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Готові списки джерел за темами / Music for film

Добірка наукової літератури з теми "Music for film"

Автор: Grafiati

Опубліковано: 12 вересня 2021

Оновлено: 4 лютого 2022

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Статті в журналах з теми "Music for film":

1

Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann." Film Studies 9, no. 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.

2

Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.

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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah

3

Mettler, Peter. "Music in Film: Film as Music." Cinémas 3, no. 1 (March 8, 2011): 34–42. http://dx.doi.org/10.7202/1001178ar.

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Film and music hae the same communicative capacity, according to Toronto filmmaker Peter Mettler. By adopting the musical rhythms and procedures as creative vectors, the filmmaker, who is also the camaraman and the editor, acquires the means to produce a cinema of the unconscious, of the intuitive, either with or without a narrative structure. Mettler describes his musical approach to film and its application in three of his features: Scissere (1982), Eastern Avenue (1985), and The Top of His Head (1990).

4

Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (April 2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.

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IntroductionThe commercial Hindi language cinema is among the largest and oldest music film traditions on the planet. One of the most widely remarked and inflexible conventions of this highly stylised popular film genre is the regular appearance of song and dance scenes in almost every commercial Hindi film. A huge body of over 40,000 film songs (filmī gīt, as they are known in Hindi) has grown along with the thousands of Hindi sound films produced since 1931; unlike the more recent development of music video in the west, Hindi film songs have been intimately connected with larger narrative traditions and visual images from their very inception. Filmī gīt comprise one of the most intensely consumed popular music repertoires on the planet. Across the range of visual and sound media and on into live performance, the audience for film song must be numbered in the hundreds of millions throughout the South Asian subcontinent and diaspora.

5

Ciric, Marija. "Music as word: Film music - superlibretto?" Muzikologija, no. 15 (2013): 127–44. http://dx.doi.org/10.2298/muz1315127c.

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The aim of his paper is to prove that film music can be understood as authentic narrative force: film music as word / discourse and its superlibretto status. Superlibretto is the status of music in a film which is constructing its own (aural) reality and is narrating, speaking its own text which creates a wholesome film meaning. The existence of superlibretto is substantiated by fundamental theoretic concepts of film music and practically proven by analyses of examples taken from the opus of Serbian film composer Zoran Simjanovic.

6

Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.

7

Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto, and Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio." E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.

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Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.

8

Justus, Timothy. "Toward a Naturalized Aesthetics of Film Music." Projections 13, no. 3 (December 1, 2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130302.

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In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film.

9

Beheim, Eric, and Clifford McCarty. "Film Music 1." American Music 11, no. 1 (1993): 121. http://dx.doi.org/10.2307/3052452.

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10

Everett, Wendy. "Image, Music, Film." Studies in European Cinema 5, no. 1 (September 16, 2008): 7–16. http://dx.doi.org/10.1386/seci.5.1.7_1.

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Дисертації з теми "Music for film":

1

Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.

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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.

2

Audissino, Emilio. "Film music as a film device : a neoformalist approach to the analysis of music in films." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/414097/.

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In the last ten years there has been a significant shift of interest in film music from Film departments to Music departments. This study seeks to balance the situation and bring film music back into the sphere of action of Film Studies. Film scholars can still give an important specialistic contribution by tackling the music as one of the cinematic devices, and focussing on the analysis of its interplay with the other formal elements of film. In this view, the scope of this study is to develop an approach and a set of analytical tools that serve as a guidance to film scholars to address music in film from their discipline-specific perspective. The analytical approach here offered stems from a mix of Neoformalism – from Film Studies – and concepts drawn from Leonard Meyer's music theories. Neoformalism describes and explains the filmic system focussing on the overall form and style, not only on the interpretation of the film's contents and meanings. In particular, the analysis concentrates on the function(s) and motivation(s) of a series of devices, whose interplay is at the basis of the film's formal system. Being one of the film's devices, music carries out specific functions and responds to specific motivations. Yet, film music is also music. Hence, Neoformalism is coupled with Leonard B. Meyer's theories. According to Meyer the meaning and emotional effect of a tonal piece of music derives from the way in which the composition plays with the listener’s expectations and anticipations, which are based on a shared knowledge of norms and conventions. This interest in norms and conventions and in the psychology of perception links Meyer's studies to Neoformalism. And their common interest in the 'whole,' in formal stabilisation, and closure makes Gestalt Psychology a fitting overarching theoretical framework to integrate Neoformalism with Meyer's musicology. The combination of the micro-configuration of the music and that of the visuals produces a macro-configuration in which the whole is something different from the sum of its parts. In this audiovisual interaction, three areas of musical agency are identified in the film: music can have a perceptive function; an emotive function; a cognitive function. The findings are valuable for both the disciplines involved. To film scholars, it presents film music as a topic that can be handled with more confidence and breadth, because the musicological analysis of the musical text (the score) is not required in this approach. To musicologists, it provides a way to deepen their understanding of and insights into the formal and stylistic ways in which music interacts and combines with the other cinematic components.

