COUDERAY

This is intended for educational purposes in my classroom.

NO retransmission or use in any other manner allowed.

All copyrights are retained by the original holders.  -KK

Music + Sound


Voicing The Picture:

        Enticing the suspension of disbelief

From conceptualization to copyright... M4C explores the conceptual aspects of voicing picture.

Welcome to the resource section for Music For Cinema. M4C is a course redesigned and taught by Kerry Kelekovich for Columbia College Chicago/School of Media Art's re-branded Cinema and Television Arts Department.


As a veteran of both the music and film industries, Kerry served as Columbia's recording engineer in the Film & Video Dept. for most of the 1980s, while maintaining a dual-career as a multi-instrumentalist and composer. His music and post-production audio courses are offered as part of the Cinema Sound + Post concentration.

  • Kerry made his professional debut with Taylor Bridge at Kingston Mines in Chicago, opening for Blues-great Lefty Dizz. This began a career devoted to the fusion of audio, music, and art. In his quest to become a recording engineer, he studied with world-renowned, acoustics-researcher, Dr. Thomas Rossing, and the celebrated, Chess Records recording engineer, Malcolm Chisholm and created a resume spanning a broad range of artists and clients.
  • While serving as an audio specialist, Kerry's experience included mixing duties at many of Chicago's legendary music venues as well as North American concert halls from Montreal to Los Angeles. With a catalogue extending to singer-songwriters, bands, and filmmakers, he also maintains music archive Lilypad Records, while sporadically releasing the works of emerging artists.


Please visit the M4C Facebook page.

  • 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.
  • ALWAYS consult with an attorney for legal and professional matters concerning your art and publishing.

 3 + 1 = SOUNDTRACK (D.M.E.)


MECHANICAL | PSYCHOLOGICAL

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



"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


AUDIENCE'S PERSPECTIVE:

  • Our hearing is measurable AND subjective.
  • 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) an emphasis on 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