Film score

Film Score Music To say that music plays a large role in our society would not do justice to one of the most important and popular art forms of yesterday and today. We underestimate the effectiveness and power that music, in any form , can have over even the most insensitive of people. In almost everything we do and see music is involved in some form or another. Be it a piece played at a wedding, a song played on the radio or even the music played in the background in a television commercial

SPC 2608 INFORMATIVE FULL SPEAKING OUTLINE SPEECH TITLE: Film Scores 101 SPECIFIC PURPOSE: My purpose is to inform my audience about the history of film scores, how they are made, and how film scores have changed recently because of technology. CENTRAL IDEA/THESIS: Film scores are an undoubtedly important part of the movie watching experience, however you may not know about how they were first introduced, the process it takes to make them, or how they have changed over time. INTRODUCTION:

There has been much debate over the years about the originality of film music. On the one side there are the purists, who cry foul at the piecing together of classical segments simply because the film composer doesn’t have the time or the originality. On the other side there are the film score gurus, who insist that the composers were merely inspired by the earlier music and used the idea to write their own compositions. One composer in particular that has come under condemnation

Brian May and Maurice Jarre to score George Miller’s fourth ‘Mad Max’ film ‘Mad Max: Fury Road’. Tom Holkenborg (aka Junkie XL) delivered a score that mix new technologies and techniques with vintage scores cliches. Tom Holkenborg is a composer from the Netherland who has had a number of hits as a solo artist in the music electronic scene back in the late 90s and more this last decade for his work on film scores with his mentor Hans Zimmer. The pair have provided the scores for some of Hollywood’s biggest

example of the early development of motion picture music in the twentieth century. The music was not only essential to the film, but musical scores also made the film better for the audience. Clever composers created a true musical drama; Max Steiner was known for his musical ability including films like Gone with the Wind. Steiner spent a lot of amount on the music of film King Kong 1933. The music meant everything to that picture, and the picture meant everything to RKO, because it saved the studio

title is not at the beginning but rather at the end. In other words, the main title music is the end credit of the film. The only possible reason that came to mind after watching the movie as to why the main music of the movie is played at the credit along with showing the title of the film is to have the audience leaving the theater remembering the film. To feel attached to the film in believing that the planet Pandora is alive and real with its native people, Na’vi, and their aboriginal music. It

The score for the film was written by none other than Michael Giacchino. Giacchino, having previously worked with director Brad Bird on the film The Incredibles (2004) had already established a dynamic with the director in terms of interpreting his wants and needs for the score. The score itself, garnered lots of attention after its Oscar-nomination for Best Original Score and continues to serve as one of the most notable films, and scores in Giacchino’s repertoire. What makes this score unique

as he quotes, “It was my way of calming the demons in me or at the same time sometimes letting them roar, letting them rip, letting the monster out and seeing that it wasn't so scary being able to look it in the eye," (International Dictionary of Films and Filmmakers 2). His family has been moving all over

ESSAY Drawing on the work of Chion, Eisenstein or others, assess how effective the film soundtrack is in either Forbidden Planet, Points in Space or 2001. Stanley Kubrick’s legendary film “2001 : A Space Odyssey” (1968) is an epic of space exploration and meditation on the possibility of extraterrestrial influence on the process of human evolution. The film is set in the near future at a time when the moon is colonised and space travel, at least around the planetary system, is quite usual. Kubrick

Theory of Film Music ( From early prescriptive writings on film-music practice to recent theoretical considerations of the status of music in cinema, the name of Richard Wagner has recurred with a regularity approaching inevitability. His sheer persistence as a figure in the literature has had a tendency to naturalize his position in the genealogy of cinema, making it difficult to assess the true nature and extent of his influence. Wagner is cited as a model (or the model) for film-music