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Thesis (Ph.D.)--Murdoch University, 2005. / Thesis submitted to the Division of Arts. Bibliography: leaves 348-412.

Thesis (Ph. D.)--Ohio State University, 2006. / Includes bibliographical references (leaves 449-470). Issued electronically.

Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains x, 103 p. : ill., music. Includes bibliographical references.

Thesis (Ph.D.) -- University of Rhode Island, 2009. / Typescript. Includes bibliographical references (leaves 224-233).

Thesis (Ph. D.)--UCLA, 2009. / Vita. Includes bibliographical references (leaves 214-224).

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating sounds) come directly from pioneers of electroacoustic music. Electroacoustic techniques and aesthetics play an important role in the history of sound film in making fundamental contributions to production processes, the relation between directors and sound makers, and film sound theory. On an aesthetic level, electroacoustic music in film has reformed the role of sound in film: a film score can contain 'noise', while speech and sound effects can actually serve as music. The findings also assert that electroacoustic techniques and aesthetics can be found in cinematic film from the beginning of sound film in the late 1920s. Once established, techniques have largely remained the same, regardless of the carrier media and their transformation from analog to digital: modern, digital techniques are refinements of their analog predecessors. Aesthetics have developed along with techniques, albeit much slower; their potential and exploration is far from being exhausted. The use of electroacoustic content for a particular element of film sound is not unusual and often genre-specific (for example in science fiction and thriller). However fully electroacoustic scores are rare. A portfolio of selected original compositions by the author complements this study. Acoustic and electroacoustic pieces for film and multimedia highlight different aesthetics, techniques and practices of film sound and film music.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:40:37Z (GMT). No. of bitstreams: 1 Onofre_CintiaCampolinade_M.pdf: 3572761 bytes, checksum: 7391a9a61d53c2f98a83ba31d5a3f58d (MD5) Previous issue date: 2005 / Resumo: A presente dissertação de mestrado elabora um panorama das trilhas musicais dos filmes da Companhia Vera Cruz e contribui para o preenchimento de uma lacuna bibliográfica sobre trilhas musicais brasileiras da década de 50. Com esse estudo, verificamos como alguns compositores procederam, entendendo as características estéticas da época e percebendo como estas composições musicais se situam no cenário de trilha sonora cinematográfica no Brasil. Para tanto, foram realizadas consultas bibliográficas, hemerográficas, entrevistas e análises fílmicas aliadas à teoria musical dos dezoito filmes de ficção da Vera Cruz / Abstract: This present master¿s thesis elaborates a panorama of the soundtracks of the Cinematographic Company Vera Cruz and contributes for the fulfilling of a bibliographical gap on the Brazilian musical tracks from the fifties decade. With this study, we verify how some composers had proceeded, understanding the aesthetic characteristics of that period of time having the perception as these musical compositions had taken place into the Brazilian¿s cinematographic soundtrack scenario. On account of these research bibliographical, interviews, research in reviews and newspapers from that period and filmic analyses allied to musical theory have been done on the eighteen fiction Vera Cruz films / Mestrado / Mestre em Multimeios

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