A movie score (also sometimes called background score , background music , movie soundtrack , movie music , or incidental music ) is original music written specifically to accompany the movie. This score is part of the movie soundtrack, which also usually includes existing music, dialogue and sound effects, and consists of a number of orchestras, instrumental or chorus called cues, which are time to start and end at certain points during a movie to enhance the dramatic narrative and emotional impact of the scene. Scores are written by one or more composers, under guidance, or in collaboration with, filmmakers or producers and usually usually performed by ensemble musicians - most often consisting of an orchestra or band, instrumental soloist, and choir or vocalist - and recorded by a sound engineer.
Movie scores cover a wide variety of musical styles, depending on the nature of the film they accompany. The majority of the scores are orchestral works rooted in Western classical music, but many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a variety of ethnic and musical styles. Since the 1950s, more scores have also incorporated electronic elements as part of the score, and many of the scores written today feature a combination of orchestral and electronic instruments.
Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to mimic the sound of live instruments, and many scores are made and performed entirely by the composers themselves, using advanced music composition software.
Songs are not usually considered part of the movie score, although the song is also part of the movie soundtrack. Although some songs, especially in the musical, are based on the thematic ideas of the score (or vice versa), the score usually has no lyrics, except when sung by a choir or soloist as part of the gesture. Similarly, pop songs "dropped needles" into special scenes in films for additional emphasis are not considered part of the score, although sometimes composer scores will write original pop songs based on their themes, such as James Horner's "My Heart Will Go On "from Titanic , written for Celine Dion.
Video Film score
Proses pembuatan
Spotting
The composer usually enters the creative process towards the end of the filming, around the same time as the movie being edited, although on several occasions the composer is on hand during filming, especially when the actor is asked to perform together or realize the original diegetic music. The composer displayed a rough "crude piece" of the film, before editing is done, and talks to the director or producer about what kind of music is required for the film in terms of style and tone. The director and composer will watch the entire movie, taking into account the scenes that require original music. During this process, the composer will take the exact time record so that he knows how long each gesture should last, where it begins, where it ends, and certain moments during a scene that may need music to coincide in a special way. This process is known as "spotting".
Sometimes, a filmmaker will actually edit their movie to fit the flow of the music, rather than having the composer edit his score to the final piece. Director Godfrey Reggio edited Koyaanisqatsi and Powaqqatsi based on music composer Philip Glass. Similarly, the relationship between director Sergio Leone and composer Ennio Morricone is like the end of The Good, the Bad and the Ugly and the Once Upon a Time in the West and Once Upon a Time in America edited to Morricone's score when the composer prepared it a few months before the film's production ended.
In another famous example, the end of Steven Spielberg's E.T. The Extra-Terrestrial edited to match the music of old collaborator John Williams: as told in a companion documentary on DVD, Spielberg gave Williams complete freedom with music and asked him to record gestures without pictures. ; Spielberg then re-edit the scene later to match the music.
In some circumstances, a composer will be asked to write music based on their impressions of the manuscript or storyboard, regardless of the movie itself, and given more freedom to make music without the need to adhere to a certain gesture length or reflect the emotional arc of a particular scene. This approach is usually taken by a director who does not want to have a special musical commentary on a particular scene or movie nuance, and that can be inserted into the movie at any point the director wants during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's Inception ; composer Gustavo Santaolalla did the same thing when he wrote an Oscar-winning score for Brokeback Mountain.
Sync
When writing music for a movie, one goal is to sync the dramatic events that occur on screen with music events in a score. There are many different methods to sync music to images. This includes using sequencing software to calculate timings, using mathematical formulas and free time with reference timings. Composer works using SMPTE timecode for synchronization purposes.
When syncing music to images, generally 3-4 frames late or early allowing the composer to be very accurate. Using a technique called Free Timing, a conductor will use either a stopwatch or a stop studio clock size, or ( b ) watch a movie on the screen or video monitor when performing musicians for specified timings. It is represented visually by vertical lines (ribbons) and bursts of light called blows. This is put in the movie by the Music Editor at the points specified by the composer. In both instances, timing on the clock or line written on the film has an appropriate timing that is also at certain points (tapping) in the composer/conductor score.
