Fait unique dans l’histoire du cinéma, les partitions du gigantesque cycle dischronique qu’est la saga Star Wars, couvrant une période très étirée de vingt-huit ans, sont toutes de la main de John Williams. Cette constance compositionnelle devrait a priori faire des deux trilogies (1977-1983 et 1999-2005) un tout cohérent et unifié, d’autant que George Lucas envisage les six épisodes comme une seule et même entité. Pourtant, l’unité musicale de l’hexalogie et la signature musicale « starwarsienne » sont loin d’aller de soi, prenant la forme d’un idéal dénué de fondements solides réels.En adoptant une approche comparative transversale et en faisant varier différentes échelles d’analyse (épisode, trilogie, saga), la présente thèse a ainsi pour projet de montrer de quelles manières le matériau musical, les pratiques compositionnelles de Williams, mais aussi le traitement et l’intégration de la partition au sein du complexe audio-visuel font l’objet de profondes transformations entre les deux trilogies. Notre recherche interroge également dans quelle mesure et selon quelles modalités ces changements dans l’écriture musicale et l’utilisation de la partition dans les différents épisodes sont liés aux mutations des techniques cinématographiques, en particulier aux bouleversements dunumérique. Mettant à profit l’exploitation de sources manuscrites inédites et d’entretiens personnels réalisés auprès de l’orchestrateur principal de Williams, Conrad Pope, et de son music editor Kenneth Wannberg, notre travail met en oeuvre une interdisciplinarité affirmée au croisement de l’analyse musicale, de l’histoire du cinéma et des technologies. / The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history

This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T11:31:42Z (GMT). No. of bitstreams: 1 Franco_CesarHenriqueRocha_D.pdf: 3052982 bytes, checksum: a83a06b9ef0319988ca875e92deb1155 (MD5) Previous issue date: 2011 / Resumo: Inicialmente, este trabalho procura delinear algumas definições preliminares como convenção, gênero, gênero fílmico, melodrama e o melodrama romântico, enquanto filme, partindo dos pressupostos gerais sobre as convenções musicais dos gêneros fílmicos, estabelecidos por Mark Brownrigg. Em seguida, e feito um exame mais detalhado das convenções musicais do gênero fílmico Melodrama Romântico, observando mais detidamente as características musicais, o emprego, as origens e possíveis significados de cada convenção no repertorio tradicional Ocidental. Depois, a analise de partituras de musicas que acompanham cenas de amor, investiga os procedimentos composicionais utilizados em temas musicais relacionados a cenas de amor. Por fim, o levantamento das convenções melódicas utilizadas na representação musical que acompanham, enfatizando, cenas de amor na narrativa audiovisual / Abstract: Initially, this paper seeks to outline some preliminary definitions as convention, genre, genre film, melodrama and romantic melodrama, as a film, based on the general assumptions about the musical conventions of film genres established by Mark Brownrigg. Then we make a closer examination of the musical conventions of the genre film romantic melodrama, observing more closely the musical characteristics, employment, the origins and possible meanings of each convention in the traditional Western repertoire. After the analysis of music scores that accompany love scenes, investigating the compositional procedures used in topics related to music love scenes. Finally, the survey of the conventions used in representing melodic music that accompany it, emphasizing, love scenes in audiovisual narrative / Doutorado / Musica / Doutor em Música

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:08:45Z (GMT). No. of bitstreams: 1 Onofre_CintiaCampolinade_D.pdf: 8834933 bytes, checksum: b933bacbae7b5e8c7878db2c9c788a4e (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa objetivou realizar um estudo sobre as trilhas musicais compostas pelo maestro e arranjador Radamés Gnattali, no período compreendido de 1933 a 1983. Pretendeu-se responder algumas questões referentes ao comportamento e adequação das composições musicais presentes nos filmes musicados por Gnattali, sob o olhar de diversos diretores do cinema nacional. Com esse estudo, verificamos como Radamés Gnattali procedeu na composição de música para filmes, entendendo as características estéticas da época e constatando como essas composições se situam no cenário da trilha sonora cinematográfica do Brasil, já que o compositor atuou por 50 anos nesse ramo e compôs 56 trilhas musicais. Para tanto, utilizamos como metodologia de trabalho: pesquisas de campo, hemerográfica, bibliográfica e as teorias musical e imagética, com o intuito principal de captar detalhes importantes através da análise das trilhas musicais inseridas nos filmes escolhidos. / Abstract: This research aimed to carry out a study on the soundtracks composed by the conductor and arranger Gnattali Radames in the period 1933 to 1983. It was intended to answer some questions regarding the appropriateness of behavior and musical compositions present in the film music by Gnattali, under the gaze of several directors of the national cinema. With this study, we found Gnattali proceeded as Radames in composing music for films, understanding the aesthetic of the time and noting how these compositions are in the soundtrack of the film scenario in Brasil, as the composer worked for 50 years in this business and composed 56 music tracks. To this end, we used the methodology of work: theories of cinema and music, with the main aim of capturing important details by analyzing the musical tracks included in the films chosen. / Doutorado / Multimeios / Doutor em Multimeios

