained for the music, predicted effects of the soundtracks on corresponding ratings of the film as compared to ratings in a no soundtrack condition. As well, ratings on the Activity dimension of the film characters themselves were altered by the soundtracks. It is hypothesized that congruent auditory and visual structure directs the encoding of particular visual features of the film. In addition, associations generated by the music provide a context for the interpretation of the action in the film. As a result, stimulus features and concepts that are initially encoded as disjunctive conjoin in perception and memory.
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Yunyk, Tetiana, and Mykola Tsarev. "Soundtrack in Modern Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.

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The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.
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REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.

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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.
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Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.
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O’Keeffe, Ian R. "Soundtrack Localisation." Journal of Internationalization and Localization 2 (January 1, 2012): 36–65. http://dx.doi.org/10.1075/jial.2.03kee.

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This paper focuses on the localisation and adaptation of one particular aspect of the computer game: the soundtrack. Sometimes bespoke, sometimes selected from commercial releases, it provides a background, supporting role in creating atmosphere and supporting the emotive state of the game space. But how often is the target market considered when selecting appropriate musical content? Is it possible to use this almost subliminal channel into the game player’s consciousness to increase his awareness of what is happening around him, and give him a feel for his character’s emotional and physical wellbeing? This paper presents a novel approach for transforming the soundtrack - via a system the author originally created for the purposes of capturing and recreating emotive content in music.
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Cohen, Annabel J. "Associationism and musical soundtrack phenomena." Contemporary Music Review 9, no. 1-2 (January 1993): 163–78. http://dx.doi.org/10.1080/07494469300640421.

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Selva-Ruiz, David, and Desirée Fénix-Pina. "Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films." Communication & Society 34, no. 3 (May 31, 2021): 47–60. http://dx.doi.org/10.15581/003.34.3.47-60.

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The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.
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Giunta, Carrie. "Beyond the Soundtrack: representing music in cinema." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 132–33. http://dx.doi.org/10.1080/01439680903577425.

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Dissertations / Theses on the topic "Music soundtrack"

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

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Vane, Roland Edwin. "Composer-Centered Computer-Aided Soundtrack Composition." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/1168.

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For as long as computers have been around, people have looked for ways to involve them in music. Research in computer music progresses in many varied areas: algorithmic composition, music representation, music synthesis, and performance analysis to name a few. However, computer music research, especially relating to music composition, does very little toward making the computer useful for artists in practical situations. This lack of consideration for the user has led to the containment of computer music, with a few exceptions, to academia.

In this thesis, I propose a system that enables a computer to aide users composing music in a specific setting: soundtracks. In the process of composing a soundtrack, a composer is faced with solving non-musical problems that are beyond the experience of composers of standalone music. The system I propose utilizes the processing power of computers to address the non-musical problems thus preventing users from having to deal with them. Therefore, users can focus on the creative aspect of composing soundtrack music.

The guiding principal of the system is to help the composer while not assuming any creative power and while leaving the user in full control of the music. This principal is a major step toward helping users solve problems while not introducing new ones. I present some carefully chosen tasks that a computer can perform with guidance from the user that follow this principal. For example, the system performs calculations to help users compose music that matches the visual presentation and allows users to specify music, using the idea of timed regular expressions, so that a computer can fill arbitrary amounts of time with music in a controlled manner.

A prototype application, called EMuse, was designed and implemented to illustrate the use and benefits of the proposed system. To demonstrate that the system is capable of serving as a tool to create music, two soundtracks were created for two sample animations. It is beyond the scope of the work presented here to evaluate if the system achieves the goal of being a practical tool for composers. However, the innovations herein discussed are analyzed and found to be useful for soundtrack composition and for future user-centered computer-music research.
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Angel, Samanatha. "Music and paleolithic man the soundtrack of human cognitive development." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/651.