Click written track
The written click track is a method of writing a music bar in a consistent time value (ie 4 taps in: 02 2/3 sec) to set a constant tempo instead of a metronome value (eg 88 Bpm). A composer will use a written click if they plan to perform live performances. When using other methods such as a metronome, the conductor has the perfect click played in his ear which he does. This can result in rigid and lifeless performance with slower and more expressive gestures. One can convert a standard BPM value to a written click where X represents the number of beats per bar, and W shows the time in seconds, using the following equation:
Klik underwent a diezpresian menggunakan 1/3 detik, just langkah selanjutnya adalah membulatkan desimal menjadi 0, 1/3, atau 2/3 detik. Berikut ini adalah contoh untuk 88 BPM:
2.72 rounds to 2.66, so the written click is 4 taps: 02 2/3 seconds.
After the composer identifies the location in the movie they want to synchronize with the music, they have to determine the beat music of this event. To find this, they use the following equation, where bpm beats per minute, sp is the real-time synchronization point (ie 33.7 seconds), and B is the number of beats in 1/3 multiples ( ie 49 2/3).
Writing
After the spotting session has been completed and the exact timing of each cue is determined, the composer will then work to write the score. Scoring methods vary from composer to composer; some composers prefer to work with pencils and traditional papers, write hand-to-hand notes to staff and do work-in-progress for piano directors, while other composers write on computers using advanced music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Protools. Working with software allows composers to create MIDI-based demos, called MIDI makets, for review by filmmakers before the final orchestral recording.
The length of time a composer must write a score varies from project to project; depending on the post-production schedule, a composer may only have two weeks or three months to write a score. Under normal circumstances, the actual writing process usually takes about six weeks from start to finish.
Maestro Ilaiyaraaja is known to have completed most of his movie scores in a week including spotting, syncing, writing and recording. On many occasions he has scored about 55 films a year and has written over 1000 movies in various Indian languages, and one in English.
The actual music content of a movie score depends entirely on the type of film being filmed, and the emotion the director is trying to convey. The film scores can include thousands of different instrument combinations, ranging from full symphony orchestra ensembles to solo solo instruments to rock bands to jazz combo, along with many ethnic and musical influences, solo singers, vocalists, choirs, and electronic textures. The style of music being written also varies heavily from project to project, and can be affected by the time period in which the film is organized, the geographic location of the action of the movie, and even the musical tastes of the characters. As part of their preparation for scoring, composers will often research different musical techniques and genres appropriate for the specific project; thus, it is not uncommon for established film composers to be proficient in writing music in dozens of different styles.
Orchestration
Once the music has been written, it must be arranged or arranged for the ensemble to do so. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the work of the orchestrator is to take a single line of music written by the composer and "refine it" into a special sheet music instrument for each orchestra member to perform.
Some composers, especially Ennio Morricone, manage their own scores, without the use of additional orchestras. Some composers provide elaborate details of how they want this to be accomplished and will provide to the orchestra with many notes explaining which instruments are required to perform which record, giving the orchestra no personal creative input outside that marks the music back on the sheet different. the appropriate paper. Other composers are less detailed, and will often ask the orchestra to "fill the void", give their own creative input into the ensemble arrangement, ensure that each instrument is capable of performing the music as it is written, and even allow them to introduce performance and growing techniques to improve the score. In many cases, the time constraints determined by the post-film production schedule determine whether the composer sets their own scores, as it is often impossible for the composer to complete all the required tasks within the allowed time frame.
Over the years several orchestras have become associated with the work of a particular composer, often to the point where one will not work without the other. Examples of longstanding composer-orchestra relationships include Jerry Goldsmith with Arthur Morton and Alexander Courage; John Williams with Herbert W. Spencer; Alan Menken with Danny Troob and Michael Starobin; Carter Burwell with Sonny Kompanek; Graeme Revell and Michael Giacchino with Tim Simonec; Alan Silvestri with James B. Campbell and William Ross; MiklÃÆ'³s RÃÆ'³zsa with Eugene Zador; Alfred Newman with Edward Powell, Ken Darby and Hugo Friedhofer; Danny Elfman with Steve Bartek; Mark Isham with Ken Kulger; David Arnold with Nicholas Dodd; Randy Edelman with Ralph Ferraro and Stuart Balcomb; Basil Poledouris with Greig McRitchie; and Elliot Goldenthal with Robert Elhai. Others have become an orchestra-for-hire, and work with many different composers during their career; examples of leading orchestral music films including Pete Anthony, Jeff Atmajian, Brad Dechter, Bruce Fowler, John Neufeld, Thomas Pasatieri, Conrad Pope, Nic Raine and J.A.C. Redford.
