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Статті в журналах з теми "Sound of music (Motion picture)"
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Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.
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Rusinova, Elena A. "Music in the Metadigetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 80–87. http://dx.doi.org/10.17816/vgik9280-87.
Повний текст джерелаАнотація:
This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.
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Baugh, Scott L. "Multiple Personalities of Pulp Fiction 's Musical Soundtrack: Liner Notes to a 30th Anniversary." South Central Review 41, no. 2 (June 2024): 73–94. http://dx.doi.org/10.1353/scr.2024.a932709.
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Abstract: Pulp Fiction: Music from the Motion Picture was released in 1994 in coordination with the film Pulp Fiction (1994). Across the film's soundtrack album, variously considered an auteur mixtape, a compilation score, and its own rich text, music formulates a cast of characters alongside those more recognizable from the film's story. Critical analysis reveals multiple and multiply associative and disassociative personalities that afford innovative approaches to the role of the soundtrack and sound-plus-visual imagery in Pulp Fiction .
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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.
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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.
Повний текст джерелаАнотація:
Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.
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Romadoni, Muhamad, Jimy O. Andin, Andi Arie Astuti, and Cahyo Wahyu Darmawan. "Peran Desain dalam Pertunjukan Tumirah (Sang Mucikari) di Prodi Pendidikan Sendratasik Universitas Palangka Raya." Tamumatra : Jurnal Seni Pertunjukan 6, no. 1 (December 31, 2023): 17–25. http://dx.doi.org/10.29408/tmmt.v6i1.22769.
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The role of design, as a visual art that most people think there is a dividing line between the art of motion and sound, will certainly be a new picture in understanding the interrelated relationship in the success of a performance. This is the background related to the research on the role of good design in a performance focused on the "Tumirah (Sang Mucikari)" performance performed at the University of Palangka Raya's Drama, Dance, and Music Education Study Program, with the aim of describing and analyzing the problems of the form and the creativity of the stage and the property used. The theory of two-dimensional and three-dimensional designs underlies the role of design in performance. The method used in this research is interpretative qualitative with case study studies. The results show that the role of design in the form of line, field, color, and space elements is inseparable from a performance. Design creativity that reduces some of its elements into imaginary elements and visualizes elements whose representation weight is high is a determining factor in explaining to the audience to be carried away in the atmosphere told in the performance story.
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Gibson, Dylan Lawrence. "Mechanical and artificial ‘nü-horror metal’: The film music of Resident Evil." Metal Music Studies 8, no. 1 (March 1, 2022): 87–108. http://dx.doi.org/10.1386/mms_00062_1.
Повний текст джерелаАнотація:
Remaining true to its origins, the survival-horror video game film adaption, Resident Evil: The Original Motion Picture released in 2002, retains its core foundational game-like qualities. The film is heavily influenced by the video game franchise and it appears as if the audience is treated the same as the player. This is because the viewers are forced to ‘participate’ from fixed camera angles. As expected, the music contained within the moving image also borrows well-established compositional techniques from horror films and survival-horror video games. The music, therefore, serves to provide information to the viewers and acts as an auditory trigger. This type of music is defined as ‘process music’; music that appears to imitate a process of actions. An additional function of the music is to create immersion. The most prominent soundtrack cues from the film, visually and musically (‘synchronically’ matched), hint at overarching medical, artificial and mechanical themes. This immersive link is achieved through the use of the related music genres of industrial metal and nü-metal. The resultant combination of industrial/nü-metal sounds with horror imagery can effectively be termed ‘nü-horror metal’. In this article the genre label of ‘nü’ takes preference over ‘industrial’. The focus of this article will, therefore, demonstrate how the aforementioned medical, artificial and mechanical themes are effectively portrayed and heightened by the use of industrial/nü-metal music and techniques. This article will also highlight when the music serves a process function. This will be approached by appealing to traditional film music analytical tools engaging specifically with the traditional film music theory of ‘synchrony’ and ‘asynchrony’.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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SMEETS, D. J. H., and A. G. BUS. "The interactive animated e-book as a word learning device for kindergartners." Applied Psycholinguistics 36, no. 4 (January 17, 2014): 899–920. http://dx.doi.org/10.1017/s0142716413000556.
