Music And The Mind

12 Pages 2949 Words

hat music and film interacted, listing them in his book What to Listen for in Music as: creating a more convincing atmosphere of space and time, underlining psychological refinements such as the unspoken thoughts of a char!
acter, or the unseen implications of a situation, serving as a kind of neutral background filler, building a sense of continuity, and underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality (256-58). Through this observation, film used music to foreshadow events, repetition of a motif or Mise-scene, and manipulate an audience’s reaction to the specific scene.
Through various processes of film production within the film industry, the process of composing original music for film has undergone changes, but in recent years has conceptually been refined into a recognized, standard process. In 1990, Fred Karlin and Rayburn Wright, with the help of dozens of film composers, outlined a specific, chronological, nine-step process for the completion of a film score in their landmark text, On The Track. This outlined process, influential parties, and other extra-musical constraints, create a set of guidelines a composer must work within in order to create new music for a film. Yet in the midst of those rules, composers are required to invent unique forms of musical expression for the film. In order to produce the desired musical effect, the film composer, through years of experience has acquired specific compositional techniques, a "creative arsenal," that allows him or her to work within the walls of the film scoring process, yet still create!
new music that enhances emotional support. Film composers must stay current with creative trends within their medium, and in doing so, they often find in studying other composers that certain creative aspects such as harmonic language, instrumentation, and orchestration, work well within the emotional and dramatic rules and guidelines for certa...