After the orchestration process is completed, sheet music is physically printed on paper by one or more music copyists and ready to perform.
Recording
When music has been composed and arranged, the orchestra or ensemble then does that, often with the composers performing. Musicians for the ensemble often get no awards in movies or on albums and are individually contracted (and if so, orchestra contractors are credited in a movie or soundtrack album). However, several films recently began to credit the musicians who were contracted on an album by the name of the Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other frequently used groups of performances include the London Symphony Orchestra (the film music scene since 1935) the Prague Town Philharmonic Orchestra (orchestra dedicated largely to recording), the BBC Philharmonic, and Northwest Sinfonia.
The orchestra performs in front of the big screen depicting the movie, The conductors and musicians are accustomed to wearing headphones that are heard a series of clicks called "click-songs" that change with meters and tempo, helping to sync music with movies.
Less often, the director will talk to the composer before the filming begins, thus giving more time to the composer or because the director needs to take a scene (ie a song or a dance scene) according to the final score. Sometimes the director will edit the movie using "temp (temporary) music": already publish pieces with characters that the director believes to adapt a particular scene.
Maps Film score
Elements of movie scores
Temporary track
In some cases, the film composer has been asked by the director to emulate a particular composer or style that is on a temporary track. On other occasions, the directors are so tied to the temp scores that they decide to use them and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick 2001: A Space Odyssey, where Kubrick chose recordings of existing classics, including the masterpiece of GyÃÆ'¶rgy Ligeti rather than scores by Alex North, although Kubrick also employs Frank Cordell to score. Other examples include Curtains (Bernard Herrmann), Troy (Gabriel Yared), Caribbean Pirates: Black Pearl Curse (Klaus Badelt), Peter Jackson's King Kong (Howard Shore), and The Bourne Identity (Carter Burwell).
Structure
Movies often have different themes for important characters, events, ideas or objects, ideas often associated with the use of Wagner's main motive. These can be played in a variety of variations depending on the situation they represent, scattered among incidental music. Examples of these techniques are John Williams's scores for the Star Wars saga, and many of the themes associated with Darth Vader, Luke Skywalker, and Princess Leia (see Star Wars music for more details ). The music of the series The Lord of the Rings uses the same technique, with a recurring theme for many characters and the main place. Others are less familiar to ordinary movie goers, but are notorious among scores fans, such as the underlying theme of Jerry Goldsmith for Borg at Star Trek: First Contact, or his Klingon theme from Star Trek: The Motion Picture brought by other composers into their Klingon motif, and he has brought back several times as the theme for Worf, Star Trek: The Next Generation, Klingon's most prominent. Michael Giacchino used the character theme in the soundtrack for the 2009 animated film Up , where he received an Academy Award for Best Score. The orchestral soundtrack for the Lost television series also relies heavily on the specific character and theme of the situation.
In 1983, a nonprofit organization, Association of Music Music Conservation, was formed to preserve "by-products" for creating film scores: musical manuscripts (written music) and other documents and studio recordings produced in the process of compiling and recording scores that, in some cases , has been discarded by the movie studio. The written music must be saved to perform music on the concert program and to create a new recording. Sometimes just after decades of having an archive recording of the movie score has been released on CD.
Source music
Most movies have 40 to 120 minutes of music. However, some movies have little or no music; others may display scores that play almost continuously. Dogme 95 is a genre that only has music from sources in a movie, such as from radio or television. This is called "source music" (or "source cues") because it comes from a screen source that can actually be seen or that can be inferred (in the theory of such music academic film is called "diegetic" music, because it emanates from the "diegesis" or " "). An example of "source music" is the use of Frankie Valli's song "Can not Take My Eyes Off You" at Michael Cimino's The Deer Hunter . The thriller Alfred Hitchcock in 1963 The Birds is an example of a Hollywood movie without any non-divergent music.
Artistic award
The artistic benefits of film music are often debated. Some critics appreciate it, referring to music as written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others. Some people think of film music as a classical music genre at the end of the 20th century, if only because classical music brands hear more often than others. In some cases, film themes have been accepted in the classical music canon. This is mostly the work of composers who have already recorded who have scored, for example Sergei Prokofiev's score for Alexander Nevsky or Vaughan Williams score to Scott of the Antarctic. Others see most of the movie music helpless. They assume that much of the film's music is derivative, borrowing heavily from previous works. Film score composers can usually earn about three or four per year. The most popular works by composers such as John Williams and Danny Elfman are still far from entering the accepted canon. However, since they are often the most modern compositions of classical music known to the general public, large orchestras sometimes perform such music concerts, as the orchestra appears.
