To see the other types of publications on this topic, follow the link: Musical Motion pictures.
Dissertations / Theses on the topic 'Musical Motion pictures'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Musical Motion pictures.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Carroll, Elizabeth. "The representation of space in musical numbers." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374396/.
Full textAbstract:
My area of research is best described as the promotion of a new methodological approach to the study of film. It is an approach that is founded upon a spatial reading, based on an exploration into abstract aesthetics and pays particular attention to the interactions between sound and image. Whilst this methodological approach can be utilised to read any film, this thesis looks particularly at the musical genre and, more specifically, the musical number and its representation of space. The need to delimit my study notwithstanding, the musical has been taken as a case study in order to demonstrate how this spatial methodology should pay attention to, and be aware of, the peculiarities and idiosyncrasies that genres encapsulate. My thesis challenges the dominance of cognitive theory by providing an approach based upon gestalt theory, making use of ‘forensic’ analysis to remove aesthetics from their narrative context. Theorists such as Rick Altman (1989, 1999) and Jane Feuer (1993) have long discussed the structural qualities of the musical genre in an attempt to delimit the musical number from that which surrounds it. A different representation of space emerges in the musical number, one that permits a deeper exploration into the negotiated relationship between sound and image. In this thesis I examine this space closely utilising a range of innovative analytical techniques including virtual reconstruction and diagrammatic notation. This ‘forensic’ analysis is considered within the overarching framework of gestalt theory: that the whole is more than the sum of its parts. This thesis studies film as an audio-visual medium and considers a range of different spatial realms in order to best understand the complex negotiations between sound and image. Previous scholars of the musical genre have largely focused upon narrative readings of either new or canonical filmic texts. I argue that these narrative readings, whilst 4 providing significant contributions to the field, are ultimately deficient as they fail to adequately explore the finer qualities of film language.
2
Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
Full text
3
Onofre, Cintia Campolina de. "O zoom nas trilhas da Vera Cruz : a trilha musical da Companhia Cinematografica Vera Cruz." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284784.
Full textAbstract:
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T20:40:37Z (GMT). No. of bitstreams: 1 Onofre_CintiaCampolinade_M.pdf: 3572761 bytes, checksum: 7391a9a61d53c2f98a83ba31d5a3f58d (MD5) Previous issue date: 2005
Resumo: A presente dissertação de mestrado elabora um panorama das trilhas musicais dos filmes da Companhia Vera Cruz e contribui para o preenchimento de uma lacuna bibliográfica sobre trilhas musicais brasileiras da década de 50. Com esse estudo, verificamos como alguns compositores procederam, entendendo as características estéticas da época e percebendo como estas composições musicais se situam no cenário de trilha sonora cinematográfica no Brasil. Para tanto, foram realizadas consultas bibliográficas, hemerográficas, entrevistas e análises fílmicas aliadas à teoria musical dos dezoito filmes de ficção da Vera Cruz
Abstract: This present master¿s thesis elaborates a panorama of the soundtracks of the Cinematographic Company Vera Cruz and contributes for the fulfilling of a bibliographical gap on the Brazilian musical tracks from the fifties decade. With this study, we verify how some composers had proceeded, understanding the aesthetic characteristics of that period of time having the perception as these musical compositions had taken place into the Brazilian¿s cinematographic soundtrack scenario. On account of these research bibliographical, interviews, research in reviews and newspapers from that period and filmic analyses allied to musical theory have been done on the eighteen fiction Vera Cruz films
Mestrado
Mestre em Multimeios
4
Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
Full textAbstract:
A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.
5
Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
Full text
6
Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.
Full text
7
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/.
Full textAbstract:
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.
8
Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.
Full text
9
Leão, Carolina Morgado 1986. "A trilha musical do cartoon no período clássico do cinema." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284495.
Full textAbstract:
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T23:24:38Z (GMT). No. of bitstreams: 2 Leao_CarolinaMorgado_M.pdf: 2729435 bytes, checksum: 3cccc2782d27c4926dca0243044b2804 (MD5) Leao_CarolinaMorgado_M_Anexo.zip: 2581908598 bytes, checksum: 8acc1a686e30a6fa52cb27e0083ad192 (MD5) Previous issue date: 2013
Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas
Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images
Mestrado
Fundamentos Teoricos
Mestra em Música
10
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/.
