Functions of Film Music

1. Functions of Film Music • Source Music • Score upon which an entire film is based • Main title and character music • To provide a touch of realism • Underscore • “Mickey-mousing” • Commentary • To involve the viewer on a deeper level • Commercial functions

2. Source Music--diegetic • Music whose source is logically located within the story space. Source music is generally inserted into a scene, making the characters and the scene aware of it. • Example from Sense and Sensibility; score by Patrick Doyle

3. Score As the Basis for a Film • Most complex and rare use of film music in which the narrative is completed through the use of music • Example: • Close Encounters of the Third Kind—John Williams • The five-note motif is an essential narrative feature without which the film cannot stand.

4. Main Title & Character Music • Music during the opening credits that represents the essence of a film and its characters. • Example: • Vertigo—Bernard Herrmann.

5. To Provide a Touch of Realism • Music can be used to identify ethnicity, location, and period • Examples • Braveheart—James Horner • The Age of Innocence—Elmer Bernstein

6. Non-diegetic Underscore • Parallels the action of the film as a frame-by-frame musical match with the visuals; • Gives the viewer only what is already known by the visuals; • Some film scores are entirely underscore, like The Rock.

7. “Mickey-mouse” style • The meticulous, cue-by-cue scoring of a film, ala cartoons • Some feature film scores are approached in this manner as well, such as Jerry Goldsmith’s score to Planet of the Apes. • These scores require quick and fluctuating music gestures.

8. Leitmotif • The association of a character with a specific melody or motif. • Variations of the melody can be used to show different facets of the character’s development • Example: • Star Wars—John Williams

9. The score as commentary • Overture • Acts as both an introduction to and summary of the film • Example: Much Ado About Nothing—Patrick Doyle • To describe a location • Enables a place/location to become subjectivized • Example: Legends of the Fall—James Horner • To show character development • Luke Skywalker’s development

10. To Add Emotional Depth • Music can intensify and relax the pace of a film; • Music can add emotional depth to characters, places, and ideas; • The cultural codes that musics carry can add layers of subtextual meaning

11. Extra-musical Functions • Commercial functions • Concert suites • Soundtracks • Songs that enhance a film’s visibility • “The impact of the success of [Dimitri] Tiomkin’s song to High Noon on a financially strapped film industry was immediate. Producers saw in the success of Do Not Forsake Me, Oh My Darling, a means of making additional money from their films.” (Roy Prendergast)

12. Summary—Film music functions • To intensify or relax pace • To reflect emotion • To create “unspoken” thoughts • To parallel or underscore the action • To create atmosphere of time and place • To create comedy

13. To provide unity or coherence • Source music • To play against the action • To speed up or slow down scenes • To provide a neutral background

14. Operational aspects of the Film Music Industry • Producer • Director • Film editor • Assembly cut • Rough cut • Outs and trims • Fine or locked cut • Answer print

15. The music • Temp track • Spotting the film • People • Composer • Orchestrator • Copyist • Librarian • Contractor • Studio Musicians • Music supervisor • Agents • Publicists

16. Developing the Concept for the score • Consider the film’s historical period • Location and ethnic background of the movie • Major characters of the film • Overall dramatic theme

17. Synchronization methods • Punch and streamer • Newman system • Stopwatch method • Click track method • SMPTE • Wild recording • Tracking