History
According to Kurt London, film music "begins not as a result of artistic impulse, but from a dreadful need will drown the sound made by the projector, because at that time there was no sound-absorbing wall between the projection machine and the auditorium." This painful noise interferes with visual enjoyment to a small extent.owners of the cinema instinctively have a way for music, and that's the right way, using a pleasant voice to neutralize an unpleasant one. "
Before the age of sound recording in the film, attempts are made to provide appropriate music for the film, usually through the services of pianists or organs at home, and, in some cases, the entire orchestra, usually given a guide sheet as a guide. A pianist was present to perform at the screening of his first Lumiere sister film in 1895. In 1914, Oz Film Manufacturing Company sent a full length score by Louis F. Gottschalk for their film. Other examples of this include Victor Herbert's score in 1915 to The Fall of the Nation (continued from The Birth of a Nation ) and Camille Saint-SaÃÆ'n's music for < The Duke of Guise assassination in 1908. It was preceded by the score of Nathaniel D. Mann for The Fairylogue and Radio-Plays by four months, but it was a mixture of stage and film performances that intertwined in the tradition of ancient magic lantern shows. Most accompanists today, these examples are detached, composed of pieces by famous composers, also include studies. This is often used to form photoplay music catalogs, which have different subsections that are broken down by 'mood' and genre: dark, sad, tension, action, chase, etc.
German cinema, which was very influential in the silent film era, gave some original values ​​such as the film Fritz Lang Die Nibelungen (1924) and Metropolis (1927) accompanied by orchestra and leitmotific scores the original full scale written by Gottfried Huppertz, who also wrote the piano version of his music, to play in smaller theaters. The film Friedrich W. Murnau Nosferatu (1922 - music by Hans Erdmann) and Faust - Eine deutsche Volkssage (1926 - music by Werner Richard Heymann) also had an original score written for them. Other films such as Murnau Der letzte Mann contain a mixture of original compositions (in this case by Giuseppe Becce) and music library/folk songs, artistically incorporated into scores by composers.
In France before the advent of the talkie, Erik Satie composed what many consider to be the first frame-frame "frame by frame" score for avant-garde director Renà ©  © Clair the short Entr'acte (1924). Anticipating "spotting" techniques and inconsistencies in projection speeds in silent film screenings, Satie takes the right timing for each sequence and creates a flexible score, an arisan of short, evocative motifs that can be repeated and vary in tempo as needed. American composers Virgil Thomson and Aaron Copland exemplified Satie's music for Entracte as a major influence on their impingement into film judgment.
When the sound came to the film, director Fritz Lang almost did not use the music in his movie anymore. Regardless of Peter Lorre's whistling short piece of Edvard Grieg Peer Gynt, the film M-Eine Stadt sucht einen MÃÆ'¶rder lacks a fully-fledged musical companion and Das Testament des Dr. Mabuse only includes one original written for the movie by Hans Erdmann playing at the beginning and end of the movie. One of the rare occasions where music takes place in a movie is a song sung by one of the characters, which Lang uses to emphasize the man's madness, similar to the use of whistles within M .
An important event in music synchronization with action in the film was achieved in a score compiled by Max Steiner for David O. Selznick in 1933 King Kong. A good example of this is when the aboriginal chiefs slowly approach the unwanted visitors to Tengkorak Island filming the holy rituals of the natives. As he stepped closer, each step was sustained by a background chord.
Although "the assessment of narrative features during the 1940s lags behind decades of technical innovation in the field of concert music," the 1950s saw the rise of modernist film scores. Director Elia Kazan opens with the idea of ​​jazz influence and dissonant judgment and works with Alex North, whose score for Street Street Named Desire (1951) combines dissonance with blues and jazz elements. Kazan also approached Leonard Bernstein to print On the Waterfront (1954) and the results were reminiscent of previous works by Aaron Copland and Igor Stravinsky with "jazz-based harmony and extra interesting rhythm." A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with inequality in value for East of Eden (1955) and Rebel Without a Cause (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). The use of non-diegetic jazz is another modernist innovation, such as the Duke Ellington jazz star for Otto Preminger Anatomy of a Murder (1959).