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ABSTRACTElectronic picture storybooks often include motion pictures, sounds, and background music instead of static pictures, and hotspots that label/define words when clicked on. The current study was designed to examine whether these additional elements aid word learning and story comprehension and whether effects accumulate making the animated e-book that also includes hotspots the most promising device. A sample group of 136 4- and 5-year-old kindergarten children were randomly assigned to one of four conditions: static e-books, animated e-books, interactive animated e-books, and a control group. In experimental conditions, four on-screen stories were each presented four times during a 4-week intervention period. Children in the control condition played nonliteracy related computer games during the same time. In all conditions, children worked independently with the computer programs. Strong treatment effects were found on target vocabulary originating from the story. Pupils gained most in vocabulary after reading interactive animated e-books, followed by (noninteractive) animated e-books and then static e-books. E-books including animations and interactivity were neither beneficial nor detrimental for story comprehension. Findings suggest that electronic storybooks are valuable additions in support of the classroom curriculum with interactive animated e-books being the best alternative.
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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.
Повний текст джерелаАнотація:
Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
Дисертації з теми "Sound of music (Motion picture)"
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Повний текст джерелаАнотація:
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.
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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.
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Pinton, Filho Nelson 1974. "A Trilogia da Morte de Gus van Sant : sons, conceitos e paisagens sonoras." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285252.
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Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos MendesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes
Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies
Doutorado
Multimeios
Doutor em Multimeios
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Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.
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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.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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
Книги з теми "Sound of music (Motion picture)"
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Philip, Brophy, and Australian Film, Television & Radio School., eds. Cinesonic: Cinema and the sound of music. North Ryde, N.S.W: Australian Film Television & Radio School, 2000.
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Philip, Brophy, and Australian Film, Television & Radio School., eds. Cinesonic: The world of sound in film. North Ryde, NSW: Australian Film Television & Radio School, 1999.
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Waltzky, Joshua. Music for the movies: The Hollywood sound. [New York?]: Sony Classical, 1995.
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S, Strauss Jean A., ed. Forever Liesel: A memoir of The sound of music. New York: Viking, 2000.
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1943-, Johnson Bruce, ed. Earogenous zones: Sound, sexuality and cinema. Oakville, CT: Equinox, 2010.
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Miklitsch, Robert. Siren city: Sound and source music in classic American noir. New Brunswick, N.J: Rutgers University Press, 2011.
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Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. London: Equinox, 2009.
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Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. Oakville, CT: Equinox, 2008.
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Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. London: Equinox, 2009.
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Mattarelli, Riccardo Sampino. Pulp sound: Il cinema sonoro di Quentin Tarantino. Falconara Marittima - AN: Crac edizioni, 2016.
Знайти повний текст джерелаЧастини книг з теми "Sound of music (Motion picture)"
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Hoggan, Michael. "The Motion Picture Editor and Sound Design." In The Art and Craft of Motion Picture Editing, 124–38. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003099765-9.
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Bevilacqua, Frédéric, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz, and Baptiste Caramiaux. "Designing Action–Sound Metaphors Using Motion Sensing and Descriptor-Based Synthesis of Recorded Sound Materials." In The Routledge Companion to Embodied Music Interaction, 391–401. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-43.
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Garner, Tom A. "Leveraging Motion and Conceptual Frameworks of Sound as a Novel Means of Sound Design in Extended Reality." In Designing Interactions for Music and Sound, 177–97. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003140535-8.
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Guo, Shihui, Safa Tharib, Jian Chang, and Jianjun Zhang. "Biologically–Inspired Motion Pattern Design of Multi–legged Creatures." In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 145–56. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36955-1_13.
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Eitan, Zohar. "Cross-modal experience of musical pitch as space and motion." In Body, Sound and Space in Music and Beyond: Multimodal Explorations, 49–68. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-4.
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Yewdall, David Lewis. "The Music Composer." In Practical Art of Motion Picture Sound, 465–80. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-81240-3.00018-5.
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"The Music Composer." In The Practical Art of Motion Picture Sound, 459–74. Routledge, 2012. http://dx.doi.org/10.4324/9780080927466-19.
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Yewdall, David Lewis. "Spotting the Picture for Sound and Music." In Practical Art of Motion Picture Sound, 183–90. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-81240-3.00009-4.
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Yewdall, David Lewis. "Spotting the Picture for Sound and Music." In Practical Art of Motion Picture Sound, 183. Routledge, 2012. http://dx.doi.org/10.4324/9780240815237-9.
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Yewdall, David Lewis. "The Music Composer Audio Collaboration or Mud and Destruction." In Practical Art of Motion Picture Sound, 465. Routledge, 2012. http://dx.doi.org/10.4324/9780240815237-18.