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Archaeologists have pored over countless texts of the ancient civilizations, attempting to piece together bygone worlds. However, relatively little work has been done to reconstruct the musical history of these societies, and even less on why their musical histories are important. This paper aims at a synthesis between the ancient Egyptian and classical Greek archaeological records to analyze the importance of music in Paleolithic human cognitive development. Countless musical instruments have been discovered globally, ranging from pre-Columbian bone flutes in Oaxaca, Mexico to ancient trumpets in Egyptian burials (Barber et al 2009). Apart from their place in a museum, minimal work has been done to ascertain their importance to human society as a whole. This thesis attempts to display the crucial need for more research in this field. The recent decline in support for arts education in favor of 'hard sciences' and mathematics is deeply disturbing; the history of humanity should be important not only to anthropologists and historians, but to members of all disciplines. This lack of interest in 'soft sciences' and the arts may lead to a complete loss of ancient musical history; a loss that would be devastating to history, anthropology and the worlds. The contents of this paper portray both the ancient importance of music, and how it contributed to increased cognitive faculties during hominid development.
B.A.
Bachelors
Sciences
Anthropology
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Kirtner, Ellen R. "Bands and Brands: The Relationship Between Bands and the Commercials They Soundtrack." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1376767931.

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Chu, Xinlei. "Mongolian folklore expressed through music technology original multimedia soundtrack "On Horseback"." Thesis, Duquesne University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1554238.

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I returned to my hometown and recorded Mongolian folk music—Mongolian Long Song and Mongolian Throat Singing. I wanted to combine technology and traditional folk music and write an electronic piece based on Mongolian vocal materials. I used what I’ve sampled, manipulated the sounds, composed the music, gathered the videos together and created this multimedia piece—On Horseback. The names of the four movements—Sand, Cloud, Water, and Fire—are four elements that I chose to represent the lifestyle in Inner Mongolia.

This thesis covers the journey of how I created this piece. I’ve explored many variations of technology such as sound sampling, mixing, and video editing. I’ve also gained the chance to bring traditional Mongolian folk vocal music out of my hometown and present it in my own work.

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

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This dissertation examines music's role in cinema in the early years of synchronized sound film in the United States and France. Working against the historical and technological determinism that often plagues narratives of the transition to sound, I investigate the myriad ways in which directors, producers, and composers approached the new technology. Films acted as artistic manifestoes on the new technology and its aesthetic potential as filmmakers experimented with the musical soundtrack. Through multi-site archival research and close analyses of films and their music, I point to the heterogeneity of film music practices during synchronized sound's nascent years, considering early sound films as sites of aesthetic contestation and negotiation.
Music
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Lundh, Haaland Magnus. "The Player as a Conductor : Utilizing an Expressive Performance System to Create an Interactive Video Game Soundtrack." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-281324.

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Music is commonly applied in art and entertainment to enhance the emotional experience. In video-games and other non-linear mediums this task must be achieved dynamically at run-time, as the timeline of events is unknown in advance. Different techniques have been developed to solve this issue, but most commercial applications still rely on pre-rendered audio. In this study, I investigate using a Computer System for Expressive Music Performance (CSEMP) to dynamically shape a computer performance of a pre-composed track to a small platforming game. A prototype environment utilising the KTH Rule System was built and evaluated through semistructured interviews and observations with 7 participants. The results suggest that changes in the musical performance can successfully reflect smaller changes in the experience such as character movement, and are less effective for sound effects or more dramatic changes, such as when the player is engaging in combat or when the player loses. All participants preferred the interactive soundtrack over a non-interactive version of the same soundtrack.
Musik används ofta som ett komplement i konst och underhållning för att förstärka den känslomässiga upplevelse. I datorspel och andra icke-linjära medier måste musiken ta på sig denna rollen dynamiskt, eftersom det inte går att veta hur händelserna kommer utfalla sig i förväg. För att lösa detta problem har det utvecklats olika tekniker, men dom flesta är fortfarande baserade på digitala inspelningar. I denna studie utforskar jag användningen av ett "Computer Systen for Expressive Musig Performance" (CSEMP) för att dynamiskt forma datorns framträdande av en lineär komposition till ett enkelt plattformsspel. En prototyp baserat på systemet "KTH Rule System" utvecklades och utvärderades genom semistrukturerade intervjuer och observationer med 7 deltagare. Resultaten visar att förändringar i uppspelningen lyckades spegla mindre förändringar i spelet, såsom hur en spelkaraktär rör sig, och var mindre effekt som ljudeffekter och för större förändringar, såsom när spelaren är i fara eller spelet är över. Alla deltagare föredrog det interaktiva ljudspåret över en icke-interaktiv version i det samma ljudspåret.
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Carlson, Zebastian. "Att Måla Känslor Med Musikens Färger : En studie om hur man kan skapa musik för olika typer av känslor." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23790.

