Course description
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- Bu səhifədəki naviqasiya:
- Film Music: Aesthetic and historical perspectives
- ASSESSMENT Quizzes (4) (25%) Participation (10%) Short assignments (35%) Final Project and Class Presentation (30%) ATTENDANCE
- Readings on NYU CLASSES / NYU library online
- WEEKLY SYLLABUS Introduction to film and film music theory, definitions and concepts, form CLASS 1 (09/04) Introduction
- CLASS 2 (09/11) Elements of film form and style
- CLASS 3 (09/18) The role of music in film
- Assignment 3
- Style: historical, generic and artistic approaches CLASS 5 (10/02) Wagnerian total art work and the cinema
- Final Assignment (a)
- Reading
- Final Assignment (c)
- CLASS 9 (10/30) Contemporary Hollywood Music: Remote Control
- Final Assignment (d)
- Assignment 6
- QUIZZ 3
- -- 11/27 – NO CLASS -- THANKSGIVING CLASS 13 (12/04) Two genres: The Western / Fantasy movies
- Assignment 8
- Final Assignment due QUIZZ 4
 
Dept. of Music and Performing Arts Professions Program in Scoring for Film and Multimedia Film Music: Aesthetic and historical perspectives MPATC-UE 1500 – FALL 2014 Prof. Sergi Casanelles: sc2839@nyu.edu
We will watch clips from silent films to the most current and discuss how music functions within films throughout history. COURSE OBJECTIVES At the end of the semester, students should be able to:
Although not required, students are encouraged to transcribe fragments of the music in order to complement their understanding of the cue and analyze the scene more precisely (specially recommended for composers). GENERAL REQUIREMENTS You are required to read the materials that appear in the weekly syllabus for the beginning of the class. Each week we will watch scenes from a few movies as they appear in the weekly syllabus. Students should critically watch at least one of these movies per week, trying to listen carefully to how the music works in that film. In the class, we will always discuss various clips form each film.. You are expected to participate and give an articulated opinion of the clips we watch. ASSIGNMENTS The class has seven short assignments (usually around half a page) and a longer final assignment. The short assignments are designed to guide you to the process of analyzing a scene from different perspectives. In the short assignments, you have to pick a scene from one of the films for the class. Try to pick a scene that is no longer than 2 minutes. The assignments are designed to build your skills toward a complete analysis of a film. The final assignment requires a whole analysis of a scene from a chosen movie using the methodology you learned from doing the short assignments. You can use any of the movies discussed in class or another movie of your choice with the approval of the instructor. The final paper should be at least 2500 words. Some assignments will help you to build your final paper, so you do not have to do all the work at the end of the semester and you have feedback way before submitting your paper. (Look at the final paper guidelines) ASSIGNMENT SUBMISSION You will have to submit the assignments using the new NYU Classes submission system, before the beginning of the next class. Late submissions will lower your grade. After a week, assignments will not be accepted. For special situations, please discuss it with the instructor. QUIZZES There will be four short quizzes (around 10 minutes) during the semester. They will be mainly focused on the readings and on the concepts explained in class. Therefore, you will be asked to define concepts and terminology, explain the main characteristics of a period of the history of film music or shortly discuss a clip from a historical point of view. ASSESSMENT Quizzes (4) (25%) Participation (10%) Short assignments (35%) Final Project and Class Presentation (30%) ATTENDANCE You are allowed ONE unjustified absence. You should e-mail the instructor before the class. ACADEMIC HONESTY http://steinhardt.nyu.edu/policies/academic_integrity Remember to properly quote when presenting or paraphrasing a phrase, sentence, or passage of a published work, even if the source is a web page, a movie or an extra content from a DVD. It is always better to acknowledge too much than fail to do so. You will need to use a citation style: MLA, APA, Chicago… and follow it for your citations, quotations and bibliography. If you have any questions, ask the instructor. READINGS The readings are a selection of short articles and chapters (or fragments of them) that discuss different aspect of film music and film theory. There are also some class notes that normally summarize one or more articles. Readings_on_NYU_CLASSES_/_NYU_library_online'>Readings on NYU CLASSES / NYU library online Sadoff, R. H. (2012). An Eclectic Methodology for Analyzing Film Music. Music and the Moving Image , 5 (2), 70-86. Brown, R. S. (1994). Overtones and Undertones. Reading film music. Berkeley and Los Angeles, California, US: University of California Press. (pp. 97-109) Byrd, Craig L.