Historically the understanding and appreciation of cinema have been shaped by a bias towards the image. Consequently, film sound has received little attention: today we know very little about how sound works in the cinema, especially in contemporary terms. My particular concern is to provide a first substantial account of sound in contemporary Hollywood cinema. Since the arrival of Dolby technologies in the early 1970s, the seismic nature of the changes that have taken place in mainstream cinema are so pervasive as to suggest that we are indeed in a new 'era' of cinema, the Dolby era. This period in the history of cinema has been characterised by a variety of factors such as the emergence of a new generation of filmmakers as well as a new 'kind' of audience. The thesis investigates these changes and their implications within a historical framework that has its roots in the 1960s, exploded in the 1970s, and matured beyond expectations over the past two decades. The thesis is structured around an exploration of the central features and figures that have characterised the Dolby era. It includes an examination of the reasons behind the success of Ray Dolby and Dolby Laboratories, as well as an analysis of the impact that technological innovations in film sound have had on filmmaking practices and the industry at large. The thesis advocates a move towards closer dialogue and integration between the world of academia and that of practitioners by focussing specifically on professional practices through a series of interviews with leading Hollywood practitioners. Finally, the thesis proposes an original approach to some key areas of film studies, namely film audiences, film narrative construction and film analysis.

“How to engineer a mood - A study of sound in audiovisual contexts” is a study on the perception of sound in audiovisual contexts, i.e. sound and the image combined. There seems to be a consensus among researchers in the field on the fact that music influences the interpretation on film. However, there does not seem to be a specific consensus in regards to other sounds than music, such as the human voice or sound effects. Guided by a set of theories, an audiovisual text will be analyzed, in part through results of a quasi-experimental pilot survey and partly by the author herself. This paper would like to contribute in making the relationship of different sounds in conjunction with the image become slightly clearer. The outcome will help to show how a mood can be created with sounds. Although there is a limited number of theoretical models that have been developed in this field of research, the theories that are introduced will hopefully help to create a better understanding of sound in audiovisual texts.  Finally the theories and results will come together in this thesis; this will lead to an analysis and produce ideas for further research on how sound in audiovisual contexts influence our emotions. As mentioned before there has not been much research in this field, hopefully this thesis will be able to provide some clues and could serve as a first step for further research to find more definite answers on how emotions work in a audiovisual context. However, many questions will remain unanswered, and further research is needed to answer them.

Science fiction film has been telling stories about artificial anthropomorphic robots and androids for almost a hundred years, spawning films, such as Metropolis (1927), Ghost in the Shell (1951), and Blade Runner (1982). Each of these science-fiction films was complemented by a musical score that helped to create an onscreen world dominated by a dystopian view of the future. Influenced by the generations of prior science-fiction films, Automata (2014), The Machine (2013), and Ex Machina (2015) are all concerned with the same narrative in which humanity is in decline while artificial robots are rising up and experiencing life in a way that humans are no longer capable of doing. These three films were all chosen as exemplars of recent science- fiction films with stories about robots versus humans. Further, this difference between robots and humans is paralleled in the film's musical scores. Humans are represented by depressive musical themes with dull and cold timbres that symbolize how empty they have become. Robots, on the other hand, are represented by bright and lively timbres that symbolize how the robots are living more vibrant lives than humans. This thesis traces themes for humans and robots through several important moments and tropes in each film: the state of humanity, the first encounter with the robot, the quality of life for robots and humans, and the eventual conflict that erupts between artificial and organic life. This conflict ends with the arrival of a robotic Eve figure, a sole female robot that is set apart by the film score as a special being, the start of a new age that is dominated by robotic life. These films choose to portray female robots and promote the idea of Eve because the female is seen as a mysterious Other to be feared; in the same way, humans fear these female robots because of their Otherness. Analysis and conclusions were achieved through transcription of the film scores, interviews with the film composers, analysis connecting the score to the visual scene, and constructing a historical context that connects the three films to their predecessors. Future research can expand on these findings by adding more science fiction films to the film pool, examining just how far the musical difference between humans and robots can be traced in film. Unlocking the musical themes assigned to humans and examining how they change over time can reveal how humans perceive themselves, for better or worse. This study is also meant to serve as a gateway for more science fiction films to be studied through their music, as some film's have hidden meanings that can only be understood by examining the music and how it interacts with the visual scene. A study of Automata, The Machine, and Ex Machina manifests how humanity is making way for the robotic Eve and the next stage of evolution for the world.