3

Redner, Gregg. "Deleuze and film music." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/55453.

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This thesis grows from the premise that film music analysis is currently at an impasse. The reason for this impasse is the inability of film theory and music theory to relate to one another because of their lack of a common theoretical language. It is my contention that a large percentage of the scholarly writing on film music is less than successful, because of the inability of these two disciplines to relate to each other theoretically. Therefore, it is the intention of this thesis to construct a methodological bridge which will allow music theory and film theory to relate to each other on a common analytical plane. I am primarily concerned with just how the film score functions once it enters into the mise-en-scène and is able to exist on an equal theoretical plane with the other elements of the filmic universe. In order to facilitate this, I will apply philosophical concepts drawn from the philosophy of Gilles Deleuze to the analysis of six individual film/score(s): L’Atalante (Jean Vigo, 1934), Things to Come (William Cameron Menzies, 1936), Scott of the Antarctic (Charles Frend, 1948), East of Eden (Elia Kazan, 1955), Hamlet (Grigori Kozintsev, 1964) and Blue (Krzysztof Kieslowski, 1993). Each of these scores provides a specific theoretical challenge which can not be overcome through the use of traditional analytical methodologies. By adapting specific Deleuzian philosophical concepts (sensation, nomadology, the refrain, the eternal refrain, becoming, utopia, smooth space, and duration) to the individual scores in question I will demonstrate that it is possible to create a flexible analytical methodology which draws the various elements of the film into a deep relationship with the score, thereby revealing the score’s actual function in each instance.

4

Franklin, Peter. "Reger and Film Music." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32335.

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It is proper that I should begin by admitting that I am only an apprentice Reger-scholar. In planning this invited paper I evertheless learned much about how and why a British Mahler- and Schreker specialist, interested in the music of Hans fitzner and Franz Schmidt, might have remained so inconsistently ignorant of Reger. Setting aside, for the moment, the specific question of film music, what I have learned is clearly of levance to questions about why Reger appears not to ‘travel well’ internationally and about his reception by a UK audience.

5

Olowsson, Johan. "Att överföra topline writing till film- och spelmusik." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-58151.

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6

Mazey, Paul Adrian. "British Film Music, 1930s-1950s." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730833.

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7

Nagari, Benjamin. "Music as image : an analytical-psychology approach to music in film." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8z0zx/music-as-image-an-analytical-psychology-approach-to-music-in-film.

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Sound and music, both independently and inside film are sometimes considered to be secondary to the visual. Some disciplines wish to classify them as triggers to neurological systems while some others will emphasise their affect-inflicting capacity; in both cases these remain as secondary functions and in the case of film as nothing but accompanying elements. Yet, observed psychologically sound and music have a unique and wholesome function in the human psyche. Carl Gustav Jung’s analytical psychology opens the door for the understanding of both as images, far beyond the consensual acceptance of image being of a visual faculty only. Understanding music as image puts music in a different position inside a film as well as a stand-alone phenomenon in the every-day life. Analytical psychology, in both original Jungian and contemporary Post-Jungian versions, using the core ideas of archetype, opposites, functions of the psyche and image - supports the very concept of music/sound as image. This thesis will approach the consequent understanding of the role of music in film beyond the decorative-accompaniment task attributed to it and as an image on its own right. The work is divided into three main parts: Part I will introduce general Jungian aspects to build the case of a Jungian psychological account of the music-image. Part II will attempt to combine theory with practice in analysing how the auditory image (mainly music) works (or sometimes clashes) with the visual (picture) to create the ‘film as a whole’ experience. Part III will implement a specific understanding of three individual film cases of different genres, eras and styles as psychologically scrutinised ‘case histories’.

