The Sound Recording For A Live Concert

The purpose of this essay is to analyse music from the film ' Star Wars' and discuss in detail, the function of this music, the elements of music used and how this music embellishes the film. This includes the purpose of the music. It is to represent a character/ action / set a geographical location/ create atmosphere/ to psychologically unite the audience.

The concert opener, Scherzo for X Wings by John Williams, was written originally for the use of the Star Wars movie, A Force Awakens. John Williams also has many other well-known pieces, such as Imperial March and Duel of the Fates which were also used in the Star Wars series. He is the main composer for the music in the famous American movie series, Star Wars, and many of his pieces have been re-arranged for band music and concerts, which is what they performed at their concert. He is a film producer and is well known for his inclusion of advanced music which adds lots of depth to the film and its plot. He is mostly known for Star Wars and his co-production of the American film Shrek. Personally, I like the intense action that Williams includes in his music, and the way he bases it off the plot that he is making the music for. He uses lots of brass and woodwinds calls back in forth, reflecting the melody from section to section throughout the piece. The dynamic contrast that is written in the piece also accentuates the music greatly as it keeps the listener entertained throughout the whole piece. Personally, I get distracted and do not always remain focused at concerts, because I have seen lots of advanced and professional

Often music is consisted not only by sounds made from musical instruments, but also by voice and verbal messages. The structure of the voice, or as Roland Barthes describes it ‘the grain of voice’ is the element in a certain piece of music which is responsible for creating the emotions when listening. The grain and the lyrics make the signified and carry out the message. The vocal part of music is formed of words, text, which communicate and make the representation and expression of what it is sung - talked about. According to Barthes the emotive modes of the voice and the changes of the tones from low to high is what delivers the final message and makes us feel the music. (Barthes, R. 1977 [1972]).

Without the human intention, perception, and interpretation of sound, then the existence of music would be imaginary. Music includes talking words in a way that the person creates a sound that is made with the intention of being music (Deutsch, Diana 10-13, Justus & Timothy., 33-40). Besides, people can perceive silence and sound and put them together so as to call the outcome music. In Bakan’s fourth proposition, he identifies the approach as the Human Intention and Perception (HIP) approach (Resnicow, Joel E., 10-22). In other words, the proposition tries to suggest that music is inseparable from the makers; or more specifically the people who perceive and experience it. Bakan gives numerous examples to show that music is a product of human intention and perception. This paper conducts research and gives appropriate examples to show that music is only identified as music if the person is making it has the intention for their words to be music.

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.

The concert I attended was called the Faculty and Student Recital, which took place in the Cisco Auditorium on April 11, 2017. The music that was on the program was mostly what is called “classical” music, as well as a Chinese Folk Song, an electronic composition, and variations on an Indian Tala. In the classical pieces, the instruments that were used were the violin, the piano, the cello, and the oboe. In the electronic composition, the computer was used to make music. In the Chinese Folk Song, the piccolo was used to imitate the unique timbre of a Chinese flute. In the Indian tala, drums from Ghana were used to imitate the rhythm and sound of Indian drums. The piano, the violin, the cello, and the piccolo all originate

“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.

Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.

Each genre has its own style of editing and sound techniques. These techniques are specific to that genre and usually are not seen outside of if unless there is some sort of experimentation going on. For example romantic comedies will almost always have uplifting songs that will make the viewer happy, whereas an action film will have intense music that gets the viewers blood pumping. In Guillermo Del Toro's Fantasy Horror film Laberinto del Fauno (2006) sound and editing play a big part in the awesome development of the genre. This essay will try to explain briefly the usage of editing and sound to bring out the fantasy horror genre.

Her non-soundtrack music is usually pawned off to one of two different bands - Fictionjunction and Kalafina, both of which currently share the young vocalists Keiko Kubota and Wakana Ōtaki. If she isn’t using these two singers to deliver clear operatic harmonies to support raging guitars and synthesizer pop, you’ll likely hear one of her many violinists performing incredible solos that ebb and flow in volume and intensity.

This essay will be looking at Independent music in relation to the categorisation of distribution and production. It will also discuss the impact with regard to the development of musical performances and production.

Brian Eno said that the recording studio “takes music out of time dimension and puts it in the space dimension”. Eno describes that the recording studio has opened a new world of music- a world in which the listener can listen to a performance over and over again. Prior to the use of the studio, listeners could only listen to a performance once when it is performed live, so this opens new doors for listeners. Listeners now have the ability with studio recordings to “listen again and again to a performance, to become familiar with details you most certainly had missed the first time though, and to become very fond of details that weren’t intended by the composer or the musicians” (Eno, p. 127). Therefore, this creates a new relationship between

This time we will focus on the analysis of the sound of a film that, in addition, to be well achieved according to my personal appreciation, has been nominated for several awards for sound and has won some of them. It is then a proposal that, when like others, it is convenient to analyze and understand, to take from it what works best for us or interest, or for our future productions. For this I have chosen the feature film Pan’s labyrinth (2006) by director Guillermo del Toro; in charge of the sound Martin

2008 marked an important year for Hisaishi. In honor of his work, a concert event was produced at Nippon Budokan in Tokyo to celebrate the anniversary of 25 years of collaboration. (Dasnoy & Tsong, 2013) The concert featured performances of Hisaishi’s signature Miyazaki film score compositions. Approximately 1,200 musicians and singers participated in the performance, including the 200-member New Japan Philharmonic World Dream Orchestra, 6 featured vocalists, the combined 800 members of the Ippan Koubo, Ritsuyuukai and Little Singers of Tokyo choirs, and a 160-piece marching band. Joe Hisaishi, who by this time has become an important icon to Asian music, conducted the performance from his piano as a giant screen backed the entire performance, streaming projections of correlating clips from Miyazaki's films along with the music. (Team Ghiblink, GhibliWiki)

This afternoon, I went to the music concert hall where is located in the music building for the listening hour, a small noon-time concert which is performed by the staff and students from the music majors. Since it is a free noon-time concert, most of the audiences just wear the t-shirts and jeans to the concert. Dresses are not required for the concert. The performance today is given by the Ananda Jazz Ensemble. They have played “Running Away”, composed by Bob Marley; “Madalena”, composed by Ivan Linz; “Conejitos y Ananda”, composed by Abi Romero; “La Bikina”, composed by Ruben Fuentes; and “Chukaro”, also composed by Abi Romero. Because this is a Latin Americdan Journey, all of the music performed is jazz music. All pieces played in the concert are an ensemble of piano, bass, and drums. During the concert, I was trying to be a perceptive listener; I enjoyed the music with concentration and paid attention to the music’s unity and variety, such as the dynamics and tempos. I also tried to associate the music with a picture when I listened to it and understand the emotion in the music.