Verfügbarkeit: Sound design :: THWS Bibkatalog

Sound design: the expressive power of music, voice, and sound effects in cinema

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Bibliographische Detailangaben
1. Verfasser:	Sonnenschein, David (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Studio City, Calif. Michael Wiese Productions 2001
Schlagworte:	Filmvertonung Audiotechnik Film Ton > Akustik Filmmusik
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	XXIII, 243 S. Ill., graph. Darst.
ISBN:	0941188264

Internformat

MARC


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Datensatz im Suchindex

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adam_text	TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................. xüi FOREWORD ................................................................................... xv PREFACE ........................................................................................ xvii THE CREATION OF A SOUND DESIGNER .................................. xvii INTRODUCTION ........................................................................... xix HOW TO USE THIS BOOK ......................................................... xx NOTATIONAL SYSTEMS ............................................................ xxi SOUND ENERGY TRANSFORMATION ........................................ xxii CHAPTER 1 CREATING THE SOUND DESIGN STEP-BY-STEP ...... 1 THE FIRST SCRIPT READING ................................................... 2 WHAT TO LISTEN FOR ............................................................. 2 Objects, actions, environments, emotions, and transitions ................. 2 Explicit sounds ......................................................................... 3 Environments ......................................................................... 5 Clues to the emotions ................................................................ 6 Physical or dramatic transition ................................................... 9 GROUPING THE VOICES ........................................................... 10 DRAWING VISUAL MAPS ........................................................... 12 MEETING WITH THE DIRECTOR .............................................. 15 THE SOUND MAP — DRAFT 1.................................................... 18 CONSULTING BEFORE AND DURING THE SHOOT .................... 23 ACCOMPANYING THE PICTURE EDIT ....................................... 25 ANALYZING THE FINAL PICTURE EDIT .................................... 26 THE SOUND MAP —DRAFT 2.................................................... 31 DEFINING VOICE SOURCES AND MODIFICATIONS ................... 32 DEFINING SOUND EFFECTS AND AMBIENCE SOURCES ............ 35 COORDINATING WITH THE MUSIC SCORE .............................. 43 EXPERIMENTATION AND OPEN OPTIONS ................................ 45 EXHIBITION CONSIDERATIONS ................................................ 46 THE SOUND MAP — DRAFT 3.................................................... 49 PRE -МІХ DECISIONS ................................................................. 50 THE FINAL MIX AND PRINT MASTER ........................................ 52 CHAPTER 2 EXPANDING CREATIVITY ............................................ 53 TAPPING INTO THE DREAMSCAPE ........................................... 55 IMAGINATION TOOLS ............................................................... 56 VII SOUND DESIGN / Sonnenschein INVENTING ORIGINAL SOUNDS ............................................... 57 Cartoon and foley .................................................................... 57 Musique concrete ..................................................................... 58 Recording techniques ................................................................ 60 Sound shaping ........................................................................ 60 Emotional impact ..................................................................... 61 CHAPTERS FROM VIBRATION TO SENSATION ............................ 63 THE SOURCE ............................................................................ 63 THE MEDIUM ........................................................................... 64 SOUND QUALITIES .................................................................... 65 Rhythm ................................................................................. 65 Intensity ............................................................................... 66 Pitch .................................................................................... 67 Timbre ................................................................................. 67 Speed ................................................................................... 68 Shape ................................................................................... 68 Organization ......................................................................... 70 PHYSICAL EFFECTS OF SOUND ................................................. 70 THE EAR ................................................................................... 72 Hearing development ............................................................... 72 Outer ear (pinna/ear canal) ....................................................... 73 Middle ear {ear drum/ossicles) .................................................... 73 Inner ear (cochlea) ................................................................... 74 Sensitivity ............................................................................. 74 Masking ................................................................................ 75 CHAPTER 4 FROM SENSATION TO PERCEPTION ........................ 77 LISTENING MODES ................................................................... 77 Reduced ................................................................................. 77 Causal ................................................................................... 78 Semantic ................................................................................ 78 Referential ............................................................................. 78 Less is more ............................................................................ 79 GESTALT PRINCIPLES AND ILLUSION ....................................... 79 Figure and ground ................................................................... 80 Completeness, good continuation, and closure .................................. 81 Proximity and similarity ........................................................... 