On the track: a guide to contemporary film scoring
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York ; London
Routledge
2004
|
| Edition: | Second edition |
| Subjects: | |
| Online Access: | Table of contents Inhaltsverzeichnis Klappentext |
| Item Description: | Includes bibliographical references (p. ) and index |
| Physical Description: | xxvi, 533 Seiten Illustrationen |
| ISBN: | 9780415941365 0415941350 0415941369 |
Staff View
MARC
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| 100 | 1 | |a Karlin, Fred |d 1936-2004 |e Verfasser |0 (DE-588)134966244 |4 aut | |
| 245 | 1 | 0 | |a On the track |b a guide to contemporary film scoring |c Fred Karlin and Rayburn Wright |
| 250 | |a Second edition |b revised by Fred Karlin | ||
| 264 | 1 | |a New York ; London |b Routledge |c 2004 | |
| 300 | |a xxvi, 533 Seiten |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references (p. ) and index | ||
| 650 | 4 | |a Composition (Musique) | |
| 650 | 4 | |a Film, Musique de - Étude et enseignement | |
| 650 | 4 | |a Composition (Music) | |
| 650 | 4 | |a Motion picture music |x Instruction and study | |
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Record in the Search Index
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| adam_text | Contents
Foreword by John Williams xiii
Preface to the First Edition xv
Preface to the Second Edition xvii
Acknowledgments for the First Edition xix
Acknowledgments for the Second Edition xix
Introduction xxi
How to Use This Book xxv
I PRELIMINARIES
1 The Filmmaking Team 3
Meeting the Filmmakers. The Director. Communicating with the Director.
Support and Guidance. Two-Way Dialogue between Director and
Composer. The Producer. The Producer’s Power. Communicating with the
Producer. The Film Editor. The Music Editor. Music Executives and
Supervisors.
2 The Script, Meetings, and Screenings 15
The Script. The First Meeting before Screening the Film. The First
Screening. First Cut, Fine Cut, and Assembly. The First Discussion after
Screening the Film. Composing before the Film Is Finished.
3 Role Models and Temp Tracks 21
Specific Film Scores or Cues as Role Models. Specific Film-Scoring Styles
Used as Role Models. Specific Classical Pieces or Styles Used as Role
Models. The Composer’s Use of Role Models. Evoking a Role Model
Inadvertently. Role Models and Plagiarism. Temp Tracks. Music Editors
and Temp Tracks—Flow It’s Done. Why Filmmakers Use Temp Tracks.
Flow Composers Work with Temp Tracks.
vii
ViU CONTENTS
4 Spotting the Film 33
Talking It Over. Making Decisions. When To Use Music. Starting a Cue.
Ending a Cue. Short Cues, Transitions, and Long Cues. The Importance
of the Acting. The Director Communicates. Spotting Notes and Timing
Notes. Changes in the Spotting after Scoring. Score Lengths.
5 Budgets and Schedules 51
Cost Factors. Figuring Costs. Working with a Small Budget. Scoring
Union or Nonunion. The Assumption Agreement. Working with the
Contractor. Composing Fees. Budget Estimates. Time to Compose.
Copying Time.
II CONCEPTUALIZING
6 Developing the Concept 63
Characterization. The Central Character. The Single Dramatic Theme.
Two Dramatic Themes. Ethnic/Geographic Considerations. Musical Styles.
Combining Two or More Stylistic Elements. The Process of Elimination.
Scores for Study.
7 Demonstrating the Score: Mockups and Electronics 101
Electronic Mockups. Mockups for Communication. Changes.
Ill TIMINGS
8 Timings and Clicks I 111
Free Timing. Using Clicks and Clock. Metronome Equivalents. When
Timings Don’t Sync. Requirements on Extremely Accurate Hits. Ritards,
Fermatas, Accelerandos.
9 Timings and Clicks II 121
Music Editors. Cut Back Cues and Split Chases. Tempo and Mood
Changes within Cues. Meter Changes within Cues. Timings with a
Calculator. Using Videorecorders, Digitized Video and SMPTE Time
Code. Drop-Frame or Non-Drop-Frame? Avoiding Confusion in Math
Problems. Hardware and Software.
IV COMPOSING
10 Playing the Drama 129
Audience Expectations. Don’t Tip the Story. Tone. Main Titles. Whose
Point of View to Play? Playing the Overview. Playing What the Scene is
Really About. Getting Inside the Character’s Feelings. Playing the
Environment or Location. Playing the Situation. How Intensely to Play the
Drama. Less Is More/Understating the Drama. Avoiding Emotion.
