Salva Nos John Res Analysis

Santos can pare down the sound for more acoustic-minded performances where he’s accompanied by virtuoso guitar, the single, pizzicato melody lines mimicking his piercing voice. There are songs that feel like little films; stories that make your breath catch, with no need for supporting audiovisual material to distract.

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

Josquin des Prez was a well-known French composer during the Renaissance period. He is believed to have be born in the County of Hainaut, Belgium between 1450-1455. However, some scholars believe he was born across the border in France but either way he was a legal Frenchman at his death. There is very little information about his family other than his aunt and uncle claimed him as their heir before their death. He began his musical career as a choirboy at the Church at Saint-Quentin. He greatly admired Ockeghem and even wrote a lament for his death in 1497. In the early 1470s, Josquin began his singing career at Cambrai and later moved to the chapel of Rene. After his years at Rene, he moved to Milan, Italy and became the employee of the Sforza

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

Even though the film is essentially a visual experience, the use of sound has become extremely important in modern film. The modern viewer hears a complicated soundtrack that is as meaningful as the image on the screen. Three elements comprise the film's soundtrack: the dialogue, the sound effects, and the musical score. The proper balance and mix of these elements produced the essential emphasis required, which created the desired effects. As explained by Joseph Boggs and Dennis Petrie,

Pablo Escobar has been a popular topic lately. From ‘Narcos’ on Netflix to Andrea’s Di Stefano’s underrated ‘Escobar Paradise Lost,’ cocaine and greed can’t get anymore bombastic in the entertainment zeitgeist. Yet with director Brad Furman’s (The Lincoln Lawyer), The Infiltrator, the infamous Columbian drug load plays only second to agent Robert Mazur (played wonderfully by Bryan Cranston), the man who brings down the world’s largest cartel. It’s a refreshing angle on the subject matter with stellar performances (most notably John Leguizamo’s radically different and award-worthy role) to match. Yet, one of the biggest highlights of the film is that of film composer Chris Hajian’s (First Position, Yonkers Joe, The Take) score. Hajian manages to keep the film’s music subtle, but with gravitas to capture the heaviness of the situation at bay. It plays to the trend of synth percussion, a popular sensation seen everywhere from Cliff Martinez’s score in Drive to Kyle Dixon and Michael Stein of Stranger Things. Sure it plays to the trend, but doesn’t get lost in it. Hijian has the ear to work with modern sound, but keeps disciplined by incorporating instrumental sounds that grounds the film, but at the same time keeps it constantly moving. Check out track “I’m Being Followed,” to hear the complexity of modern synth, layered with piano. Recently I got the chance to sit down and interview Chris Hajian. Read below to

A composer depends entirely upon the nature of the film for all the clues needed to write a suitable score for a film. Brought into the production after a certain amount of film has been shot, the films concept will dictate how the composer will write the music. Whether based on the story line, or providing information by setting an atmospheric state, film music will always have different purposes between different films. Penguin Ballet by Nigel Westlake was composed to focuses upon the graceful, almost ballet like movements of the penguins underwater. Whereas, Writings on the wall by Sam Smith conveys ideas and messages which will be expressed throughout the film, especially through the use of lyrics. Although positioned within the film to provide contrasting messages, both these songs use similar musical elements to support the piece, and its position with the film. The discussion of this essay is that there are similarities between the musical elements that support the lyrics in a song and the action in a documentary. Through this, we will discuss the musical element’s of pitch, and timbre and texture.

Kill Bill: Vol 1. (2003) is a film directed by, the famous, Quentin Tarantino. From start to finish, it is packed with action and excitement. This movie has a plethora of interesting elements. Yet the cinematography of Kill Boll: Vol 1. is one that makes history. Not only does it have camera angles unlike any others shown in a normal film, but it keeps the audiences’ attention. The unique choice of music adds originality to the film. For a movie with such a serious storyline, the music involved is quite quirky. Some would even say childish. Anyone who has seen a movie directed by Quentin Tarantino before will understand that adjustments like this are a reflection of his style. All of his work reveals that.

As Enrique continues to get closer and closer to the United States he decides that he needs more money to keep him going. “The brick maker offers yet another kindness: if Enrique will work, he will get both food and a place to sleep” (Nazario, p.131). This is good for Enrique. He will be able to make some money and finish up his journey to the United States. The final challenge for Enrique is the Rio Grande. He knows that this will be the hardest part of the trip. He can taste the American soil, but this is where many of the migrants endure the hardest part. For a while Enrique stays in camps that will help him cope with the process of crossing the river. “The encampment he has joined is a haven for migrants, coyotes, junkies, and criminals,

wailing vocals and syncopated rhythms give the music a distinctive style. The singing is accompanied not only by instrumentals, but often also by hand-clapping, foot-stomping

The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann.

Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

While well-crafted sound design and sound effects are so very necessary in the creation of a film, music touches the emotion, the psyche, and the things you cannot see. Sound design and effects don’t do this nearly as efficiently and naturally. Without music it would be much more difficult to follow the emotional ups and downs of a film. (Freer)

Choosing the soundtrack for a movie is another difficult task that a director has to do because they have to find a perfect song or an instrumental track that will fit or compliment the scene that they are editing. The soundtrack of a movie is also a guaranteed way of effecting the emotions of the audience members. As a result, directors spend a great deal of time in choosing the right soundtrack for the movie. They want to make sure that they target the correct emotions for each scene. The sequence of “Eternal Sunshine of the Spotless Mind” featured many different sounds; such as, speech, music and sound effects.