81 Common fate and helongingness .................................................. 82 Illusion ....................................... ................. 83 viii SPACE....................................................................................... 83 Size, distance, and perspective ..................................................... 84 Echo and reverberation ............................................................. 85 Directionality ......................................................................... 85 Subjective/emotional space ......................................................... 86 Movement ............................................................................. 87 TIME ........................................................................................ 89 Temporal resolution and integration ........................................... 89 Speed ................................................................................... 89 Subjective time ........................................................................ 90 TONE ........................................................................................ 91 Frequency perception ................................................................. 91 Loudness ................................................................................ 92 Recognition ............................................................................. 93 Habituation and hearing loss ...................................................... 94 Tonal center ............................................................................ 95 Out-of-tune and beat phenomena ................................................. 96 Historical perspective ................................................................ 96 ENTRAINAIENT ........................................................................ 97 CHAPTERS MUSIC TO OUR EARS ................................................ 101 ORIGINS OF MUSIC ................................................................... 102 FEELINGS VS. ORDER ................................................................ 103 EMOTIONAL SIGNIFIER ............................................................ 104 Openness .............................................................................. 104 Insights ................................................................................ 105 Groups .................................................................................. 106 Emotional inventory ................................................................ 107 GENRES .................................................................................... 109 STRUCTURE AND FUNCTION .................................................. 110 World music ........................................................................... Ill Feminine form ....................................................................... 113 Violating form ........................................................................ 113 THE CASE OF THE SONATA ....................................................... 114 RHYTHM AND ANTICIPATION .................................................. 115 Rhythm of the body .................................................................. 115 Meter and phrasing ................................................................. 116 Repetitiveness ......................................................................... 116 Perception of rhythm ................................................................ 116 Anticipation ........................................................................... 117 ix SOUND DESIGN / Sonnenschein MELODY .................................................................................. 119 HARMONY AND DISSONANCE .................................................. 120 TONAL CENTER ....................................................................... 123 SILENCE ................................................................................... 124 CONTRAST ............................................................................... 128 CHAPTERő THE HUMAN VOICE .................................................. 131 THE VOCAL INSTRUMENT ....................................................... 131 DEVELOPMENT OF SPEECH ..................................................... 132 SPEECH RECOGNITION AND VERBAL UNDERSTANDING ......... 134 MEANING VS. FEELING ............................................................. 137 PROSODY —VOCAL MELODY AND EMOTION ........................... 138 MANTRAS, NONSENSE, AND BEYOND ....................................... 142 VOICE PERSONALITIES ............................................................. 144 ALIEN LANGUAGE ..................................................................... 146 CHAPTER? SOUND AND IMAGE ................................................... 151 EYES AND EARS ......................................................................... 151 ON SCREEN, OFF SCREEN, AND OUTSIDE THE STORY WORLD ... 152 On screen .............................................................................. 153 Offscreen .............................................................................. 153 Nondiegetic ........................................................................... 154 MUSIC IN FILM ......................................................................... 155 Emotional signifier ................................................................. 155 Continuity ............................................................................. 155 Narrative cueing ..................................................................... 155 Narrative unity ...................................................................... 155 Programmatic music ................................................................ 156 Anempatbetic music ................................................................. 156 DIALOGUE IN FILM ........................................................................ 156 Theatrical speech ..................................................................... 156 Textual speech ......................................................................... 157 Emanation speech .................................................................... 157 Elimination ............................................................................. 157 Ad libs and proliferation ............................................................158 Multilingualism and foreign language .......................................... 