8

Jonsson, Sofie. "Musik till film : Att visualisera en låts karaktär till en musikvideo." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86669.

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9

Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.

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10

Wiessinger, Scott Reinhard. "Film and Music an overlooked synthesis /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/wiessinger/WiessingerS0509.pdf.

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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).

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Книги з теми "Music for film":

1

Mark, Russell. Film music. Boston: Focal Press, 2000.

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2

Sheth, Nirupama. Tagore, Indian film & film music. Bombay, India: Pankaj Mullic Music Research Foundation, 1994.

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3

Sheth, Nirupama. Tagore, Indian film & film music. Bombay, India: Pankaj Mullic Music Research Foundation, 1994.

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4

Dorricott, Ian. Exploring film music. Sydney: McGraw-Hill, 1998.

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5

Aliyu, Augustine. Music in film. London: LCP, 2001.

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6

Anderson, Gillian B. Film music bibliography. Hollywood, CA: Society for the Preservation of Fiulm Music, 1995.

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7

Anderson, Gillian B. Film music bibliography. Hollywood, California: Society for the Preservation of Film Music, 1995.

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8

Mazey, Paul. British Film Music. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33550-2.

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9

Audissino, Emilio. Film/Music Analysis. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61693-3.

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10

Ahira, Mandeep. Film as music. London: LCP, 2003.

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Частини книг з теми "Music for film":

1

kydd, Elspeth. "Film Music." In The Critical Practice of Film, 208–25. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_10.

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2

Chanan, Michael. "Music, Documentary, Music Documentary." In The Documentary Film Book, 337–44. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_38.

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3

Donnelly, K. J. "British Film Music." In British Film Music and Film Musicals, 14–39. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230597747_2.

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4

Cornelius, Steven, and Mary Natvig. "Music and Film." In Music a Social Experience, 229–47. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-14.

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5

Van Order, M. Thomas. "Italian Film Music." In The Italian Cinema Book, 142–48. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_18.

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6

Lee, Jonathan Rhodes. "Film Music Research." In Film Music in the Sound Era, 1–37. [1.] | New York : Routledge, 2020. | Series: Routledge music bibliographies: Routledge, 2020. http://dx.doi.org/10.4324/9781351190794-1.

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7

DaCosta, Morton. "The Music Man." In 100 Film Musicals, 148–50. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_59.

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8

Audissino, Emilio. "Film/Music Analysis I: Music, Gestalt, and Audiovisual Isomorphism." In Film/Music Analysis, 95–124. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61693-3_5.

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9

Audissino, Emilio. "Film/Music Analysis II: Functions and Motivations of Music." In Film/Music Analysis, 125–54. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61693-3_6.

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10

Finocchiaro, Francesco. "Between Film Music and Chamber Music." In Musical Modernism and German Cinema from 1913 to 1933, 195–220. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58262-7_10.

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Тези доповідей конференцій з теми "Music for film":

1

Kuo, Fang-Fei, Meng-Fen Chiang, Man-Kwan Shan, and Suh-Yin Lee. "Emotion-based music recommendation by association discovery from film music." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101263.

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Huili, Sun. "Film Music Aesthetic Characteristics and the Rendering Effects on Film Works." In 2014 2nd International Conference on Advances in Social Science, Humanities, and Management. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/asshm-14.2014.87.

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Yong, Zhou. "Research on the Function of Film and Television Music in Music Appreciation Class." In 2017 7th International Conference on Social Network, Communication and Education (SNCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/snce-17.2017.154.

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Xu, Rui. "Analysis of the Role of Music in Film Narrative." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.11.

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Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

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Liu, Di. "The First Wave: Chinese Film Music in the 1930s." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.125.

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Li, Hui, and Fei Ren. "Computer music and traditional music under the background of “Internet + Music” ‐‐ Take the film “Song of the Phoenix” for example." In 2020 5th International Conference on Mechanical, Control and Computer Engineering (ICMCCE). IEEE, 2020. http://dx.doi.org/10.1109/icmcce51767.2020.00319.

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Kokkidou, May, Christina Tsigka, and Ifigeneia Vamvakidou. "MUSIC IN FILM SEMIOSPHERE: RECONSIDERING KUBRICK’S 2001: A SPACE ODYSSEY." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-099.

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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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Jing, Peng. "Analysis on Early Chinese Animation Film Music and Its Historical Status." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.109.

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