Повний текст джерелаТези доповідей конференцій з теми "Sound of music (Motion picture)"
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Cazacu, Oleg. "Some aspects of orchestration in the music for the band." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.05.
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The repertoire for the marching band has its specificity, determined by the instrumental composition, the type of orchestra: military or civilian, the context of the performance. It includes both original opuses and transcriptions. The orchestration technique reflects all these aspects, and the authors of the works and arrangements will consider the timbre features, the possibilities of combining different instruments, the application of dynamic elements, the ways of creating/reproducing the chordal, polyphonic, melodic texture, which will harmonize and reflect the whole sound picture of the musical creation and of the musical dramaturgy.
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Notte, Shun, Sota Hashimoto, Tomoyoshi Inoue, Kenzo Nishio, Peng Xia, Sudheesh K. Rajput, Osamu Matoba, and Yasuhiro Awatsuji. "Selective sound field imaging by parallel phase-shifting digital holography with time-frequency filtering." In Frontiers in Optics. Washington, D.C.: Optica Publishing Group, 2022. http://dx.doi.org/10.1364/fio.2022.jtu5b.55.
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We proposed an optical method for imaging of a motion picture of sounds for selected frequency. We recorded three sounds of frequencies 39.5, 40.0, and 40.5 kHz with the frame rate of 100,000 fps by parallel phase-shifting digital holography and succeeded in imaging the sound for selected frequency.
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Kokkinidis, Kostas, Theodoros Mastoras, Athanasia Stergiaki, and Paraskevi Kritopoulou. "Gesture Recognition & Chanting Assessment For Byzantine Music Learning." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.806.
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Recent works related to digital self-instruction environments, present scarce efforts to provide combined instruction for gestural and vocal skills. Based upon a recently introduced learning and teaching method of vocal music, this research utilizes existing technologies to achieve the development of such a learning environment. The presented system administers the learning experience in order to improve the motion, sound and rhythm related skills of the student. Student performance is compared with a pre-recorded instructor performance in order to provide customized feedback that bespeaks the flaws of the former performance. Motion and sound-capturing technologies are combined, and related feature extraction algorithms are applied. The gestural and vocal features of the instructor performance are compared off-line to those of the student performance, in order to detect the differences, while the tempo is indicated through gestures. The system evaluates constantly the performances in order to provide visual feedback based on their differences. The aim is for the student to reproduce the instructor performance in an approximate manner. An assessment formula for the student performance is proposed and tested for its validity and accuracy. The selected musical genre on which this system was applied is Byzantine music, since its complexity and variety tests the existing sound recognition algorithms.
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Landry, Steven, and Myounghoon Jeon. "Participatory Design Research Methodologies: A Case Study in Dancer Sonification." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.069.
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Given that embodied interaction is widespread in Human-Computer Interaction, interests on the importance of body movements and emotions are gradually increasing. The present paper describes our process of designing and testing a dancer sonification system using a participatory design research methodology. The end goal of the dancer sonification project is to have dancers generate aesthetically pleasing music in real-time based on their dance gestures, instead of dancing to prerecorded music. The generated music should reflect both the kinetic activities and affective contents of the dancer’s movement. To accomplish these goals, expert dancers and musicians were recruited as domain experts in affective gesture and auditory communication. Much of the dancer sonification literature focuses exclusively on describing the final performance piece or the techniques used to process motion data into auditory control parameters. This paper focuses on the methods we used to identify, select, and test the most appropriate motion to sound mappings for a dancer sonification system.
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Schein, David B., and William C. Meecham. "Computation of Jet Noise Using Large-Eddy Simulation and Lighthill’s Analogy." In ASME 1997 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/imece1997-0087.
