Functions of Film Music          Source Music Score upon which an entire film is based Main title and character music To provide a touch of realism Underscore “Mickey-mousing” Commentary To involve the viewer on a deeper level Commercial functions

Source Music--diegetic  Music whose source is logically located within the story space. Source music is generally inserted into a scene, making the characters and the scene aware of it.

 Example from Sense and Sensibility; score by Patrick Doyle

Score As the Basis for a Film   Most complex and rare use of film music in which the narrative is completed through the use of music

Example:

 

Close Encounters of the Third Kind—John Williams The five-note motif is an essential narrative feature without which the film cannot stand.

Main Title & Character Music   Music during the opening credits that represents the essence of a film and its characters.

Example:  Vertigo—Bernard Herrmann.

To Provide a Touch of Realism   Music can be used to identify ethnicity, location, and period

Examples

  Braveheart—James Horner The Age of Innocence—Elmer Bernstein

Non-diegetic Underscore    Parallels the action of the film as a frame-by-frame musical match with the visuals; Gives the viewer only what is already known by the visuals; Some film scores are entirely underscore, like The Rock.

“Mickey-mouse” style    The meticulous, cue-by-cue scoring of a film, ala cartoons Some feature film scores are approached in this manner as well, such as Jerry Goldsmith’s score to Planet of the Apes.

These scores require quick and fluctuating music gestures.

Leitmotif    The association of a character with a specific melody or motif.

Variations of the melody can be used to show different facets of the character’s development Example:  Star Wars—John Williams

The score as commentary    Overture   Acts as both an introduction to and summary of the film Example: Much Ado About Nothing—Patrick Doyle To describe a location   Enables a place/location to become subjectivized Example: Legends of the Fall—James Horner To show character development  Luke Skywalker’s development

To Add Emotional Depth    Music can intensify and relax the pace of a film; Music can add emotional depth to characters, places, and ideas; The cultural codes that musics carry can add layers of subtextual meaning

Extra-musical Functions  Commercial functions    Concert suites Soundtracks Songs that enhance a film’s visibility • “The impact of the success of [Dimitri] Tiomkin’s song to High Noon on a financially strapped film industry was immediate. Producers saw in the success of Do Not Forsake Me, Oh My Darling, a means of making additional money from their films.” (Roy Prendergast)

Summary—Film music functions       To intensify or relax pace To reflect emotion To create “unspoken” thoughts To parallel or underscore the action To create atmosphere of time and place To create comedy

     To provide unity or coherence Source music To play against the action To speed up or slow down scenes To provide a neutral background

Operational aspects of the Film Music Industry    Producer Director Film editor      Assembly cut Rough cut Outs and trims Fine or locked cut Answer print

The music    Temp track Spotting the film People          Composer Orchestrator Copyist Librarian Contractor Studio Musicians Music supervisor Agents Publicists

Developing the Concept for the score     Consider the film’s historical period Location and ethnic background of the movie Major characters of the film Overall dramatic theme

Synchronization methods        Punch and streamer Newman system Stopwatch method Click track method SMPTE Wild recording Tracking