This thesis analyses Hans Zimmer’s film music in Inception (2010) and Interstellar (2014) that resulted from his collaboration with director Christopher Nolan. The focus lies on the narrative and temporal functions that film music can attain when used in temporal complex narratives. The analysis looks into how time is presented, manipulated, and connected through the music. Three aspects that are examined are: 1) how musical motifs function as a guide for understanding narrative themes, 2) how music gives temporal clarity within a narrative, and 3) how sound design contributes to an understanding of the temporal structure of the narrative. This thesis offers more insight into how music can function temporally, a subject worthy of more academic attention. It concludes that Zimmer’s “minimalistic maximalism” style and his creative process with Nolan are essential to how the music of Inception and Interstellarfunctions.

No description available.

This diploma theses deals with the issues of music in movies. However, it is mainly focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.

<p>This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.</p><p>The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.</p>

Ce travail étudie le rapport entre le langage narratif cinématographique et le discours musical contemporain. Le point de départ en a été l’étude des nouvelles créations contemporaines écrites pour accompagner certains films de l’époque du cinéma muet. Pour atteindre ces objectifs, nous sommes partis d’une vision théorique, pour arriver à l’analyse plus concrète qui nous a donné les consignes de base pour créer notre propre modèle d’analyse applicable à la composition. Ce modèle permet de préciser les concepts nous permettant d´aborder la relation entre le film et la musique selon deux axes, que nous appelons respectivement « points d’ancrage » (qui traitent des points d’articulation du discours cinématographique avec la musique) et « points de référence » (qui gèrent les éléments formels du discours cinématographique et musical). Dans la dernière partie de ce travail, nous appliquons notre modèle à la réalisation de quatre projets personnels, qui représentent une « conclusion artistique » des éléments analysés au cours de cette recherche. / This work studies the relationship between the film’s narrative language and the contemporary music speech. The starting point of this work is the study of the new contemporary scores, which were composed for silent films from the 1920’s onwards. To reach these goals, we started from a theoretical vision, to subsequently perform a practical analysis. This gave us the important points to create our analysis model to be used for music composition. This model allows us to clarify the relationship between the film and the music, based on two main axes: the “anchoring points” (giving us the articulation points between the music and the film) and the “reference points” (which deals with the formal elements of both film and music speech). In the last part of our work, we have applied our model to the composition of four personal projects, which were created as an artistic conclusion of our research.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T04:47:36Z (GMT). No. of bitstreams: 1 Eikmeier_Martin_D.pdf: 2098616 bytes, checksum: 57c02e59701b149f0f9ceb73cdd8b1e2 (MD5) Previous issue date: 2010 / Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai / Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai / Doutorado / Doutor em Multimeios

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T15:45:44Z (GMT). No. of bitstreams: 1 Magalhaes_MichelleAgnes_M.pdf: 4441611 bytes, checksum: 2bb1669fdc87df23a2f5e1523d796a6a (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930 / Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov / Mestrado / Mestre em Música

With this essay I identify the challenges that a film music composer may face in his career in the film music industry. I present and discuss this subject in three parts: budget, time and communication, and suggest how to deal with these. The methods I will use are based on theory, interviews with three Swedish active film music composers and analyzes of previous film projects during my education at Royal College of Music in Stockholm (KMH) and Stockholm University of the Arts (SKH). The purpose of the thesis is to understand how to work successful and sustainably with film music composition in today's film industry. The thesis has been written during the spring term of 2021 at KMH/SKH. The movies from the analysed film projects can be found at the end of the text.

Le regard de la société sur les avancées technologiques a été la cible de multiples remises en question. Des premiers synthétiseurs aux allures monstrueuses et presque grotesques aux instruments virtuels, les compositeurs de musique de film ont souvent port. un regard curieux sur cet instrument énigmatique, aussi singulier que versatile. Un synthétiseur est un appareil musical électronique ou un logiciel utilisé pour générer et combiner des signaux audio par des processus analogiques ou numériques . (traduit de Devine, 2013). Par un processus d’expérimentation, certains compositeurs ont relevé le défi musical d’utiliser le synthétiseur dans la musique de film. Avec le temps, ils ont trouvé en lui un outil irremplaçable. / Society's view of technological advances has been the target of many questionings. From the first monstrous and almost grotesque looking synthesizers to virtual instruments, composers of film music have often taken a curious look at this enigmatic instrument, as singular as it is versatile. A synthesizer is an "electronic musical device or software used to generate and combine audio signals through analog or digital processes" (translated from Devine, 2013). Through a process of experimentation, some composers have taken on the musical challenge of using the synthesizer in film music. Over time, they have found in it an irreplaceable tool.

Mitl Valdez's film Los confines (1987) is an adaptation of several works of fiction by the Mexican author Juan Rulfo. The director chose to adapt two short stories ("Talpa" and "¡Diles que no me maten!") and an episode from the author's first novel, Pedro Páramo. Valdez's intent was to "capturar el sentido" of the Jaliscan author or, in other words, to remain faithful to certain elements of his writing while adjusting them to the filmic medium. The musical score of Los confines is the method of appropriation that this study endeavors to investigate, since it shares common themes, metaphors, and imagery with the source texts. The musical language of Los confines not only communicates meaning within the film, but echoes elements of Rulfo's writing as well. Musical motifs in the score evoke concepts and symbols that form part of the writer's fictive universe and illustrate how Valdez finds "un equivalente en la expresión cinematográfica" for Rulfian material (qtd. in Pelayo).