<p> </p><p>Tanken med denna uppsats är att försöka få en inblick i vilka funktioner musiken fyller i TV-dramat. Det finns en del studier att tillgå om filmmusik men ytterst lite om just musik inom TV-serier. Mitt syfte är således att undersöka vad för slags musik som används i TV-dramer, i vilka sammanhang den förekommer och dess relation i förhållande till det som utspelar sig i bild. Utöver det tar jag delvis upp diskussioner om huruvida vi ska uppfatta filmmusik medvetet eller inte. I och med det har viss vikt lagts vid att studera eventuella skillnader i upplevelsen och användandet av instrumentalmusik och populärmusik.</p><p> </p><p>Till mitt arbete har jag använt mig av tidigare forskning kring filmmusik och gjort en jämförande analys av polisserierna <em>Miami Vice</em> och <em>Life on Mars</em>. Åtta avsnitt ur varje serie har studerats och därefter har ett representativt avsnitt från respektive TV-drama valts ut för en fördjupad analys. Min uppfattning utifrån studien är att instrumentalmusik och populärmusik i de flesta fall används i liknande sammanhang. Dessa kan exempelvis vara att ge en känsla av atmosfär, understryka en karaktärs känslor, ge tittaren information som inte kan utläsas utifrån enbart bilderna och bidra med kontinuitet. Populärmusik kan i somliga fall vara ett bra alternativ till instrumentalmusik för att vi ska hålla kvar vårt fokus på bilderna. Men populärmusikens främsta funktion i de undersökta serierna är som tidsmarkör för den period handlingen utspelar sig i.</p><p> </p>

xx, 800 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Despite the immense popular and critical response given to the Harry Potter narrative and phenomenon, little has been written about the music for the Harry Potter films. I establish that the aesthetic differences that viewers perceive between the different Harry Potter films are largely due to the musical approaches of composers John Williams, Patrick Doyle, and Nicholas Hooper over the course of four director/composer collaborations for the first five films. This study provides a rare opportunity to examine the work of different composers for a continuing narrative. Moreover, when we explore how music is used in varied ways within the films, we see how each musical approach shapes film visuals into the narrative that the filmmakers sought to convey; when the music changes, the story changes. Music creates the geographic, cultural, and temporal landscapes that draw us in to Harry's 'muggle' and magical worlds. Music defines the way we perceive Harry's emotional experiences of love, joy, loss, and death, and also defines the philosophical perspectives on the nature of evil and its conquest. Sometimes, the music provides clues to the mystery long before visuals and dialogue address them, and musical relationships (with visuals and within the music itself) allow us to perceive the properties and powers of magic and humanity that may otherwise transpire unseen. Music also plays a role in the types of humor that are represented in the films--from socially-sanctioned transgressions, to macabre, to bawdy, deadpan, and caricature. However, while the core narrative themes in the films are closely related to the main themes in Rowling's original novels, an examination of how Rowling's descriptions of musical events compare with representations of these events in the films reveals that Rowling created a more nuanced social landscape (especially with regard to gender) than is re-contextualized with music in the films. / Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Mark Levy, Member, Music; Carl Bybee, Outside Member, Journalism and Communication

Cette thèse présente les résultats d’une recherche portant sur les ciné-concerts (séance decinéma accompagnée musicalement en direct par un ou plusieurs musiciens) et ses publics.À l’aide d’une analyse sur les relations qu’entretiennent musique et cinéma et d’un examendes circonstances de la naissance des ciné-concerts aux alentours des années 1980, ce travails’attache à montrer comment le ciné-concert devient un mythe au sens où l’entend RolandBarthes élaboré autour de deux promesses : le ciné-concert est une plongée au cœur del’histoire du cinéma et une expérience spectatorielle inédite pour les publics. À partir d’uneréflexion sur les liens qu’entretient le ciné-concert avec le développement numérique dessalles de cinéma, nous comprendrons comment, tout en étant une expérience qui prend sesracines dans le passé du cinéma, c’est d’une expérience nouvelle de spectateur qu’il estquestion. Enfin, nous analyserons les liens qu’entretient cet événement avec la cinéphilie,avec la mélomanie, et enfin comment son inscription à l’éventail des pratiques culturellesparticipe au brouillage des frontières symboliques de la légitimité culturelle. / This thesis presents the results of a research about film-concerts (a movie screening wherethe music is played live by one or many musicians) and its audiences. Through an analysisof the relationship between music and cinema as well as a study of the conditions of theemergence of the film-concert around the year 1980, this work shows how the film-concertbecame a myth as per Roland Barthes’ definition. The myth is built around two promises:the film-concert allows the audience to dive into the history of cinema as well as being abrand new cultural experience. Starting from a reflection about the links between filmconcertand the digitalization of cinema, the work will show how, while this event takes itsroots from the origin of cinema, it is a new experience for the audience. Then, we willanalyze how film-concert modifies the relationship between an audience member andcinema as well as his relationship with concert and the orchestra to finally show going tofilm-concerts modifies the symbolic boundaries of cultural legitimacy.

