Hollywood film music in the early sound era, 1926-1934

Slowik, Michael

doi:10.17077/etd.ll5c8eo0

Cited by 4 publications

(5 citation statements)

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“…Wspomniany Michael Chion proponuje użycie sformułowań "muzyka ekranu" (screen music) w odniesieniu do tych aspektów warstwy audialnej, które przynależą do filmowej diegezy, oraz "muzyka z fosy" (pit music) -terminu wywodzącego się z opery i charakteryzującego dźwięki pozadiegetyczne [ 24 ]. W pracach filmoznawczych można odnaleźć jeszcze inną terminologię, określającą kolejno dźwięki diegetyczne i niediegetyczne: muzyka źródłowa (source music) i muzyka z tła (background music) [ 25 ]; source music oraz score music[ 26 ], czy też muzyka wewnętrzna i zewnętrzna [ 27 ].…”

Section: Diegetyczne I Niediegetyczne źRódła Dźwiękuunclassified

Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo

Pigulak

2021

10.14746/i

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The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.

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Section: Diegetyczne I Niediegetyczne źRódła Dźwiękuunclassified

Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo

Pigulak

2021

10.14746/i

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“…This was soon to change with the arrival of the talkies in the 1920s. Music was now incorporated into the film production process and composed specifically for the film in question (Slowik 2012).…”

Section: Background Of Music In Documentary Filmsmentioning

confidence: 99%

Music and sound in documentary film communication: an exploration of Une Affaire de Nègres and Chef!

Ngong

2020

cinej

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This paper examines the function of music and sound as important elements of documentary film communication. It considers the soundtrack to have equal value as the visual track. This is even more appalling when sound is viewed as an aesthetic constituent of a film or as acoustic signs with equal communicative value as visual signs. Two films are used to show the role music and sound play in facilitating comprehension in a documentary film. Focusing particularly on testimonies, narrative commentary, filmic silence and music, the study shows how documentary films provide a unique medium to engage an audience in a story of facts and provides a unique vehicle for information transmission. The success of these two films among mainstream audiences indicates the power of a thoughtful and intentional soundtrack which accentuates the subject without dictating it and provides examples of a utilisation of music to build an emotional connection between the audience and the film’s subject matter.

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“…Its purpose was simple: to enhance a film's storytelling, using music's emotional potential to paint character, time and place. While score existed by the 1920s (Slowik, 2012), King Kong (1933) Hood, 1938;The Sea Hawk, 1940), Franz Waxman (Rebecca, 1940;Rear Window, 1954) and Miklós Rózsa (Spellbound, 1945;Ben-Hur, 1959).…”

Section: Sounding I: Nationalism and World War Twomentioning

confidence: 99%

Sound and fury? Film score and the geopolitics of instrumental music

Kirby¹

2019

Political Geography

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2016). Of less concern is music. Where music has been addressed, accounts generally consider lyrical rather than instrumental, treating music as another kind of meaning-rich text (Boulton, 2008;Street, 2013;Liu, An & Zhu, 2015). What is sometimes acknowledged in these analyses, but largely unexplored, is the conceptualisation of instrumental music as a mode of communication in itself -able to convey emotion, feeling, and certain understandings of space and place. In this article, an initial sounding of this area is made, focusing on instrumental, diegetic film score (music without lyrics composed to accompany film, which the audience can hear, but the film's characters cannot). 1 Drawing from wider work in human geography that has considered sound from non-representational perspectives, and film music studies, the discussion here broadens understandings of how geopolitical knowledges are produced and communicated.Film score is paradoxical. At one extreme, it is considered a method of supplementing the slower parts of a movie's narrative: "no one notices it, except that something would be missing if it were not there" (Scheurer, 1998, p. 172). At the other extreme, score is seen as central to filmmakingrequired for a great film to be great, and with the ability to save a film that might otherwise fail (Scheurer, 1998). An award for Best Score has been presented at the Oscars since 1935. More popular amongst many audiences than the classical canon, film score has been integrated into the repertoires of many international orchestras, helping to keep orchestras solvent (Kalinak, 2010). The world's leading film composers -such as John Williams, Hans Zimmer, Danny Elfmancommand salaries of up to $2 million per picture, making them competitive with leading actors and directors. In this article, the focus is on Western film score, but scores for non-Hollywood productions, including Bollywood, are becoming increasingly popular globally. Composers such as the Indian, A. R. Rahman, have blurred these divides, scoring productions around the world.Like language, music is built on units, grammars, forms of expression. For Timothy Scheurer, from the perspective of film music studies, these are "aural building blocks that, due to a host of

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Hollywood film music in the early sound era, 1926-1934

Cited by 4 publications

References 0 publications

Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo

Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo

Music and sound in documentary film communication: an exploration of Une Affaire de Nègres and Chef!

Sound and fury? Film score and the geopolitics of instrumental music

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