This thesis is an analysis of two film soundtracks, High Fidelity and Rushmore, and how each conforms to, and moves away from, trends in soundtrack production. The analysis begins by examining the relationship between film and music through the progression of key figures and moments leading to the current state of the film soundtrack. The soundtracks of High Fidelity and Rushmore are situated within the contexts of youth and rock culture as a means of illuminating their compilations and prospective audiences. The conclusion of this thesis is that these particular films and their soundtracks are entrenched in a dialogue about nostalgia and the superiority of archival music and provide clear examples of the growing use of nostalgia within cultural contexts generally.

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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience. / Department of Telecommunications

For as long as computers have been around, people have looked for ways to involve them in music. Research in computer music progresses in many varied areas: algorithmic composition, music representation, music synthesis, and performance analysis to name a few. However, computer music research, especially relating to music composition, does very little toward making the computer useful for artists in practical situations. This lack of consideration for the user has led to the containment of computer music, with a few exceptions, to academia. <br /><br /> In this thesis, I propose a system that enables a computer to aide users composing music in a specific setting: soundtracks. In the process of composing a soundtrack, a composer is faced with solving non-musical problems that are beyond the experience of composers of standalone music. The system I propose utilizes the processing power of computers to address the non-musical problems thus preventing users from having to deal with them. Therefore, users can focus on the creative aspect of composing soundtrack music. <br /><br /> The guiding principal of the system is to help the composer while not assuming any creative power and while leaving the user in full control of the music. This principal is a major step toward helping users solve problems while not introducing new ones. I present some carefully chosen tasks that a computer can perform with guidance from the user that follow this principal. For example, the system performs calculations to help users compose music that matches the visual presentation and allows users to specify music, using the idea of <strong>timed regular expressions</strong>, so that a computer can fill arbitrary amounts of time with music in a controlled manner. <br /><br /> A prototype application, called <strong>EMuse</strong>, was designed and implemented to illustrate the use and benefits of the proposed system. To demonstrate that the system is capable of serving as a tool to create music, two soundtracks were created for two sample animations. It is beyond the scope of the work presented here to evaluate if the system achieves the goal of being a practical tool for composers. However, the innovations herein discussed are analyzed and found to be useful for soundtrack composition and for future user-centered computer-music research.

For as long as computers have been around, people have looked for ways to involve them in music. Research in computer music progresses in many varied areas: algorithmic composition, music representation, music synthesis, and performance analysis to name a few. However, computer music research, especially relating to music composition, does very little toward making the computer useful for artists in practical situations. This lack of consideration for the user has led to the containment of computer music, with a few exceptions, to academia. <br /><br /> In this thesis, I propose a system that enables a computer to aide users composing music in a specific setting: soundtracks. In the process of composing a soundtrack, a composer is faced with solving non-musical problems that are beyond the experience of composers of standalone music. The system I propose utilizes the processing power of computers to address the non-musical problems thus preventing users from having to deal with them. Therefore, users can focus on the creative aspect of composing soundtrack music. <br /><br /> The guiding principal of the system is to help the composer while not assuming any creative power and while leaving the user in full control of the music. This principal is a major step toward helping users solve problems while not introducing new ones. I present some carefully chosen tasks that a computer can perform with guidance from the user that follow this principal. For example, the system performs calculations to help users compose music that matches the visual presentation and allows users to specify music, using the idea of <strong>timed regular expressions</strong>, so that a computer can fill arbitrary amounts of time with music in a controlled manner. <br /><br /> A prototype application, called <strong>EMuse</strong>, was designed and implemented to illustrate the use and benefits of the proposed system. To demonstrate that the system is capable of serving as a tool to create music, two soundtracks were created for two sample animations. It is beyond the scope of the work presented here to evaluate if the system achieves the goal of being a practical tool for composers. However, the innovations herein discussed are analyzed and found to be useful for soundtrack composition and for future user-centered computer-music research.

The Ruins of Detroit (2013) is a twenty-four minute orchestral work for string orchestra, string octet, celesta, harp, two vibraphones, four horns, two trumpets, two trombones, two bassoons, two clarinets, two oboes, two flutes, and pre-recorded audio soundtracks. The focal point of the work is the conceptual exploration of urban decay found throughout the city of Detroit, Michigan, in 2012. Urban ruins are visible symbols, and landmarks of our society and its changes. Perhaps no other city has been affected more by post-industrialization than Detroit, whose plight has become symbolic of the shift away from manufacturing. This concept not only manifests itself though the utilization of archival recordings and electroacoustic elements in the work, but also throughout the acoustic material as well. Structurally, the work shifts through a series of seven “atmospheres,” which are comprised of pitch collections based on all white notes that descend from A through G. The syntax is anchored in the organization of musical material into foreground (solo violin,) middle-ground (harp, celeste, string octet, piano, percussion, woodwinds, brass) and background (string orchestra, soundtracks). The central theme to this work is intended to be the wholeness of music, and challenges the listener to step inside of it, and experience it not as a representation of place, but as a place in itself: The Ruins of Detroit.

The Ruins of Detroit (2013) is a twenty-four minute orchestral work for string orchestra, string octet, celesta, harp, two vibraphones, four horns, two trumpets, two trombones, two bassoons, two clarinets, two oboes, two flutes, and pre-recorded audio soundtracks. The focal point of the work is the conceptual exploration of urban decay found throughout the city of Detroit, Michigan, in 2012. Urban ruins are visible symbols, and landmarks of our society and its changes. Perhaps no other city has been affected more by post-industrialization than Detroit, whose plight has become symbolic of the shift away from manufacturing. This concept not only manifests itself though the utilization of archival recordings and electroacoustic elements in the work, but also throughout the acoustic material as well. Structurally, the work shifts through a series of seven “atmospheres,” which are comprised of pitch collections based on all white notes that descend from A through G. The syntax is anchored in the organization of musical material into foreground (solo violin,) middle-ground (harp, celeste, string octet, piano, percussion, woodwinds, brass) and background (string orchestra, soundtracks). The central theme to this work is intended to be the wholeness of music, and challenges the listener to step inside of it, and experience it not as a representation of place, but as a place in itself: The Ruins of Detroit.

Thesis (Ph.D.) -- University of Adelaide, School of Humanities, Discipline of French Studies, 2006. / "November 2006" Bibliography: leaves 246-274. Also available in a print form.

This essay aims to explore acoustiographies of the interior and interpret the cultural impressions that they perpetuate. While I do consider the conventional iconographies of headphones and full-body suits (e.g., spacesuits) that filmmakers employ as tools to focalize a character’s internal subjectivity, acoustiographies often supersede or occur in lieu of such visual symbols. While the acoustiography of “leakage” symbolizes the disparity between the self-perception of the self and the social perception of the self, that of “head sound” aims at placing the audience inside the head of a given character by positioning the point of audition as if it were emanating from the character’s head. Leakage is a diegetic sound that is somewhat obscured or filtered by some barrier blocking the sound’s full frequency emission, whereas sound effects or music seemingly sounding from inside a character’s head, as for example through headphones, represent head sound. These acoustiographies of leakage and head sound play a crucial role in the filmic expression of a character’s interiority, which they accomplish through their ability to physically represent interior space, but also figuratively represent a character’s subjectivity. / text

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains xi, 73 p. : music. Includes bibliographical references.