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. 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.

David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.

La musique existe depuis des siècles mais la composition de musique pour film est un art relativement nouveau. Cela implique un équilibre délicat et une attention critique aux relations entre ce que l'art visuel présente et comment la musique devrait accompagner l'image pour transmettre un sentiment. Au fur et à mesure que ce nouveau domaine de la musique évolue, les recherches et les expérimentations qui l'entourent évoluent également. Partout dans le monde, nous voyons des musiciens ainsi que des chercheurs en musique jeter un oeil à différents aspects de la façon dont la musique peut élargir l'image. Dans un pays comme l'Iran, avec une histoire du cinéma presque aussi vieille que le cinéma lui-même, il y a très peu de connaissances dans ce domaine. Seuls quelquesuns des compositeurs qui ont travaillé sur la musique de films au siècle dernier du cinéma iranien avaient une connaissance académique de la musique, sans parler de la musique pour écran. Dans cette recherche, nous examinons l'histoire de la musique pour le cinéma en Iran, depuis le tout début en 1900 jusqu'à ces dernières années. Nous présentons un bref historique des premières années ainsi qu'une analyse de la façon dont la musique s'est progressivement répandue dans la production cinématographique. Ensuite, nous discutons de quatre générations de compositeurs de films iraniens, chacune représentée par un compositeur éminent de cette génération. Nous analysons leur style et leur travail, puis nous analysons spécifiquement l'une de leurs oeuvres les plus marquantes. / Music has existed for centuries but composition of music for film is a relatively new art. It involves a delicate balance and critical attention to the relations between what the visual art presents, and how music should accompany the picture to convey a feeling. As this newly formed field of music evolves, so does the research and experimentations around it. All around the world we see musicians as well as music researchers peeking at different aspects of how music can expand the image. In a country like Iran, with a history of cinema almost as old as cinema itself, there is very little knowledge of this field. Only a few of the composers who worked on film scoring in the last century of Iranian cinema had academic knowledge of music, let alone music for the screen. In this research, we examine the history of music for cinema in Iran, from the very beginning in 1900, to the recent years. We present a brief history of the early years along with analysis of how music gradually became widespread in film production. Then we discuss four generations of Iranian film composers, each represented by a prominent composer of that generation. We analyze their style and work, then we specifically analyze one of their most prominent works.

No description available.

From the very beginning of cinema, music always played an important role in the history of filmmaking. Nonetheless, film music is judged by critics as a kind of low-grade art form. However, the majority of film score composers enjoyed a classical education and composed as well for the silver screen as for the concert hall. Film music also has its roots in the musical era of romanticism. Therefore, symphonic film scores can be regarded as program music in a broader sense. These scores were influenced by a motion picture instead of a poem, a landscape, or a painting. It is neither necessary nor supposed that film music must be subordinate to its belonging film. In fact, a well-written film score may enhance the impact of a film by using its own language—the language of music. Film music is still not truly recognized as an own style of music which is to be performed regularly in a concert hall. There are still strong prejudices about film music—too nice, too industrial, full of clichés, and unworthy to be performed live by an orchestra. This book wants to explore the nature of film music and its relation to classical music in this volume. How is film music perceived today? Does film music have its place on its own—uncoupled from its original film—in the concert hall? And how does film music relate to other musical genres in the 19th and 20th century? With contributions by Emilio Audissino, Marco Cosci, Kristjan Järvi, Irena Paulus, Gene Pritsker, Jaume Radigales, Lorenzo Sorbo, Sebastian Stoppe, and Pascal Vandelanoitte.:Sebastian Stoppe : Film Music in Concert: Introduction Sebastian Stoppe : Film Composing between Art and Business Emilio Audissino : Overruling a Romantic Prejudice: Film Music in Concert Programs Jaume Radigales : Wagner’s Heritage in Cinema: The Bernard Herrmann Case Irena Paulus : Williams versus Wagner — Or an Attempt at Linking Musical Epics Emilio Audissino : Golden Age 2.0: John Williams and the Revival of the Symphonic Film Score Gene Pritsker: On Film Music in the 21st Century Kristjan Järvi : “A Soundtrack to Our Lives...” Gene Pritsker : Composing Cloud Atlas Symphony Lorenzo Sorbo : The Dramatic Functions of Italian Spaghetti Western Soundtracks: A Comparison between Ennio Morricone and Francesco De Masi Marco Cosci : Musical Labyrinths in Time: Alain Resnais’ L’Année dernière à Marienbad Pascal Vandelanoitte : Ludwig: Consonant Music in a Dissonant Life Contributors

Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why?

This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.