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.

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

This thesis investigates the relationship between Hindemith’s music theory and his evolving compositional practice. It focuses on the first volume of his Unterweisung im Tonsatz (1937); both evaluating the very identity of the treatise and analysing how it may be applied to free composition. Above all, this work highlights the increased use of quartal pitch collections found in Hindemith’s Unterweisung-based compositions. Archival documents from the universities of Yale, Berlin, Buffalo, and the Frankfurt Hindemith Institute augment this process, and are used to revise our understanding of how Hindemith’s music theory originated, and how it relates to his practice and teaching. The dissertation begins by exploring the theoretical and intellectual climate of the Rundfunkversuchsstelle at the Berlin Hochschule für Musik within a critical commentary of Hindemith’s music theory. It then develops a new theoretical perspective of quartal pitch space, and atonal prolongation, to provide an analytical toolkit. The list of compositions in the Unterweisung appendix, which Hindemith felt most successfully demonstrated his theory in practice, structures the next three chapters. The Sonata for Solo Viola op. 25/1, a pre-Unterweisung composition, is followed by the Ludus Tonalis, which was published soon afterwards, which is investigated for its explicit theoretical connections. The third analytical chapter focuses on the Das Marienleben cycle as a work written before the Unterweisung, and subsequently revised with theoretical concerns. The final two chapters investigate the prominent decline in popularity experienced by Hindemith, both regarding his theory and compositions, from the 1950s. This is epitomised by a number of strongly-worded polemics published in The Music Review, much of which, it may be argued, is inaccurate or unduly critical. The thesis ends by constructing a Hindemith legacy based on a selection of archival documents and scores, together with a selection of trends in composition and music theory.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T03:28:45Z (GMT). No. of bitstreams: 1 Silva_MarciaReginaCarvalhoda_D.pdf: 1640701 bytes, checksum: 69204ec432c76f603c318f71b491b203 (MD5) Previous issue date: 2009 / Resumo: O principal foco desta pesquisa é investigar o diálogo entre a produção musical e a produção cinematográfica brasileira a partir do mapeamento da presença da canção popular na história do cinema brasileiro. A tese apresenta um levantamento historiográfico do uso da canção popular, composta para filmes ou neles inserida, nos vários períodos que compõem a história do cinema brasileiro, desde as primeiras experiências de sonorização e o início do cinema sonoro, passando pelas tentativas de industrialização do cinema com as companhias produtoras Cinédia, Atlântida e Vera Cruz, as tendências e experimentações do Cinema Novo e Marginal até as produções mais contemporâneas do chamado cinema da retomada e os filmes da década de 2000. Esse trabalho possui um viés bastante informativo ao construir um panorama histórico que leva em conta a inegável contribuição de intelectuais, críticos, analistas e historiadores que já desbravaram outras investigações sobre o cinema brasileiro. Nele é examinada a literatura específica sobre cinema brasileiro para traçar um panorama transversal e compilar uma filmografia que coloca como foco a trilha musical, com o intuito de apresentar ao leitor a importância da canção popular ao longo da história do cinema feito no Brasil / Abstract: The main goal of this dissertation is to investigate the dialogue between the musical and the cinematographic production according to the presence of popular songs in the Brazilian cinema history. It presents a historiographical review on the use of songs in films, either specifically composed or just inserted in it during different historical Brazilian cinema periods. The work starts with the first experiences on sonorization and the very beginnings of sound cinema, includes the efforts to establish an industrial cinema in Brazil, with companies such as Cinédia, Atlântida and Vera Cruz; it examines new trends and experimentation of Cinema Novo and Marginal, and finally analyses the contemporary productions of the so called "Cinema da Retomada" (recovered cinema) and also films from the decade of 2000. This research integrates the incontestable contributions on Brazilian cinema investigations of intellectuals, critics, analysts and historians. This work also analyse all literature compilation that embodies this broad view of the subject is intended not only to focus on film music, but mainly to present the importance of popular songs for the history of the cinema made in Brazil / Doutorado / Doutor em Multimeios

The thesis analyses film music and its use in Music lessons in the first grades of Primary school. The theoretical section focuses on characteristics, types and specifics of film music. It also briefly elaborates on the history of film music, both Czech and worldwide, and contains information about life and work of significant musical composers from this focus area. This section also analysis the approach to including film music in education for the first grades in Primary school, with respect to the curriculum framework and musical textbooks. Practical part consists of methodical material, in which film music is integrated into Music lessons in the first grade of Primary school. Methodical material is divided into chapters based on Primary school grades. KEYWORDS film, music, film music, music education, first grades of Primary school, methodology of music education

This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (<b>G</b>ame <b>M</b>usic <b>G</b>eneration <b>E</b>ngine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.

Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans. / Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years.