Full textAbstract:
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.
11
Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.
Full text
12
Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.
Full textAbstract:
Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
13
Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.
Full textAbstract:
Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).
14
Mui, Yee-man, and 梅綺雯. "The Hong Kong soundscape: music and sound in Johnnie To's PTU." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517087.
Full text
15
Seidel, Sebastian Martin. "A portfolio of compositions and an investigation into electroacoustic compositional techniques and aesthetics in cinematic film." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/98.
Full textAbstract:
The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating sounds) come directly from pioneers of electroacoustic music. Electroacoustic techniques and aesthetics play an important role in the history of sound film in making fundamental contributions to production processes, the relation between directors and sound makers, and film sound theory. On an aesthetic level, electroacoustic music in film has reformed the role of sound in film: a film score can contain 'noise', while speech and sound effects can actually serve as music. The findings also assert that electroacoustic techniques and aesthetics can be found in cinematic film from the beginning of sound film in the late 1920s. Once established, techniques have largely remained the same, regardless of the carrier media and their transformation from analog to digital: modern, digital techniques are refinements of their analog predecessors. Aesthetics have developed along with techniques, albeit much slower; their potential and exploration is far from being exhausted. The use of electroacoustic content for a particular element of film sound is not unusual and often genre-specific (for example in science fiction and thriller). However fully electroacoustic scores are rare. A portfolio of selected original compositions by the author complements this study. Acoustic and electroacoustic pieces for film and multimedia highlight different aesthetics, techniques and practices of film sound and film music.
16
Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.
Full text
17
Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.
Full text
18
Crouse, Jeffrey Dennis. "Representations of screen heterosexuality in the musicals of Fred Astaire and Vincente Minnelli." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/35511/.
Full textAbstract:
This thesis examines the ways in which heterosexuality is rendered in the Hollywood genre where its existence is most privileged: musicals of the studio era (c. 1930 - c. 1960). In this popular film category, heterosexuality is expressed in a framework of "boy-meets-girl" amatory coupling that is remarkably amplified and insistent. In analysis that is at once sympathetic and critical of the subject matter, I show that heterosexuality in the Hollywood musical is constructed in a way that is far from monolithic. On the contrary, I find that there are in fact varieties of heterosexual identity that exist in the genre, and that they are most succinctly revealed through romantic engagement. Yet heterosexuality is depicted along divergent formulations owing to contrasting relational aims and assumptions. Building on Richard Dyer's 1993 essay, "'I Seem to Find the Happiness I Seek': Heterosexuality and Dance in the Musical," I will discuss how the basis of these separate models is traceable to different approaches related to power distributions between men and women. These processes, in turn, arise from different notions concerning masculinity and femininity. In this way, a mix of gender expressions inhabit the Hollywood musical leading to an assortment of heterosexual models. Textually these models become visible not only through an analysis of characterization and the position of the man and woman within the narrative, but in the camera work, all aspects of the mise-en-scene, and most cogently, in the arrangement of the central heterosexual couple in the song-and-dance sequences. For my examination of heterosexuality in the Hollywood musical, I will concentrate on the work of two of its greatest auteurs: Fred Astaire (star) and Vincente Minnelli (director). The impact each man made on this genre is hard to overestimate. In terms of methodology I divide my analysis between these two artists, and ascertain what model(s) of heterosexual identity are communicated by them. Then after establishing what design(s) of heterosexual life each one suggests (for Astaire I analyse Top Hat [1935] as well as Carefree [1938] and The Sky's the Limit [1943], while for Minnelli I look at Meet Me in St. Louis (1944) and The Pirate [1948]), I conclude this thesis by examining their most acclaimed joint effort (The Band Wagon [1953]) to discern what, if any, change one might have had on the other. A phenomenon tied to the US musical (whether stage or screen) is that although it is the most heterosexual of genres, it is also one traditionally both crafted and appreciated by gay men. Though it does not fall within the scope of this thesis, it is worth speculating for future work if Astaire's heterosexuality and Minnelli's homosexuality had any significant bearing on the way they represented the standard boy meets-girl plot device upon which the Hollywood musical relies.