Arbetet handlar om hur musik kan påverka människans känslor och fantasier och hur man kan skapa musik för att väcka en specifik känsla hos lyssnaren. Syftet med arbetet är att försöka förstå varför man blir påverkad på ett visst sätt av olika sorters musik och framför allt om det går att förmedla specifika känslor till den generella lyssnaren. Arbetet består dels av själva uppsatsen, men även skapandet av sju olika musikstycken som 128 försökspersoner har fått lyssna på. Styckena är från olika genrer: drama, komedi, kärlek, skräck, action, fantasy samt slutligen äventyr. Personerna har fått lyssna på musiken för att sedan försöka hitta rätt genre. Intervjuer har också skett med nio personer, alla med bakgrund inom filmbranschen. Detta för att få veta hur de ser på skapandet av filmmusik. Efter att ha tagit del av försökspersonernas svar kan man konstatera att det går att förmedla olika känslor med musik, även om det inte lyckades fullt ut. Många gånger gavs svar som var i linje med mina egna tankar. I andra fall fanns det en fascinerande nästan exakt koppling till mina tankar kring musikstyckena. / The work is about how music can affect the feelings and fantasies of people listening to it and how music can awaken a specific emotion for the listener. The purpose of the work is to understand why different kind of music can affect people in a certain way, and above all, if it is possible to convey specific emotions to the general listener. The work is made up of the essay itself but also the creation of seven music pieces that 128 subjects have listened to. The music pieces are from different genres: drama, comedy, romance, horror, action, fantasy and finally adventure. The people first got to listen to the music and then try to figure out the right genre to every song. There have also been interviews with nine people, all with a background within the film industry. The reason for this was to get to know how they look at the creation of movie soundtrack. After having examined the subjects’ answers it can be seen that it is possible to convey a specific emotion to a specific song, although not fully succeeded. A lot of the time answers were given that were in line with my own thoughts. In other cases there were a fascinating, almost precise connection to my own thoughts and feelings around the music pieces.

Orientador: Anita Simis / Banca: Maria Teresa Miceli Kerbauy / Banca: Tânia Pellegrini / Banca: Márcia Regina Tosta Dias / Banca: Eduardo Vicente / Resumo: O objetivo desta tese é a análise da trilha sonora das telenovelas da TV Globo como meio privilegiado de difusão da canção nacional e também internacional no mercado fonográfico brasileiro. Produzida e divulgada pela TV Globo e por sua gravadora Som Livre, a trilha sonora se constituiu, desde o início de sua produção por essas empresas das Organizações Globo, em um produto específico da indústria fonográfica e, ao mesmo tempo, em um espaço de divulgação, por excelência, de artistas, canções e segmentos musicais que, em casos específicos, duraram apenas o tempo em que a respectiva novela da qual eram tema foi exibida. A proposta aqui é, justamente, analisar os impactos dessa relação entre dois dos mais importantes setores da indústria cultural - televisão e indústria fonográfica - ao redor de duas das mais significativas manifestações culturais brasileiras - novela e música, demonstrando como tal relação influenciou significativamente o mercado fonográfico nacional. Dessa forma, a pesquisa aborda o período compreendido entre 1969 (ano de divulgação da primeira trilha sonora produzida pela TV Globo) e 2005, quando, então, a gravadora Som Livre passa a diversificar sua atuação depois de quase duas décadas concentrada quase que exclusivamente na divulgação das trilhas sonoras. Definidos os segmentos, artistas e canções que compuseram o fundo musical da novela em todo esse período, a análise buscou cruzar essas informações com as listagens de discos mais vendidos (elaboradas pelo NOPEM e ABPD) e de músicas mais executadas anualmente nas rádios (de acordo com o ECAD), visando identificar a correlação entre a presença da canção e do artista na trilha com as outras formas de difusão da música. A pesquisa enfatiza, ainda, a importância da trilha sonora como meio de renovação... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The objective of this thesis is analysis of the soundtrack of TV Globo‟s soap operas as a means for promoting the national and also international songs in the Brazilian music industry. Produced and disseminated by TV Globo and its record company, Som Livre, the soundtrack is constituted, since the beginning of its production by such companies of Globo Organizations, in a specific product in the music industry and the same time, in a space for the promoting, par excellence, of artists, songs and musical segments that, in specific cases, lasted only the time that the soap opera, which they were subject of, was displayed. The proposal here is precisely to analyze the impacts of this relationship between two of the most important sectors of the cultural industry - television and music industry - the two of the most significant cultural events in Brazil - soap opera and music, demonstrating how this relationship significantly influenced the National Music Industry. The survey covers the period from 1969 (year of the release of the first soundtrack produced by TV Globo) to 2005, when then Som Livre starts to diversify its operations after nearly two decades focusing exclusively on the dissemination of soundtracks. Defined the segments, artists, and songs that made up the soap opera‟s background music throughout this period, the analysis sought to cross this information with the listings of the best selling albums (produced by NOPEM and ABPD) and the most played songs on the radio during the year (according with ECAD), to identify the correlation between the presence of the song and the artist on the soundtrack with other forms of dissemination of music. The study emphasizes the importance of the soundtrack as a means of renewing musical segments already consolidated and at the same time it also functions as a strategic field of intense diffusion of segments and ephemeral genres. / Doutor

