No abstract available. / Thesis (M.Mus.)-University of Natal, Durban,1994.

Our modern motion picture composers are limited by the necessity of fitting musical impulses to action. The timing is a matter of split-second synchronization. The writers have no classical form to follow as each script requires highly individualistic treatment, highly restricted time elements, and highly technical instrumentation. Therefore, every composition is a challenge. The challenge includes not only the time element but a demand for a greater amount of originality in musical line and mood setting.

My portfolio consists of music compositions of various stylistic approaches and instrumentation. There are one music video, three film scores and nine concert works; of which multimedia works are listed first, and works are arranged according to the size of instrumentation. What connects the compositions is the evocative quality, atmospheric conception, and innovative blend of musical styles in film music that are integral to shaping my own personal style. While some compositions in this portfolio are actual film scores, others engender different atmospheres, or intend to capture different sceneries or feelings. / There are three film scores and a music video (a video will be tailor-made based on the music) in this portfolio. Depending on the nature of the films, varying types of musical languages have been used. The Boy who wears High Heels – a film based on a sensitive subject but turns out to be a touching story - is accompanied by music of elegance. Lyrical solo piano pieces, mostly in simple triple meter, are used to capture the inner voices of the characters in a short story about family in The Waltz. Static, atmospheric music with a focus on timbral differences is used to accompany Mong Kok II Purple — an almost surreal film that highlights the character’s emotional conflict. The music of Cinderella and the Happy Prince is inspired by the English romantic musicals. / While my film music centers on fitting music to the moving image, my concert music focuses on creating musical content from perspectives inspired by the film-scoring process. While both Stress and the City and The Light above the Leaves are written in an abstract Western musical language, the remaining compositions of this portfolio are highly influenced by ethnic music. In A Yearning for Peace and A Call in the Wilds, I have attempted to imitate the singing styles, as well as the timbre, phrasing, and playing techniques of various ethnic instruments on standard Western instruments, and within a Western contemporary musical environment. In Clouds in Twilight, Lament from the Forest II, Lost in the Desert, The White Wall and Whirling through the Dreams, many characteristics of ethnic music, Western traditional and contemporary music are so tightly integrated that it would be impossible to single each one out. / Through writing in different musical languages and for a variety of mediums, I have allowed myself to explore numerous compositional possibilities — such experiences have enabled me to challenge the existing instrumental writing techniques, phrase construction, and textural design among many other parameters. / 我的音樂作品集涵蓋了多種不同音樂風格及配器的作品，它們很大程度上受到電影音樂的影響，包括其以聲音製造氣氛、情景的手法及把不同類型的音樂風格相融合的創新嘗試。我的作品集包括了電影配樂和其他以音樂帶出氛圍、情景及感情的作品，它們揉合了不同類型的音樂元素 —如民族音樂、西方古典音樂 — 以表達樂曲不同的內容。 / 本作品集有三部電影配樂作品和一部音樂影片。我隨每一部影片的獨特本質選用了不同的音樂風格： 我以典雅為基調烘托題材敏感但卻感人至深的《穿高跟鞋的男生》；《圓舞曲》則主要以抒情的鋼琴獨奏表達角色的內心世界；而徘徊於寫實與虛幻的《旺角太紫》則以靜態、以音色變化為主的音樂烘托角色的內心掙扎。音樂影片《灰姑娘與快樂王子》的音樂則受到英國浪漫音樂劇的風格影響。 / 除了以上配合影片的音樂，作品集亦包括純音樂的作品。《壓力都市》和《綠蔭上的曙光》以較為抽象的當代西方音樂語言寫成，而其餘的作品則受到民族音樂影響而創作。我在《禱》和《野地的呼喚》中試圖以西方樂器模仿不同民族中聲樂、不同器樂的音色、句式和演奏技巧，並以當代西方音樂的思維加以處理。而在《暮雲》、《林裡的哀歌II》、《迷失曠野》、《白壁》和《夢行雲》中，西方古典音樂、當代西方音樂和民族音樂三者的音樂特色融而為一，密不可分。 / 我已透過不同風格的創作，挑戰了一貫的器樂寫作技巧、句式架構、織體設計等來探索作曲的無限可能性。 / Wong, Chun Wai. / Thesis D.Mus. Chinese University of Hong Kong 2015. / Abstracts also in Chinese; includes Chinese. / Title from PDF title page (viewed on 06, October, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / Music / Master / Master of Philosophy

Thesis (M.M.)--Ohio University, March, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (doctoral) - Technische Universität, Berlin. / Includes bibliographical references and index.

Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story. / AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the Degree of Master of Music Johannesburg 2016 / Recently, scholarly work in the field of film sound design has emphasised the crucial significance of sound in film. Writers such as Mark Underwood (2008), Larry Sider (2003) and Danijela Kulezic-Wilson (2008) have expressed the view that film sound design ought to be approached from a musical perspective substantiating this position through analytical discussions on the relatively musical use of sound design in scenes from films such as Alfred Hitchcock’s The Birds (1963) and Darren Aronofsky’s Requiem for a Dream (2000). Building upon the work of these and other scholars, this thesis investigates the varying ways in which music and foley sound design relate and interact within a film seeking to categorise with some specificity the various ways in which foley sound design can ascend beyond its ordinary remit and in so doing function in lieu of film music as well as in cooperation with it. I consider examples from, amongst others, The Godfather, parts one (1972) and two (1974) by Francis Ford Coppola and The Matrix (1999) by Ana and Lana Wachowski. In each chapter of part one of the thesis (which I call Take 1), I explore a particular aspect of the way in which foley makes known its capacity to function quasi-musically. Chapter one looks at Walter Murch’s concept of the metaphoric use of sound and how, through this technique, foley sound can be applied so as to fulfil roles more accustomed to film music in its stead. Chapter two details some of the ways in which film music and foley interact within a film. A crucial element of this discussion is the on going debate between scholars such as Michel Chion who disavow the existence of a soundtrack and others such as Rick Altman who contradict Chion on this matter. Chapter three looks at how otherworldly diegetic contexts help to encourage creativity in designing and applying foley sounds so as to further enhance its pre-discussed ability to act in film music’s stead while chapter four focuses on the voice as the soloist within the melee of sounds that constitute the film soundtrack. Part two (or Take 2) of the thesis consists of compositions written in response to some of the theories and concepts explored in the first part of the thesis including a ‘dramatic string quartet’ in which I attempt to realise in a musical composition some of the ideas discussed in all four of the chapters. I conclude the thesis by reflecting on the main insights uncovered throughout the thesis in addition to reflecting on the process of composing the pieces in relation to the relative success of the performances thereof. / GR2017

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