19
Reid, Tom. "Formal experiments in silent film music : reading early abstract film texts as musical scores." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/69319/.
Full text
20
吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
Full text
21
Padilla, Rachel. "From Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/297397.
Full textAbstract:
In 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, using the techniques of Lars Franke, further illustrates how the creators of An American in Paris used the cinematic frame to comment on George Gershwin's life and to respond to contemporary critics as well as fans of his music.
22
Jansen, Rhyno. "The alchemy of sound : creating unbelievable believability through audiovisual fusion." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6561.
Full textAbstract:
Thesis (MPhil (Music))--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story.
AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.
23
Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Full textAbstract:
Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
24
Pillich, Gualberto Simeon. "Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
25
Hudgins, Donald A. "Rhythm and Views: A Compilation of Eight Projects Including Scoring, Video Production and Motion Graphic Design." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1206070566.
Full text
26
Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.
Full text
27
Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.
Full textAbstract:
This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.
28
Ahn, Soo H. "Metropolis : music score for the film directed by Fritz Lang ; Scoring Metropolis : the development of my compositional practice." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/31449/.
Full textAbstract:
This commentary documents the compositional process of writing film music for the classic expressionist silent film Metropolis (Lang, 1927), using MIDI-based orchestral sound resources. Metropolis was chosen from within other possibilities, such as Battleship Potemkin or Nosferatu, not only due to the belief that the film’s surreal eerie mood and machine-like characters could be represented well by the Second Viennese School’s musical style that I intended to adopt, but also due to a judgment that leitmotivic transformation and use of themes as character links fit into a work so rich with characters’ showing subtle psychological states. I set out to compose an original orchestral score for Metropolis with the idea in mind, that film music should contribute to the audience’s integration with the drama and reinforcement of dramatic tensions by strategically supporting the film’s plot and narrative, and that an agreeable conceptual blending between film and music would be crucial to a successful composition. For this task, a thorough review of the leitmotif and related literature about music semiotics and meanings, together with a brief discussion of the MIDI sampler orchestra, proved to be necessary. Metropolis, a pioneering masterpiece of sci-fi, which contains a gloomy portrait of the futuristic world, encouraged me to experiment with the diverse possibilities not only of the leitmotif, but also of kaleidoscopic sound originating from various combinations of virtual instruments of the MIDI sampler orchestra and ultimately to show my musical process. The document traces the leitmotif as a primary compositional device for thematic manoeuvre in both film composers’ scores and major scholars’ discussions; it also incorporates current scholarly research about music semiotics and meanings, which has guided choices in each stage of my compositional process. I have revealed how I applied such lessons as Ennio Morricone’s microcell technique, Danny Elfman’s transformation approaches to thematic material, Howard Shore’s reflection of meaning onto music, and Ilan Eshkeri’s use of themes as character links to my Metropolis. I organized the main character’s associate themes using microcell and transformation techniques and contextualised them as character links. For instance, I produced tunes for cold-hearted characters, such as Rotwang, robot Maria, and high buildings, with the twelve-tone technique, poignant dissonances through interval-classes 1 and 6, recursive rhythmic patterns, or their combinations; I also adopted two distinct types of an octatonic scale to describe contrasting personalities of the two characters and a chord based on 2nd intervals to express the moment when Rotwang’s evil reaches its zenith. Metropolis serves not only as an artistic repository for numerous symbols, but also as a web of leitmotifs towards musical and filmic unity.
29
Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.
Full textAbstract:
Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.
30
Alexander, Helen. "Happy harmonies and disturbing discords : Scott Bradley's music for MGM's cartoons." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6809/.