Orientador: Claudiney Rodrigues Carrasco / Acompanha 1 DVD-R DL Recordable / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:55:55Z (GMT). No. of bitstreams: 1 Chritaro_GustavoRocha_D.pdf: 20149309 bytes, checksum: 3b8182c984c86cdd31b1685224279674 (MD5) Previous issue date: 2015 / Resumo: O presente trabalho examina a transformação do agenciamento do jazz pela música de cinema na produção cinematográfica da década de 1950, a partir da trilha musical que Alex North compôs para o filme Um Bonde Chamado Desejo. A metodologia consistiu na reconstrução crítica do contexto histórico, no ajuste conceitual das interpretações possíveis para o jazz, e num conjunto de técnicas de análise musical. A diversidade de técnicas de análise se justifica pela sobreposição entre as técnicas de composição que constituem a poética de North, e esta irredutível complexidade é justamente um dos fatores que dá causa à existência deste trabalho. North é apontado por unanimidade como o compositor que inaugurou uma forma ampla de agenciamento para o jazz, e procuramos aprofundar o conhecimento que se tem acerca da contribuição dele / Abstract: This paper examines the transformation of jazz employment by film music composers in the cinematographic production of the 1950s, taking as reference the soundtrack that Alex North composed for the film A Streetcar Named Desire. The methodology consisted in critical reconstruction of the historical context, conceptual adjustment of the possible interpretations of jazz, and a set of techniques of musical analysis. The diversity of analytical techniques is justified by the overlap between the composition techniques that constitute North's poetic , and that irreducible complexity is an important factor giving rise to the existence of this work. North is appointed unanimously as the composer who ushered in a broadly usage of jazz, and here we seek to deepen the knowledge about his contribution / Doutorado / Fundamentos Teoricos / Doutor em Música

Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.

From 1966 to1976, science fiction films tended to depict civilizations of the future that had become intrinsically antagonistic to their inhabitants as a result of some internal or external cataclysm. This dystopian turn in science fiction films, following a similar move in science fiction literature, reflected concerns about social and ecological changes occurring during the late 1960s and early 1970s and their future implications. In these films, "dystopian" conditions are indicated as such by music incorporating distinctly modernist sounds and techniques reminiscent of twentieth-century concert works that abandon the common practice. In contrast, music associated with the protagonists is generally more accessible, often using common practice harmonies and traditional instrumentation. These films appeared during a period referred to as the "New Hollywood," which saw younger American filmmakers responding to developments in European cinema, notably the French New Wave. New Hollywood filmmakers treated their films as cinematic "statements" reflecting the filmmaker's artistic vision. Often, this encouraged an idiosyncratic use of music to enhance the perceived artistic nature of their films. This study examines the scores of ten science fiction films produced between 1966 and 1976: Fahrenheit 451, Planet of the Apes, 2001: A Space Odyssey, THX-1138, A Clockwork Orange, Silent Running, Soylent Green, Zardoz, Rollerball, and Logan's Run. Each is set in a dystopian environment of the future and each reflects the New Hollywood's aspirations to artistic seriousness and social relevance. The music accompanying these films connoted an image of technological and human progress at odds with the critical notions informing similar music for the concert hall. These film scores emphasized the extrapolated consequences of developments occurring during the 1950s and 1960s that social activists, science fiction writers, and even filmmakers regarded as worrisome trends. Filmmakers drew on the popular perceptions of these musical sounds to reinforce pessimistic visions of the future, thereby imbuing these sounds with new meanings for listeners of the contemporaneous present.

Trots ett något befläckat och periodvis kontroversiellt förflutet, har metal och hårdrock blivit en av de större musikgenrer som har fått sin spridning och sitt fäste i stora delar av världen. Denna uppsats är ett stickprov i spontana känslor och reaktioner som metal, skriven som konventionell filmmusik, framkallar i en actionkomedi. I studien har progressiv, instrumental metal komponerats som filmmusik till en scen ur kortfilmen Clean Objective (2022) och sedan översatts till klassisk orkestermusik. Samma scen med de två olika orkestreringar visades för fyra fokusgrupper med varierande bakgrund, för att undersöka respondenternas spontana reaktioner och känslor på metal som filmmusik i jämförelse med orkestermusiken som generellt förekommer oftare än metal i film. Alla respondenter upplevde att metal förstärkte komiken i och med kontrasten mot flera av filmens element, så som det visuella, pauser i musiken, samt mot en annan låt av en annan genre som också fanns med i scenen som studien gjordes på. De flesta respondenter tyckte att orkestern var mer dynamisk, bidrog med seriositet och passade bättre för uppbyggnaden av spänning, men tyckte att metal passade i actionsekvenserna. Respondenterna bidrog även med många olika enskilda åsikter och reaktioner som också presenteras i uppsatsen.