(1997). Interview with John Williams. In Hubbert, J. (Ed.). (2011). Celluloid Symphonies (pp. 414-423). Berkeley and Los Angeles, California: University of California Press. Gorbman, C. (1987). Unheard melodies. Narrative film music. Bloomington, IN: Indiana University Kulezic-Wilson, D. (2008). Sound Design is the New Score. Music, Sound, and the Moving Image, 2, 2, 127-131. Mera, M. (2013). Inglo(u)rious Basterdization: Tarantino and the War Movie Mashup. Vernallis, C., Herzog,, A. and Richardson, J. (Ed.), The Oxford Handbook of Sound and Image in Digital Media (437-461) New York: Oxford University Press. Neale, S. (1990). Questions of genre. Screen , 31 (1), 45-66. Wierzbicki, J. (2009). The Golden Age of Film Music, 1933-49. In Wierzbicki, J. Film Music: A history (pp.133-159). New York: Routledge. WEEKLY SYLLABUS Introduction to film and film music theory, definitions and concepts, form CLASS 1 (09/04) Introduction Introduction / Syllabus The industry of filmmaking: Music as part of the postproduction stage. Overview of relevant industry practices The historical and cultural context of a movie Sound/Music in Cinema The Great Gatsby (2013), Manhattan (1979), Atonement (2007), Gravity (2013), How to train your dragon (2010), 12 Years a Slave (2013) Assignment 1: Historical and cultural context of a movie. Choose a film (preferably from the syllabus). Using the Eclectic methodology and what we explained in class as a model to write a cultural and historical context of a film. CLASS 2 (09/11) Elements of film form and style Narration / narrative Plot / story Shots / cuts Temporal parameters Codes and semiotics Syntactic analysis [Analysis of the audiovisual elements of a scene over time]
Notes on Narrative/Narration, Plot/Story Indiana Jones and the Last Crusade (1989), Spring Breakers (2012), Avalon (1990), The Adventures of Robin Hood (1938), The Godfather II (1974) Assignment 2: Syntactic analysis of a Scene. Do a syntactic analysis of a scene (1 or 2 minutes long) using Avalon as an example. CLASS 3 (09/18) The role of music in film Narrative / narration music Heard/unheard Definitions (Diegetic vs. Nondiegetic) Terminology used in the industry to address music in film The model of Max Steiner as a canon for film scoring practice
Select a scene and extract the musical and filmic codes. CLASS 4 (09/25) Film music perception Musical Expectations Congruency/Incongruency The Viewer: hypothesis making More on codes
Concepts and Vocabulary (in Class and in the readings) [classes 1-3] Diegetic / non diegetic , types of shots, plot / story, narration / narrative, codes, Gorbman’s 7 rules, Sadoff’s Eclectic Methodology Assignment 4: Textual/Cognitive analysis of the scene Do a Textual Analysis of a scene, considering the implication from a cognitive point of view, as discussed in class. Style: historical, generic and artistic approaches CLASS 5 (10/02) Wagnerian total art work and the cinema The foundations of music for film Similarities and differences between Opera and Film Leitmotivs and film music. Structural aspects of building a cohesive soundtrack using motives. Readings: Brown Overtones and Undertones (The Sea Hawk analysis) pp.99-109 Byrd Interview John Williams (on Star Wars) pp. 414-423 Sea Hawk, Star Wars, Lord of the Rings Final Assignment (a) : Proposal final paper CLASS 6 (10/09) Golden Era, Studio System Hollywood after 1929 The studio system and film music. Staff composers. Aesthetic critiques to the Studio System The production practices of the Studio System Korngold and his composing process
Composer's practices, inventions and innovations: Jazz, 20th century techniques, electronics, epic music
Syntactic analysis of at least one scene QUIZZ 2 Classes 5-6 Wagner and Cinema (leitmotivs and dramatic structure), Golden Era
Beyond the Golden Era: differences in terms of film production and its music Reading: Cooke John Williams and the New Symphonism (pp. 456-467) Superman, Star Trek II, E.T, Jurassic Park, Jaws, Total Recall, Back to the future, Schindler’s List Assignment 5: Codes and textual analysis of at least three themes from one of the movies discussed in class. The movies discussed are mainly thematic. Choose three themes of one of the movies discussed and describes the musical codes used and how that relates to the film or the characters on the film. CLASS 9 (10/30) Contemporary Hollywood Music: Remote Control Remote Control and Hans Zimmer: a new model that improves the Studio System by using technology and collaborative tools. The Hyperorchestra and models of Hyperrealism: beyond the recording and beyond the mockup Reading: Hyperorchestra, Hyperreality and Inception Inception (2010), Gladiator (2000), Bourne series (2000s), Da Vinci Code (2005), Avatar (2009), Brave (2009), Sherlock Holmes (2010), The man of steel (2013) Final Assignment (d): Filmic and Musical Codes for the chosen scene. CLASS 10 (11/06) Contemporary Film Music: Other models New musical models beyond Hollywood standard practice A different model of collaboration between director and composer Stylistic and aesthetic approaches to the music for Indie Films Reading: Kulezic-Wilson, D. Sound Design is the New Score Limitless (2011), Social Network (2010), Amelie (2001), The Skin I live In (2011), The Bling Ring (2013), The Perks of Being a Wallfower (2013), Requiem for a Dream (2000), Black Swan (2010) Assignment 6: Historical or Syntactic analysis of a contemporary film (2000-now) CLASS 11 (11/13) Two Auteurs: Kubrick and Tarantino Musical practices in auteur filmmaking The Music Editor and the The Music Supervisor Music Libraries Transtextual Codes and the mashup Reading: Mera Inglorious Basterdization: Tarantino and the War Movie Mashup 2001 (1968), A Clockwork Orange (1971), The Shinning (1980), Django Unchained (2013), Kill Bill (2003-04), Inglorious Basterds (2009) QUIZZ 3 Classes 7-10 Postwar, the 80s and Contemporary Film Music
Generic Codes Genre and time period Generic Verisimilitude The musical, Horror, Comedy
Genre and the historical time A postmodern approach
Generic Networks Film, TV, WWW, Media Apps
Classes 12-13 Music and Film Genre 12/18 – Paper Presentations Yüklə 164,31 Kb. Dostları ilə paylaş:
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