CONTENTS IX
De-emphasizing a Scene. The Power of Silence. Playing through the
Drama. Phrasing the Drama. Hitting the Action. Highlighting. Red
Herrings. Scoring the Film Like a Ballet. Underscoring the Dialogue.
Scores for Study.
11 Genres and Source Music 179
Genres. Action. Comedy. Documentaries. Historical and Period. Horror.
Source Music. Interweaving Source and Score. Scores for Study.
12 Composing 189
Creative Considerations: Work Process. Intuition and the Subconscious.
Writer s Block. Preparation. Planning the Score. Organizing the Score.
Unity and Variety. Research. Tempo or Pulse. Personal Taste and Style.
Beginning the Sketch.
13 Using Melody 197
Motifs. Multiple Motifs. Unaccompanied Melody. Two-Voice Texture.
Giving the Melody Character. Adapting a Theme. Hit Records. Scores for
Study.
14 Using Harmony 223
Harmonic Languages. Harmony Resulting from Linear Writing. Harmonic
Pedal Point and Ostinatos. Using Harmony for Characterization. Using
Harmony as a Theme. Tension. Scores for Study.
15 Using Rhythm 279
Tempo and Pulse. Sketching the Rhythms. The Percussion Section and
Electronics. The Orchestra as Rhythm. Rhythm as a Thematic Idea.
Rhythmic Ostinatos. Uneven and Changing Meters. Polyrhythms. Scores
for Study.
16 Using Orchestration 297
Characterizing the Film’s Dramatic Theme. Suggesting Locale with Color.
Symphonic Orchestration. Fresh Sounds and Interesting Combinations.
Change the Color, Change the Emotion. Orchestral Effects. Small Budgets.
To Orchestrate or Not to Orchestrate? Sketches. MIDI Sketches.
Transposed or Concert Pitch-Scores? The Art of Orchestration. The
Composer/Orchestrator Relationship. Orchestrating from MIDI Sketches.
Using Synths and Orchestra Together. Typical Orchestra Setups. Know the
Instruments. Short Cuts. Orchestration Schedules. Changes. Other
Practicalities. The Business Aspects of Orchestration. Scores for Study.
17 Technical and Practical Considerations 333
Technical Considerations. Streamers. Recording. Practical Considerations.
Preparing to Record. Save Your Music. Checklists.
X CONTENTS
V RECORDING
18 Recording: The Scoring Stage 341
The Scoring Stage. Underscoring, Prerecording, and Set Recording. Scoring
Primarily or Completely with Electronics. Prerecording Electronic Tracks.
Prerecording Acoustic Tracks and Soloists. Planning. The Mixer. Producing
the Music. Conducting. Conducting Aids. Film Sound. Recording Format.
Fieadset Mixes. Rehearsal Protocol. Creative Responses. Working with the
Director. Changes on the Scoring Stage. Recording. Working with the
Mixer. Playbacks. Overdubbing (Layering or Stacking). Prerecording an
On-Screen Performance. Time Pressures on the Stage. Recording Away
from Home. Timing Corrections while Recording. Postmixes and Sound
Processing. Using Samples in Final Mix. Remixing for a Soundtrack
Album.
19 Dubbing: The Final Mix 359
The Composer on the Dubbing Stage. The Dubbing Stage and the
Participants. Preparing the Music for Dubbing. Predubbing. The Music
Mixer. Dubbing Stage Sound. First Adjustments during the Mix. Overall
Music Levels. Changing/Losing Cues. As the Director Sees It. Dubbing
Stage Protocol. Dubbing with Dialogue. Losing a Score. Dubbing
Schedules. Previews. Scores for Study.
VI ELECTRONIC AND CONTEMPORARY SCORING
20 Using Electronic Music 369
Electronic Instruments as Acoustic Re-creations. Electronic Instruments for
Unique Sounds. Blending Electronic and Acoustic Instruments. Scoring
with Electronics. Recording Electronic Music. Scores for Study.
21 Using Contemporary Music 381
Using Contemporary Rhythm Sections. Contemporary Scores. A Closer
Look at Three Contemporary Scores. Scoring with a Solo Artist. Scoring
with a Group. Contemporary Source Music. Scores for Study.