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Arbetet handlar om hur musik kan påverka människans känslor och fantasier och hur man kan skapa musik för att väcka en specifik känsla hos lyssnaren. Syftet med arbetet är att försöka förstå varför man blir påverkad på ett visst sätt av olika sorters musik och framför allt om det går att förmedla specifika känslor till den generella lyssnaren. Arbetet består dels av själva uppsatsen, men även skapandet av sju olika musikstycken som 128 försökspersoner har fått lyssna på. Styckena är från olika genrer: drama, komedi, kärlek, skräck, action, fantasy samt slutligen äventyr. Personerna har fått lyssna på musiken för att sedan försöka hitta rätt genre. Intervjuer har också skett med nio personer, alla med bakgrund inom filmbranschen. Detta för att få veta hur de ser på skapandet av filmmusik. Efter att ha tagit del av försökspersonernas svar kan man konstatera att det går att förmedla olika känslor med musik, även om det inte lyckades fullt ut. Många gånger gavs svar som var i linje med mina egna tankar. I andra fall fanns det en fascinerande nästan exakt koppling till mina tankar kring musikstyckena.
The work is about how music can affect the feelings and fantasies of people listening to it and how music can awaken a specific emotion for the listener. The purpose of the work is to understand why different kind of music can affect people in a certain way, and above all, if it is possible to convey specific emotions to the general listener. The work is made up of the essay itself but also the creation of seven music pieces that 128 subjects have listened to. The music pieces are from different genres: drama, comedy, romance, horror, action, fantasy and finally adventure. The people first got to listen to the music and then try to figure out the right genre to every song. There have also been interviews with nine people, all with a background within the film industry. The reason for this was to get to know how they look at the creation of movie soundtrack. After having examined the subjects’ answers it can be seen that it is possible to convey a specific emotion to a specific song, although not fully succeeded. A lot of the time answers were given that were in line with my own thoughts. In other cases there were a fascinating, almost precise connection to my own thoughts and feelings around the music pieces.
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Grecu, Diana-Andreea. "Popular Culture and Protest-Contemporary Protest Soundtrack : An Analysis of The Billboard Year End Rock Charts." Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-120365.

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Display of disagreement in a public space under the form of strikes, rallies and not only, is not the sole form of protest. Popular culture can easily be used to send messages of discontent. The paper focuses on popular music by looking at one of the most representative music charts in the world: The Billboard Chart. By screening the Year End Billboard Rock Chart for a period of 5 years the paper tries to identify songs that can be labelled as protest songs and see what they are protesting against, what themes they address, what are their characteristics and how are the messages transmitted in both textual and visual narratives, in order to draw a picture of the contemporary protest song that is present in a popular chart. The theoretical framework of the paper discusses popular culture, the classical image of the protest song, the creational process of music within the music industry and its politic and economic sides. After a first screening of the charts with the help of content analysis, by using the concept of narrative, the paper examines the stories presented in the lyrics and, where possible, the videos made for the songs. The findings of the paper show that even if not respecting the theoretical characteristics of the classical protest song, The Year End Billboard Rock Chart has several songs with strong political messages either in lyrics or videos or in both at the same time.
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Books on the topic "Music soundtrack"

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Sinatra, Nancy. Kill Bill: Original soundtrack. Beverly Hills, CA: Band Apart/Maverick, 2003.

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Thurman, Uma. Kill Bill: Original soundtrack. Beverly Hills, CA: Band Apart/Maverick, 2004.

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Aykroyd, Dan. Blues Brothers 2000: Soundtrack. New York: Universal, 1997.

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Lewis, Jerry Lee. Great balls of fire!: Soundtrack. New York: Polydor, 1989.

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Houston, Whitney. The Bodyguard: Original soundtrack album. New York: Arista, 1992.