Composer
Academy Award nominees and winners
The following list includes all the composers who have been nominated for an Academy Award by the Academy of Motion and Movement Art in the Best Original Score category (which over the years has passed by various names, including scores and song arrangements, and has been divided into awards for printing goals in drama and comedy). Award Winners appear in bold. Note: The only Oscar nominated composer in the Best Original Songs category is unlisted, and the Best Original Song award is not counted in the number of wins.
Source: Academy Awards Database Official [1]
Nominations and other award winners
The following list includes all the composers who have been nominated for one of the other major music film awards (Golden Globes, BAFTA Awards, Grammy Awards, Emmy Awards, International Film Music Critics Association), but have never been nominated for an Oscar for their value (Nominated track- songs not included in the Oscar nomination list). Award Winners appear in bold.
Sumber: HFPA Award Search [2], BAFTA Awards Database [3], Primetime Emmy Award Database [4], Arsip Grammy Awards [5], IFMCA Awards Archive [6]
Box office champions
The following list includes all the composers who have scored one of the 100 Most Highest Bounce Films of All Time, but have never been nominated for major awards (Oscars, Golden Globes, etc.)
- William Alwyn - Swiss Family Robinson (1960)
- Joseph DeBeasiÃ, - American Sniper (2014)
- David ButtolphÃ, - House of Wax (1953)
- Brad FiedelÃ, - Terminator 2: Judgment Day (1991)
- Alexander JankoÃ, - Wedding My Big Fat Greek (2002)
- Bill Justis - Smokey and Bandit (1977)
- Harald KloserÃ, - The Day After Tomorrow (2004), 2012 (2009)
- Heitor PereiraÃ, - Despicable Me (2010) , The Smurfs (2011) , Despicable Me 2 (2013)
- Trevor RabinÃ, - Armageddon (1998), National Treasure: Book of Secrets (2007)
- Thomas WankerÃ, - 2012 (2009)
- Pharrell WilliamsÃ, - Despicable Me (2010) , Despicable Me 2 (2013)
- Chris WilsonÃ, - My Big Fat Greek Wedding (2002)
Source: Box Office Mojo - All-Time Domestic Box Office Grosses [7], Grosses Domestic Office Boxes All Time Adjusted to Inflation [8], All-Time Worldwide Box Office Grosses [9]
Relationship with the directors
Sometimes, a composer can unite with a director by compiling scores for many movies from the same director. For example, Danny Elfman scores for all the movies directed by Tim Burton, with the exception of Ed Wood (score by Howard Shore) and Sweeney Todd: The Demon Barber of Fleet Street score by Stephen Sondheim). Another example is John Williams with Steven Spielberg, Jerry Goldsmith with Joe Dante and Franklin Schaffner, Ennio Morricone with Sergio Leone, Mauro Bolognini with Giuseppe Tornatore, Alan Silvestri with Robert Zemeckis, Angelo Badalamenti with David Lynch, James Newton Howard with M. Night Shyamalan , ÃÆ' â € ° ric Serra with Luc Besson, Patrick Doyle with Kenneth Branagh, Howard Shore with David Cronenberg, Peter Jackson, and Martin Scorsese, Carter Burwell with Joel & Ethan Coen, Hans Zimmer with Christopher Nolan, Harry Gregson-Williams with Tony Scott, Clint Mansell with Darren Aronofsky, Trent Reznor and Atticus Ross with David Fincher, John Lasseter with Randy Newman, Andrew Stanton with Thomas Newman, Joe Kraemer with Christopher McQuarrie , Michael Giacchino with JJ Abrams and Brad Bird, and James Horner with James Cameron and Ron Howard.
Music production
Many companies such as Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music provide music for movies, TVs and commercial projects for a fee. Sometimes called a music library, this music is owned by a production music library and licensed to customers for use in movies, television, radio and other media. Unlike popular and classical music publishers, which typically have less than 50 percent of copyright in a composition, music production libraries have all their music copyrights, meaning that it can be licensed without seeking compound permission, as required in music licensing from a normal publisher. This is because almost all the music created for the music library is done on a job basis for hire. Therefore, production music is a very easy medium for media producers - they can be assured that they will be able to license every piece of music in the library at a reasonable rate.
Source of the article : Wikipedia
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