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Abstract Computational aeroacoustics involves numerical study of the acoustic field generated by unsteady fluid motion. An area of significant interest is unsteady turbulent flow in free jets and resultant far field acoustic pressure fluctuations. Since Lighthill’s mathematical formulation for jet noise generation in the early 1960’s, a search has continued for a physical interpretation of his formal results and, in particular, the noise source term. Far field measurements have not provided a clear picture concerning the nature of the acoustic source. Therefore, industry standard procedures for prediction of far field noise from exhaust jets rely on semi-empirical methods to calculate mean sound pressure levels and directivity. Our objective is to contribute to a more thorough understanding of the acoustic source from a shear flow using Large-Eddy Simulation (LES) turbulence modeling. Published work for direct numerical simulation of these flows has been confined to low Reynolds number (< 3000) with Mach numbers up to 2.0, to study the physics of sound generation and test aeroacoustic prediction methods (Mitchell, et al, 1995). While furthering understanding of jet noise generation, these cases limit exhaust dimensions to millimeters and make it difficult to compare results to measured data. Here we address large Reynolds numbers and high subsonic Mach number (compressible) flow combined with realistic geometries more representative of aircraft engine exhausts. Standard turbulence models compute the average flow field, which cannot be used to calculate the aeroacoustic field. Temporal fluctuations are required and can be obtained using LES, with a spatial filtering operation applied to the equations of motion. The technique is based on computing only large scale motions directly subject to the problem’s boundary conditions, while small scale motions are assumed to be more universal and their statistics and effect upon large scales are predicted using a “subgrid-scale” model. The motivation for this approach is that experimental observations of turbulent flows show that large scale turbulent structures vary markedly from one flow situation to another, while small scales show less variation from case to case. The acoustic radiation calculation consists of three steps; 1) an approximate result for the mean flow field using a compressible flow code employing a k-ϵ turbulence model, 2) unsteady turbulent fluid field simulation using the CFD code appended with a LES turbulence model (the k-ϵ prediction serving as an initial guess) and 3) far field acoustics obtained using Lighthill’s analogy. Extensive far field noise data from ground static measurements of a WR19-4 mini-turbofan engine are being drawn from for comparisons between computed results and measurements.
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Smith, Valance, James Smith-Harvey, and Sebastian Vidal Bustamante. "Ako for Niños: An animated children’s series bridging migrant participation and intercultural co-design to bring meaningful Tikanga to Tauiwi." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.
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This presentation advances a case study for an ongoing intercultural animation project which seeks to meaningfully educate New Zealand Tauiwi (the country's diverse groups, including migrants and refugees) on the values, customs and protocols (Tikanga) of Māori (the indigenous people of Aotearoa New Zealand). Ako For Niños (‘education for children’), implemented by a migrant social services organisation and media-design team, introduces Latin American Tauiwi to Tikanga through an animated children’s series, developed with a community short story writing competition and co-design with a kaitiaki (Māori guardian/advisor). Māori are recognised in Te Tiriti o Waitangi (the founding document of New Zealand) as partners with Pākeha (European New Zealanders), and Māori knowledge and Tikanga are important to society and culture in Aotearoa. Notwithstanding, there has been a historic lack of attention paid to developing meaningful understandings of Māori perspectives for New Zealand Tauiwi. Ako For Niños endeavours to address current shortages of engaging resources on Māori worldviews for Tauiwi communities, create opportunities for Tauiwi to benefit from Māori epistemologies, and foster healthy community relationships between Māori and Latin American Tauiwi. Through the project’s short story competition, Tauiwi were given definitions of Tikanga through a social media campaign, then prompted to write a children’s tale based on one of these in their native language. This encouraged Tauiwi to gain deeper comprehension of Māori values, and interpret Tikanga into their own expressions. Three winning entries were selected, then adapted into stop-motion and 2D animations. By converting the stories into aesthetically pleasing animated episodes, the Tikanga and narratives could be made more captivating for young audiences and families, appealing to the senses and emotions through visual storytelling, sound-design, and music. The media-design team worked closely with a kaitiaki during this process to better understand and communicate the Tikanga, adapting and co-designing the narratives in a culturally safe process. This ensured Māori knowledge, values, and interests were disseminated in correct and respectful ways. We argue for the importance of creative participation of Tauiwi, alongside co-design with Māori to produce educational intercultural design projects on Māori worldviews. Creative participation encourages new cultural knowledge to be imaginatively transliterated into personal interpretations and expressions of Tauiwi, allowing indigenous perspectives to be made more meaningful. This meaningful engagement with Māori values, which are more grounded in relational and human-centred concepts, can empower Tauiwi to feel more cared for and interconnected with their new home and culture. Additionally, co-design with Māori can help to honour Te Tiriti, and create spaces where Tauiwi, Pākeha and Māori interface in genuine partnership with agency (rangatiratanga), enhancing the credibility and value of outcomes. This session unpacks the contexts informing, and methods undertaken to develop the series, presenting current outcomes and expected directions (including a screening and exhibition). We will also highlight potential for the methodology to be applied in new ways in future, such as with other Tauiwi communities, different cultural knowledge, and increased collaborative co-design with Māori.