Full textAbstract:
The musical scores of composer Scott Bradley for the cartoons of the Metro- Goldwyn-Mayer studio form the basis of this dissertation, which uses close observation and analysis to address some of the pertinent technical and cultural issues that have been raised in the literature of musicology and of cartoon studies. Bradley’s collaborations with three sets of directors are discussed separately in order to highlight three academic concerns. An investigation into the various practical necessities and cultural influences on Bradley’s work with directors Hugh Harman and Rudolf Ising sets the historical scene at the beginning of the composer’s career. I examine the pervading style of these cartoons and their music in order to reveal some of the personal preoccupations that Bradley’s work would exhibit throughout his life. And I interrogate the general musicological approach to the audiovisual pairing and cartoon scoring practices in order to re-evaluate close synchronization as a variegated technique capable of diverse and nuanced effects. Director Tex Avery and Bradley have independently been considered by various scholars for their adoption of modernist techniques. Their collaboration produced works that challenge the distinction of popular entertainment and modernist art, in a way that is shown to be both multifaceted and difficult to quantify. The position of their cartoons in terms of more frequently recognized modern artforms and its own tradition of slapstick comedy complicate any simple distinction between the two fields. The directorial team of William Hanna and Joseph Barbera produced cartoons that amalgamated some of the techniques learned from the other animators in this study. As well as being the most famous of MGM’s cartoon series, their Tom and Jerry cartoons were the most consistent in terms of style. The comic formula of this series is examined from the relatively new academic area of ‘comic timing’. I explore the possible effect of a constant musical presence on the audience perception of pacing and thereby add a new perspective to an aspect of comedy that has not before been considered with reference to music.
31
Schofield, Guy Peter. "Soundtrack-controlled cinematographic systems." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2422.
Full text
32
Boczkowska, Ewelina. "Sites of remembrance music and memory in Polish film /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973844971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
33
Wiessinger, Scott Reinhard. "Film and Music an overlooked synthesis /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/wiessinger/WiessingerS0509.pdf.
Full textAbstract:
Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Theo Lipfert. Fractal is a DVD accompanying the thesis. Includes bibliographical references (leaves 22-23).
34
Age, Alessander Henrique. "Musica no alvo : um estudo da musica publicitaria nas decadas de 1950 e 1960 no Brasil." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284761.
Full textAbstract:
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T18:01:31Z (GMT). No. of bitstreams: 1 Age_AlessanderHenrique_M.pdf: 860700 bytes, checksum: bf90f16240cbd731e21ec17603d9de3f (MD5) Previous issue date: 2006
Resumo: A presente dissertação de mestrado aborda a inserção da música na linguagem publicitária e sua influência no processo de comunicação. Através de um levantamento histórico e analítico, procura-se entender como a música atuou dentro do contexto publicitário nas décadas de 1950 e 1960. Para tanto, com base na teoria da publicidade e música de cinema, foram analisados filmes publicitários e anúncios de rádio produzidos nas cidades de São Paulo e Rio de Janeiro nesse período
Mestrado
Mestre em Música
35
Wang, Shuang, and 王爽. "Beautified violence: music and slow motion inThe banquet (2006)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46933001.
Full text
36
Timmons, Lena G. Boyd Jean Ann. "Functions of film music and sound within a genre : the revenge western /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4900.
Full text
37
Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.
Full textAbstract:
This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.
38
Winters, Ben. "Korngold's merry men : music and authorship in the Hollywood studio system." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c.
Full text
39
Ennis, Frank Robert. "A comparison of style between selected lieder and film songs of Erich Wolfgang Korngold /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
40
Young, Matthew David. "Projecting Tolkien's Musical Worlds: A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1179760402.
Full text
41
Laing, Heather Ann. "Wandering minds and anchored bodies: music, gender and emotion in melodrama and the woman's film." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2320/.
Full textAbstract:
This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.
42
Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.
Full textAbstract:
This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.
43
Theunissen, Justin Robin. "Film music : the synthesis of two art forms - a case study of themes and characters in Alfred Hitchcock's and Bernard Herrmann's Vertigo." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86555.
Full textAbstract:
Thesis (MMus)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates the impact that a musical score can have on the visual component as well as the final product of a film. This is achieved by the use of a systematic analytical approach that covers the most important aspects of the visual and musical elements within Vertigo. The film is regarded as one of cinema’s greatest examples of excellence. The many levels of meaning, inspired use of cinematographic techniques, meticulously crafted narrative and dynamic score combine to create a film unlike any other. The analysis of Vertigo is achieved by selecting specific scenes that contain important visual and musical elements essential to the narrative. The visual and musical aspects of each scene are analysed separately before the relationship between them is studied. Following this, the results of the analysis are summarised within the larger context of the narrative and conclusions are drawn regarding the music’s influence on the visual aspects of the film as well as its role in the ultimate narrative success of Vertigo.
