3 + 1 = SOUNDTRACK = D.M.E.




MECHANICAL | PSYCHOLOGICAL

  • Projector (Early Days) / Audience (Today more than ever?)
  • Mood (Everyone gets this!) / Atmosphere (A designed reality)



Underscoring The Story

  • Note course text. page 9: Fidelity?
    • I tend to disagree with our textbook's premise as the authors marginalized post-production.​


"Foreground gives us a sense of conscience" 

-Hearing The Movies


STEMS

  • Volume/Loudness
  • Silence is designed
  • Presence / Ambience



The Art Of Catching

Stingers
Leitmotifs (Wagner)

  • Character theme (presence or absence) can also identify objects, locations, etc.




MUSICALITY

  • Emotional specificity
  • Time
  • Influence / organization
  • Formal & rhythmic continuity
  • Overlapping
  • Sound advance


  • Underscoring = non-diegetic
  • Background Music = accompaniment, commentative, dramatic scoring.



EVERYTHING INFLUENCES EVERYTHING




USING LOUDNESS: TEXTURAL GREYZONES


Loudness specifically affects:

  • Timbre
  • Frequency
  • Liveliness
  • Heft


  • Hearing is measurable and subjective. = AUDIENCE
  • Orchestration = TIMBRE




Objective vs. Subjective Reality:



TEMPO (BPM) | PACE (fast/slow)

FREQUENCY (Hz) | PITCH (high/low)

AMPLITUDE (dB) | LOUDNESS (soft/loud)

HARMONIC COMPLEXITY (+/-) | TIMBRE (good/bad)



VOICING YOUR PICTURE:

  • TEXTURE
  • DENSITY
  • PRODUCTION



Structure:  Foreground | Middle-ground | Background


  • Monophony
  • Homophony
  • Melody
  • Accompaniment
  • Polyphony
  • A-melodic


​NARRATIVE SPACE


  • Level of narration (implied or spoken)
  • Level of sound in the screen world


DIEGESIS

  • Under determination of sound (ambiguity)
  • Allowing the viewer to listen (Randy Thom)


POV Sound:


  • Sound match
  • Sound bridge
  • Mickey-Mousing (1928 Steamboat Willie)
  • Sweetening
  • Audio dissolve (musicals -- Robert Altman)
  • Voice-overs (American Beauty = dead narrators)
  • Acousmetre (Michael Chion - acoustical being; i.e. off-screen character)


Underscoring:


  • (Literal) under dialogue
  • (Figurative) emphasis of movement




BENDING TIME USING MUSIC & SOUND

Transitions:


  • Sound Bridge, hard cuts, soft cuts (continuity editing)
  • Sound Advance (hear a sound before we see source)
  • Sound Lag (sound persists; ex. -- Goodfellas)
  • Sound link
  • Sound match
  • Synchronization (Singing In The Rain)
  • Generic sound


  • ADR
  • Overplaying ("ear over eye" - Erno Rapee)
  • Contrapuntal: Counterpoint (playing against the film; ex -- Casablanca)
  • Failure of synchronization


  • Emotional distance of sound from image (anempathetic)
  • Neutrality








Music + Sound

COUDERAY

From conceptualization to copyright...

Welcome to the resource section for Music For Cinema, a course I redesigned and continue to teach for Columbia College Chicago's Department of Cinema Art And Science. Please visit the 
M4C Facebook page for current postings concerning copyright, production, student job prospects, and other topics important to emerging filmmakers, bands, composers and supervisors.


  • Targeting the needs and considerations of indie creatives, M4C looks at the voicing possibilities facing artists today, the conundrums of copyright magnified by advancing technologies, and the strangling of creativity caused by our obsolete laws.


  • Musical texture, density, genre, production, supervision/licensing, and spotting concerns are discussed, while fostering a practical and economical DIY approach for directors and producers.


  • Due to the ever-evolving nature of copyright and technology, no information presented here is to be considered as fact or law. Please consult with an attorney for all legal and professional matters concerning your art and publishing.


NO retransmission or use in any other manner. All copyrights are retained by the original holders. This is intended for educational purposes only.


-KK

Voicing The Picture: 

Enticing The Suspension Of Disbelief