22 Scoring for Television 425
Television Series. Main Title Themes. Composing. Working with the
Producers. Dubbing. Scoring with Orchestra. Scoring Long Form. The Use
of Songs. Television/Film Differences.
VII SONGS
23 Musicals and Prerecording 439
Prerecording (Prescoring). Prerecording Grease and Fame. Postrecording
(Postscoring). The Classic Musicals and Beyond.
CONTENTS XI
24 Songs 443
The Functions of a Song. Content. Songwriting Collaboration. Syncing the
Lyric to the Visuals. Rewriting, or Writing Another Song. Demonstrating
the Song. The Artist. Hits and Big Business. Footloose: An Original
Compilation Song Score. Yentl: An Original Song Score by One Team of
Writers.
VIII THE BUSINESS
25 The Business 459
Getting the Job. Moving from Television to Films. Demos. Being Heard.
Agents. Film and Television Deal Points. Commercials. ASCAP and BMI.
Music Budgets. Licensing. Soundtrack Albums. Music and Business.
Epilogue: On the Track 471
The Interviewees and Authors 473
Appendix A. Study Assignments 485
Appendix B. Footage/Timing Conversions 491
Appendix C. Calculator Method for Timings 493
Appendix D. Drop-Frame 495
End Notes 503
Bibliography 506
Web Sites 508
Music Excerpts 509
Index 513
On the ¡rack offers a comprehensive guide to scoring for film and television. It covers everything from the nuts-and-bolts of timing, cuing, and
recording through balancing the composer s aesthetic vision with the needs of the film itself. Unlike other books that are aimed at the person dreaming of
a career, this is truly a guide that can be used by everyone from students to technically sophisticated professionals. It contains over 100 interviews with noted
composers, and 150 musical excerpts from film scores.
ABOUT THE AUTHORS
FRED KARLIN won an Oscar for Best Song for “For All We Know,”an Emmy for his score for The Autobiography of li/liss Jane , and numerous other
industry awards. He is the author of Listening to Movies (1994),
The late RAYBURN WRIGHT created the Jazz Studies and Contemporary Media Masters Program at the Eastman School of Music of the University of
Rochester and served as director and professor of the department from 1970 until his death in 1990.
|
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| language | English |
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| spelling | Karlin, Fred 1936-2004 Verfasser (DE-588)134966244 aut On the track a guide to contemporary film scoring Fred Karlin and Rayburn Wright Second edition revised by Fred Karlin New York ; London Routledge 2004 xxvi, 533 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references (p. ) and index Composition (Musique) Film, Musique de - Étude et enseignement Composition (Music) Motion picture music Instruction and study Filmmusik (DE-588)4017129-2 gnd rswk-swf Kompositionslehre (DE-588)4164918-7 gnd rswk-swf Filmmusik (DE-588)4017129-2 s Kompositionslehre (DE-588)4164918-7 s DE-604 Wright, Rayburn 1922-1990 Verfasser (DE-588)1113030712 aut http://www.loc.gov/catdir/toc/ecip044/2003011579.html Table of contents Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012807489&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012807489&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Karlin, Fred 1936-2004 Wright, Rayburn 1922-1990 On the track a guide to contemporary film scoring Composition (Musique) Film, Musique de - Étude et enseignement Composition (Music) Motion picture music Instruction and study Filmmusik (DE-588)4017129-2 gnd Kompositionslehre (DE-588)4164918-7 gnd |
| subject_GND | (DE-588)4017129-2 (DE-588)4164918-7 |
| title | On the track a guide to contemporary film scoring |
| title_auth | On the track a guide to contemporary film scoring |
| title_exact_search | On the track a guide to contemporary film scoring |
| title_full | On the track a guide to contemporary film scoring Fred Karlin and Rayburn Wright |
| title_fullStr | On the track a guide to contemporary film scoring Fred Karlin and Rayburn Wright |
| title_full_unstemmed | On the track a guide to contemporary film scoring Fred Karlin and Rayburn Wright |
| title_short | On the track |
| title_sort | on the track a guide to contemporary film scoring |
| title_sub | a guide to contemporary film scoring |
| topic | Composition (Musique) Film, Musique de - Étude et enseignement Composition (Music) Motion picture music Instruction and study Filmmusik (DE-588)4017129-2 gnd Kompositionslehre (DE-588)4164918-7 gnd |
| topic_facet | Composition (Musique) Film, Musique de - Étude et enseignement Composition (Music) Motion picture music Instruction and study Filmmusik Kompositionslehre |
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