Investigation of the aesthetic relationship between film and music. Discussion of the many functions of film music with analysis of its most effective application to dramatic situations. Exploration of career opportunities in film and television music. This course is suitable for students not intending to major in film scoring.
The use of MIDI/audio sequencing in scoring to picture, in conjunction with sample playback and synthesis software. Special attention is paid to the film scoring capabilities of Macintosh sequencing applications using QuickTime, tempo, meter, and synchronization in the process of scoring music to picture. Emphasis is also placed on maximizing dramatic expression through use of the available software tools.
This intensive introduction to the field of film scoring is intended for current and prospective film scoring majors, as well as other students looking for a more in-depth exploration of the field of film scoring. In addition to the investigation of the aesthetic relationship between film and music, discussion of the many functions of film music with analysis of its most effective application to dramatic situations, and exploration of career opportunities in film and television music, this course will present early opportunities for a student to start scoring simple film cues.
This course combines analysis and composition techniques in order to provide students with the basic musical skills necessary for composing music for film. Focus is placed on how musical form derives from the dramatic flow of the film. Course work includes in-depth analysis of existing musical examples which demonstrate the building blocks of composition. These building blocks include melody, harmony, rhythm, and form as applied to specific dramatic situations. Students will compose several short original pieces modeled after the various analysis examples presented. This course is the first of a sequence of three core composition courses in the film scoring major.
This course provides students a thorough overview of the history, theory, aesthetics, and application of interactive scoring along with an introduction to the video game and interactive industries, including career opportunities, contracts, licensing, practices, and toolsets. The course includes analysis of interactive music as found in video games, the internet, installations, sound art, and concert composition. This course can stand alone or serve as the first in a series of three courses that make up part of the Video Game Scoring Minor.
This course is a study of multitrack mixdown in a digital audio workstation environment, specifically for the needs of modern film and television scoring in a project studio. Balance and context of a mix are explored, and special consideration is given to genre-appropriate sound. In addition to aesthetic and technical concerns, people skills and delivery to specifications (including stem mixes and session interchange between DAWs) are emphasized. Mix material will be drawn from the student's own film scoring projects from other courses, and/or film scoring sessions from other composers.
This course focuses on the exploration and application of traditional and contemporary orchestration techniques to support and achieve intended dramatic effect. Regular assignments involve the use of orchestration as an important compositional tool to successfully meet the emotional requirements of a wide variety of dramatic situations.
The technical and aesthetic aspects of composing and recording music for picture using various synchronization methods: to a click provided by a MIDI sequencer and to a studio clock or stopwatch. Film and video formats, measurements, and conversions, as well as scoring procedures and rehearsal techniques will be covered. Students will compose and record three projects: sequenced, sequenced combined with live players, and a free timed-to-clock project using a live ensemble.
Throughout the history of film, a handful of composers have had an extraordinary and formative impact on the art of film scoring. Composers such as Bernard Herrmann, Jerry Goldsmith, and more recently, Thomas Newman, have invented, extended, or defined the grammar and vocabulary of film music. This course will take a full semester to closely examine the work and career of one composer in a rotating set of seminal figures in film scoring history. By studying their work, their impact on film music language, and how their careers developed, students will gain valuable lessons in the art and profession of film scoring.
Study of specific techniques of post-romantic composition commonly found in film underscores. Techniques studied include intervallic structures, polytonality, independent triads, and parallelism/constant structure. There will be extensive traditional score and film music analysis, as well as scoring projects based on each technique.
This course features applied approaches to scoring for video games and builds upon the foundations learned in FS-271. It presents a solid understanding of the knowledge and skills needed to prepare students for entry-level work at a game development company or as a freelance game music professional, including experience with typical game music workflow and approaches to scoring video games. This is an intensive scoring course including collaborations with game design programs and weekly or biweekly scoring assignments.
This course is intended to give non-film scoring majors an overview of the mechanics of synchronization and the psychological implications of applying music to film. Analysis of special dramatic situations will be followed by applications of scoring and synchronization techniques.