AFRIKAANSE OPSOMMING: Hierdie verhandeling kwantifiseer die impak wat ‘n partituur kan uitoefen op die visuele aspekte en eindproduk van ‘n film. Dit word bereik deur die gebruik van ‘n sistematiese analitiese benadering wat die hoofaspekte van die visuele en musikale elemente in Vertigo ondersoek. Vertigo word beskou as een van die filmkuns se beste voorbeelde van uitnemendheid. Die komplekse betekenisvlakke, die geïnspireerde gebruik vakinematografiese tegnieke, die uitmuntende storielyn en die dinamiese partituur kombineer om ‘n unieke film te skep. In die ontleding van spesiale tonele met visuele en musikale elemente wat ‘n noodsaaklike bydrae lewer tot die sukses van die storielyn, kan Vertigo analiseer word. Die visuele en musikale aspekte van elke toneel word eers individueel bestudeer voordat die verhouding tussen die elemente analiseer word. Daarna word die resultate saamgevat binne die raamwerk van die storielyn en kan daar tot ‘n gevolgtrekking gekom word oor musiek se invloed op die visuele aspekte van die film en die rol wat musiek gespeel het in die beslissende sukses van Vertigo.
44
Fox, Barbara Beeghly. "Obsession and crisis film music and narrative in Double Indemnity (1944), Laura (1944), and Psycho (1960) /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1433617.
Full text
45
Blasko, Benjamen. "Visual Music: The Use of Film Composition Devices to Develop Form in the Wind Band Music of Bruce Broughton." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248377/.
Full textAbstract:
As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.
46
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.
Full textAbstract:
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T23:03:48Z (GMT). No. of bitstreams: 2 Soares_DuanaCastro_M.pdf: 1937236 bytes, checksum: d9bcaaf1e0d76b3aab8e34e6555b8ad3 (MD5) Soares_DuanaCastro_Anexo.zip: 517300767 bytes, checksum: a482d7b8f810ba62bd225faeee0fb43c (MD5) Previous issue date: 2013
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
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
Mestrado
Multimeios
Mestra em Multimeios
47
McGinney, William Lawrence. "The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.
Full text
48
Pieczenik, Sharon Rovner. "We are still talking the wrong language to 'tv babies'." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/pieczenik/PieczenikS0508.pdf.
Full textAbstract:
In order to reach a young generation diagnosed with \"nature deficit disorder\" and flooded with mass media messages from a myriad of channels, non governmental organizations (NGOs) and environmental educators need to embrace musical videos as a tool for conservation education. Rare Conservation is one NGO that utilizes music videos as an innovative technique to reach a younger audience in order to foster a sense of pride and concern for the environment in which they live. In 1992, RARE Conservation produced a music video for the song \"Quincy Rap\" by Tony (The Obeah Man) McKay. The \"Quincy Rap\" music video was one environmental tool in the overall campaign to save the endangered and endemic Bahamian Parrot. By analyzing the \"Quincy Rap\" music video, a guideline for creating persuasive music videos can be constructed. In order to analyze a music video, like \"Quincy Rap,\" it is best to take a multi-perspective approach, first dissecting the visual elements of the video then looking at the audio elements and then concluding with how the visual and audio elements intersect. By juxtaposing music video techniques with those found in other forms of video production, certain persuasive elements of music video production can be highlighted. This unique rhetoric of music videos can be utilized as persuasive environmental education.
49
Hausmann, Christiane. "Zwischen Avantgarde und Kommerz die Kompositionen Ennio Morricones." Hofheim Wolke, 2008. http://d-nb.info/989861376/04.
Full text
50
Kausalik, Emily Anne. "A Fistful of Drama: Musical Form in the Dollars Trilogy." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213650532.
Full text