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Alexander, Arthur. Muscle Shoals: Original motion picture soundtrack. New York, NY: Republic Records, 2013.

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Dylan, Bob. I'm not there: Original soundtrack. New York, NY: Columbia, 2007.

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group), Cure (Musical. The crow: Original motion picture soundtrack. New York: Atlantic, 1994.

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Cliff, Jimmy. Club Paradise: Original motion picture soundtrack. New York: Columbia, 1986.

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Mancini, Henry. Lifeforce: Original motion picture soundtrack. North Hollywood, Calif: Varese Sarabande, 1985.

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Book chapters on the topic "Music soundtrack"

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Mednicov, Melissa L. "Soundtrack Not Included." In Pop Art and Popular Music, 78–95. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-5.

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Jordan, Randolph. "Unsettling the Soundtrack." In The Routledge Companion to Screen Music and Sound, 590–602. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-46.

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Sadoff, Ronald, and Miguel Mera. "Shaping the Soundtrack? Hollywood Preview Audiences." In The Routledge Companion to Screen Music and Sound, 291–304. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-24.

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Greene, Liz. "From Noise: Blurring the Boundaries of the Soundtrack." In The Palgrave Handbook of Sound Design and Music in Screen Media, 17–32. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_2.

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Liem, Cynthia C. S. "From Water Music to ‘Underwater Music’: Multimedia Soundtrack Retrieval with Social Mass Media Resources." In Research and Advanced Technology for Digital Libraries, 227–38. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-43997-6_18.

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Almén, Byron, and James Buhler. "Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour fou." In The Palgrave Handbook of Sound Design and Music in Screen Media, 197–212. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_14.

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Kirke, Alexis. "When the Soundtrack Is the Game: From Audio-Games to Gaming the Music." In Emotion in Video Game Soundtracking, 65–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_7.

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Sapiro, Ian. "Interview 6: Orchestration, Collaboration, and the Integrated Soundtrack—An Interview with Matt Dunkley." In The Palgrave Handbook of Sound Design and Music in Screen Media, 421–28. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_29.

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Walzer, Daniel A. "The Curricular Soundtrack: Designing Interdisciplinary Music Technology Degrees Through Cognitive Apprenticeship and Situated Learning." In New Directions for Computing Education, 143–60. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54226-3_9.

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Kulezic-Wilson, Danijela. "Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy." In The Palgrave Handbook of Sound Design and Music in Screen Media, 429–44. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_30.

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Conference papers on the topic "Music soundtrack"

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Yu, Yi, Zhijie Shen, and Roger Zimmermann. "Automatic music soundtrack generation for outdoor videos from contextual sensor information." In the 20th ACM international conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2393347.2396493.

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Lin, Jen-Chun, Wen-Li Wei, James Yang, Hsin-Min Wang, and Hong-Yuan Mark Liao. "Automatic Music Video Generation Based on Simultaneous Soundtrack Recommendation and Video Editing." In MM '17: ACM Multimedia Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123266.3123399.

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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.

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Abstract:
The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Sato, Haruki, Tatsunori Hirai, Tomoyasu Nakano, Masataka Goto, and Shigeo Morishima. "A soundtrack generation system to synchronize the climax of a video clip with music." In 2016 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2016. http://dx.doi.org/10.1109/icme.2016.7552868.

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Dunker, Peter, Phillip Popp, and Randall Cook. "Content-aware auto-soundtracks for personal photo music slideshows." In 2011 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2011. http://dx.doi.org/10.1109/icme.2011.6012066.

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Dassani, Vansh, Jon Bird, and Dave Cliff. "Automated Composition of Picture-Synched Music Soundtracks for Movies." In CVMP '19: European Conference on Visual Media Production. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359998.3369405.

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Gillick, Jon, and David Bamman. "Telling Stories with Soundtracks: An Empirical Analysis of Music in Film." In Proceedings of the First Workshop on Storytelling. Stroudsburg, PA, USA: Association for Computational Linguistics, 2018. http://dx.doi.org/10.18653/v1/w18-1504.

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Burred, Juan Jose, and Pierre Leveau. "Geometric multichannel common signal separation with application to music and effects extraction from film soundtracks." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946375.

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