This thesis delves into film music and how it can be used to shape and influence the viewer on different levels, as well as how the music in itself portrays a character. A qualitative textual analysis was used in order to get an answer to these questions. The object of study for this analysis was Studio Ghibli’s film Spirited Away, and the characters that were analyzed were Chihiro, No Face and Yubaba. Multimodality was one of the main theories used, since it was the most fitting for the subject of analyzing characters on a deeper level. It was used to make meaning of signs with personal and cultural references as a guide later on for the material that had been collected. Neoformalism was the main method for this analysis. Leitmotif or returning instruments are used to either indicate a character’s presence like No Face or Yubaba, or the character's emotion or motivation, like Chihiro’s leitmotif when she is reminded of the real world. The music was used to create a narrative with Chihiro and No Face, while the music for Yubaba was mostly to create a sense of emotion. The changes in Chihiro and No Face leitmotifs that can be heard throughout the movie, indicates character development. Yubaba’s music doesn’t change and is used more to settle an emotional impact when she’s shown. Silence was also heavily used, mostly in relation to Chihiro. Sudden changes from an abundance of music to silence to create an eerie feeling around elements that scare Chihiro is the most used, but also the loss of leitmotif for No Face to show change. The music is also used to highlight the difference between the real world and the spirit world, the real world has western influenced style of music while the spirit world has an eastern influenced style of music. This is also reflected in the characters, with No Face having Japanese bells to show he’s a spirit, while Chihiro and Yubaba having more western sounding music to show they do not belong there. / Detta examensarbete fördjupar sig i filmmusik och hur den kan användas för att forma och påverka tittaren på olika nivåer, samt hur musiken i sig porträtterar en karaktär. En kvalitativ textanalys användes för att få svar på dessa frågor. Studieobjektet för denna analys var Studio Ghiblis film Spirited Away, och karaktärerna som analyserades var Chihiro, No Face och Yubaba. Multimodalitet var en av de huvudsakliga teorierna som användes, eftersom det var den mest passande för ämnet att analysera karaktärer på en djupare nivå. Den användes för att skapa betydelse av signs med personliga och kulturella referenser som en vägledning senare för det material som hade samlats in. Neoformalism var huvudmetoden för denna analys. Leitmotiv eller återkommande instrument används för att antingen indikera en karaktärs närvaro som No Face eller Yubaba, eller karaktärens känslor eller motivation, som Chihiros ledmotiv när hon påminns om den verkliga världen. Musiken användes för att skapa ett narrativ med Chihiro och No Face, medan musiken till Yubaba mest var för att skapa en emotionell koppling till tittaren. Förändringarna i ledmotiven Chihiro och No Face som kan höras genom hela filmen, indikerar karaktärsutveckling. Yubabas musik förändras inte och används mer för att lösa en känslomässig påverkan när hon visas. Tystnad användes också flitigt, mest i förhållande till Chihiro. Plötsliga förändringar från ett överflöd av musik till tystnad för att skapa en kuslig känsla kring element som skrämmer Chihiro är den mest använda, men också förlusten av ledmotiv för No Face för att visa förändring. Musiken används också för att belysa skillnaden mellan den verkliga världen och andevärlden, den verkliga världen har västerländsk influerad musikstil medan andevärlden har en österländsk musikstil. Detta återspeglas också i karaktärerna, där No Face har japanska klockor för att visa att han är en ande, medan Chihiro och Yubaba har mer västerländskt klingande musik för att visa att de inte hör hemma där.

Films which are not musicals – non-musical films – sometimes include songs which are narratively motivated yet in a different way from how they are used in musicals. They may be part of the underscore or even performed by characters in the films, and add a new element to films which otherwise do not use music in this way. In this thesis I will explain how musical and non-musical films differ in their use of songs and explore various aspects of composing songs for three non-musical films made by students at the Stockholm University of the Arts. Important results include describing how to choose lyrics for the songs and how this can add new perspectives to the scenes where the songs appear. I also explore the different challenges a composer can face during the composition process and demystify the process itself by describing how the music for each film is composed. / <p>Film och bilder: <em>Love Off Beat</em>. Alexandra Dahlström, regissör. Majaq Julén, foto. Alexander Linder, klipp. Petar Mrdjen, ljud. Knut Olav Rygnestad, musik. Stockholms konstnärliga högskola, 2022.</p><p>Film och bilder: <em>Lagom svensk</em>. Jamil Walli, regissör. Amanda Muysio, foto. Jomana Walli, klipp. Sam Soliman, ljud. Knut Olav Rygnestad och Petar Mrdjen, musik. Stockholms konstnärliga högskola, 2022.</p><p>Film och bilder: <em>Järnridån</em>. Alexandra Dahlström, regissör. Majaq Julén, foto. Alexander Linder, klipp. Petar Mrdjen, ljud. Knut Olav Rygnestad, musik. Stockholms konstnärliga högskola, 2023.</p>