I det här examensarbetet jämför jag musiken som jag själv har skrivit till en redan färdigproducerad och utgiven film med musiken som originaltonsättaren skrev till samma film. Jag satte mig in i de animerade filmernas värld och analyserade sedan filmen jag valt utifrån de kunskaper som jag samlade på mig. Jag bestämde mig för att jobba med ledmotiv och använda några av de standardiserade tekniker som finns för filmmusikkompositörer. När scenen jag valt var tonsatt, synkroniserad, mixad och mastrad jämförde jag resultatet med originaltonsättarens musik av samma scen. Musiken till den utvalda scenen är skriven för en symfoniorkester, medan originaltonsättarens komposition är för en mindre sättning. Våra versioner skiljer sig mycket åt när det kommer till tonspråk, val av synkpunkter, förstärkningar och användning av tematik. Trots den stora skillnaden i musiken är det samma grundkänsla av harmoni som genomsyrar händelseförloppet, bara att vi har valt att att uttrycka det på olika sätt.  Arbetet bidrog till en ökad konstnärlig medvetenhet hos mig som tonsättare och gav mig redskap till kommande filmer.

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Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:50:35Z (GMT). No. of bitstreams: 1 Antonietti_AndreChecchia_M.pdf: 2970531 bytes, checksum: 6912b657ecd59e5b665475ed73d64873 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa teve por finalidade verificar a articulação dramático-narrativa de 276 inserções musicais presentes na minissérie "Anos Rebeldes", escrita por Gilberto Braga para a Rede Globo de Televisão. A minissérie é um produto de teledramaturgia que teve como princípio de lançamento a necessidade de aperfeiçoamento dos processos de produção que estavam sendo desenvolvidos pela emissora para a telenovela. Por isso é um produto híbrido, que mistura formas de produção da telenovela com formas de produção do cinema. "Anos Rebeldes" foi produzida num momento onde o formato estava solidificado, podendo-se avaliar a influência dos dois modos de produção na inserção musical. O mapeamento das inserções musicais indicou a presença de canções e músicas instrumentais na trilha sonora da minissérie. As canções são divididas em canções presentes na coletânea comercializada pela Globo Columbia, um dos braços da Som Livre, canções não presentes na coletânea comercializada e músicas instrumentais. A música instrumental de "Anos Rebeldes" se subdivide em música original composta para a minissérie, versões instrumentais das canções da trilha e músicas não originais. Como para uma telenovela, a quantidade de inserções de música instrumental é superior à quantidade de inserções de canção. Temos três tipos de inserção acontecendo em "Anos Rebeldes". O primeiro deles é da canção como ambiência de fundo. O segundo é da música instrumental criando o clima da cena, referenciando situações ou personagens. O terceiro são pequenos videoclipes com a canção, onde se incluem painéis que caminham com os fatos históricos narrados pela obra. Foi possível verificar, também, a influência do autor como produtor musical, uma vez que Gilberto Braga tem dupla função nesta minissérie. O resultado obtido é uma maior interação entre música e dramaturgia, acentuando as articulações dramático-narrativas de forma singular / Abstract: This research intends to verify the dramatic-narrative articulation of 276 musical insertions of the mini-serie "Anos Rebeldes", written by Gilberto Braga for Rede Globo de Televisão. The mini-series is a teledramaturgic program that had its principles the need of skills improvement in production of telenovelas1. For this reason, mini-series is a hybrid kind of program that mix televison and cinema ways of production. "Anos Rebeldes" was made in a moment where the format was solidify. It means that is possible to see the influence of the telenovela and movies in the musical insertions. The musical index shows that, as the same in others audiovisual products, mini-serie has songs and instrumental music in their soundtrack. The music in "Anos Rebeldes" can be divided in three groups: the songs which are in the soundtrack selled by Globo Columbia, one of the many companies from Som Livre, the songs which are not in that soundtrack and instrumental music. It is possible do divide the instrumental music group in other three different groups: the one with the original instrumental music made for this mini-series, the one with the intrumental versions of the songs contained in the soundtrack and the one with non original instrumental music. As for telenovelas, the amount of instrumental music insertions are higher than the songs insertions. It was possible to see three different kinds of music insertions in "Anos Rebeldes". The first type is when a song is used as background ambience. The second type is when instrumental music sets the mood of the scene. The third type is smalls videoclips, where some part of the historic facts are showed. Other conclusion was about the role of the author as a music producer. Gilberto Braga worked in both of the roles. The result was a better interaction between music and dramaturg, improving the dramatic-narrative articulation to a higher level. 1 The word TELENOVELA does not have translation in english. The used word, soap opera, does not have the same signification / Mestrado / Fundamentos Teoricos / Mestre em Música

This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.

Director Anno Hideaki's series Neon Genesis Evangelion caused a sensation when it first aired on TV Tokyo in 1995 and has become one of the most influential anime ever made. Since its premiere, fans across the globe have debated the possible interpretations of the complex plot, but little has been said about how composer Sagisu Shiro's score might contribute to understanding the series. Anno's rehabilitation in a Jungian clinic and subsequent personal study of human psychology plays heavily into understanding the main character Ikari Shinji, and music has much to contribute to appreciating Shinji's view of the world. Shinji is an impressionable fourteen-year old boy, so his musical interpretations of the people and things around him do not always match reality. Sagisu's music gives the viewers welcome insight into Shinji's thoughts and feelings as he matures throughout the series.