158 Dialogue recording and postproduction ..........................................159 SPATIAL DIMENSIONS ..................................................................... 159 3-D space ............................................................................... 160 Hi-fi vs. Ισιν -fi perspective ..........................................................161 Size .......................................................................................162 Point of audition ..................................................................... 163 Sensation and texture .............................................................. 164 TEMPORAL DIMENSIONS ......................................................... 164 Rhythm of life........................................................................ 164 Linearity ............................................................................... 164 Narrative cueing ..................................................................... 165 BRIDGING AND BREAKS ............................................................ 165 SYNCHRONIZATION ................................................................. 166 Point of synchronization ........................................................... 167 ADDED VALUE AND MULTIPLE MEANINGS ............................... 168 CHAPTERS SOUND AND NARRATIVE ........................................... 173 NARRATIVE ANALYSIS ............................................................... 173 MUSIC AND STORY ................................................................... 175 CHARACTER IDENTIFICATION ................................................. 176 Objective audience perspective .................................................... 177 Subjective character experience ................................................... 177 Nonliteral sound ..................................................................... 178 Emotional associations .............................................................. 179 PRIMARY AND SECONDARY EMOTIONS .................................... 181 ENVIRONMENTS AND THE SOUNDSCAPE ............................. 182 INVENTING SOUND OBJECTS ................................................... 190 Impact .................................................................................. 190 Firearms ............................................................................... 191 Vehicles ................................................................................. 192 Fire ..................................................................................... 193 More ideas and techniques ......................................................... 193 AUDITORY HIERARCHY ............................................................ 195 DRAMATIC EVOLUTION ............................................................ 198 Earthquake effect .................................................................... 200 PRODUCTION DESIGN AND IMAGE ANALYSIS ........................... 201 PERFORMANCE ANALYSIS ......................................................... 203 SOUND REFERENCES ................................................................ 205 Universal .............................................................................. 205 Cultural ................................................................................ 206 Historical .............................................................................. 209 Film specific ........................................................................... 210 PLEASANWRLE—CASE STUDYINTEGRÄTING STORY AND MUSIC... 212 xi CHAPTER 9 THE FUTURE OF SOUND DESIGN ............................. 215 A WORD ON SOUND POLITICS — WHEN CAN WE START? ........ 215 INTERNET AND INTERACTIVE MEDIA ..................................... 217 APPENDIX ...................................................................................... 219 CLASSIFICATION OF SOUNDS ................................................... 219 FILMOGRAPHY ............................................................................... 225 BIBLIOGRAPHY .............................................................................. 227 INDEX ............................................................................................ 233 DAVID SONNENSCHEIN................................................................. 245 Xli
any_adam_object	1
author	Sonnenschein, David
author_facet	Sonnenschein, David
author_role	aut
author_sort	Sonnenschein, David
author_variant	d s ds
building	Verbundindex
bvnumber	BV024043474
classification_rvk	AP 56200
ctrlnum	(OCoLC)248173026 (DE-599)BVBBV024043474
dewey-full	778.5/344
dewey-hundreds	700 - The arts
dewey-ones	778 - Specific fields & kinds of photography
dewey-raw	778.5/344
dewey-search	778.5/344
dewey-sort	3778.5 3344
dewey-tens	770 - Photography, computer art, cinematography
discipline	Kunstgeschichte Allgemeines
format	Book
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spellingShingle	Sonnenschein, David Sound design the expressive power of music, voice, and sound effects in cinema Filmvertonung (DE-588)4017148-6 gnd Audiotechnik (DE-588)4140445-2 gnd Film (DE-588)4017102-4 gnd Ton Akustik (DE-588)4185645-4 gnd Filmmusik (DE-588)4017129-2 gnd
subject_GND	(DE-588)4017148-6 (DE-588)4140445-2 (DE-588)4017102-4 (DE-588)4185645-4 (DE-588)4017129-2
title	Sound design the expressive power of music, voice, and sound effects in cinema
title_auth	Sound design the expressive power of music, voice, and sound effects in cinema
title_exact_search	Sound design the expressive power of music, voice, and sound effects in cinema
title_full	Sound design the expressive power of music, voice, and sound effects in cinema by David Sonnenschein
title_fullStr	Sound design the expressive power of music, voice, and sound effects in cinema by David Sonnenschein
title_full_unstemmed	Sound design the expressive power of music, voice, and sound effects in cinema by David Sonnenschein
title_short	Sound design
title_sort	sound design the expressive power of music voice and sound effects in cinema
title_sub	the expressive power of music, voice, and sound effects in cinema
topic	Filmvertonung (DE-588)4017148-6 gnd Audiotechnik (DE-588)4140445-2 gnd Film (DE-588)4017102-4 gnd Ton Akustik (DE-588)4185645-4 gnd Filmmusik (DE-588)4017129-2 gnd
topic_facet	Filmvertonung Audiotechnik Film Ton Akustik Filmmusik
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017912301&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
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