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Main Points ▶ Music underscoring consists of adding background music that enhances the content of a scene by evoking a particular idea, emotion, point of view, or atmosphere. ▶ A production may have three types of music: production source, source, and underscore. ▶ Production source music emanates from a primary onscreen source. Source music is background music from an on-screen source. Underscore music is original or library music added to enhance a scene’s content.# Music has the same basic structural elements common to all sound, such as pitch, loudness, tempo, tone color, and envelope. It also contains other characteristics that broaden its perceptual and aesthetic meaning, such as melody and tonality; harmony and its qualities of consonance, dissonance, and texture; tempo; dynamic range that is quite wide compared with speech and sounds; and style in limitless variety. ▶ Melody is a succession of pitched musical tones of varied durations. Harmony is a simultaneous sounding of two or more tones, although three or more tones are usually necessary to defi ne a chord. Tempo provides the pulse and the drive in music. The dynamic range of music can be much wider than the dynamic ranges of speech and sounds. Style is a fi xed, identifi able musical quality uniquely expressed, executed, or performed. ▶ Coincident with determining what musical characteristics to use to evoke a particular idea, emotion, point of view, or atmosphere is deciding what musical instrument or combination of instruments is best suited for their expression. ▶ Music underscoring provides such functions as establishing locale, emphasizing action, intensifying action, depicting identity, setting pace, providing counterpoint, creating humor, unifying transition, smoothing action scenes, fi xing time, recalling or foretelling events, and evoking atmosphere, feeling, and mood. ▶ Well-selected music in spot announcements can enhance the effectiveness of the message in a number of ways. There are instances, however, when music in spots can detract from the message. ▶ Among the creative considerations in underscoring are tone, style, role, genre or non-genre, original or compiled, spotting, and placement. ▶ There are myriad approaches to underscoring that call for the collaborative efforts of the director and the composer and their vision of how they want the music to enhance the meaning and the impact of the story. ▶ Music for productions can be obtained in three ways: by having it composed and recorded for a particular piece, by choosing it from a prerecorded music library, or by selecting it from a commercial music recording. ▶ Prerecorded music libraries provide a relatively inexpensive way to use original music to underscore the ideas and the emotions in a script. ▶ When using prerecorded music libraries, beware of the “canned” music sound. ▶ Computer programs are available that allow you to customize music cues and assemble a jingle or sound track in a number of ways, by designating openers, fi nales, accents, and backgrounds to times that can be specifi ed to tenthofa-second accuracy. ▶ Customized musical instrument programs can be used to orchestrate anything from a short music cue to an underscore, using samples of musical instruments. ▶ Most recordings are copyrighted and may not be used unless a fee is paid to the licensor. In the case of music libraries, various types of contracts are available in relation to leasing, buyout, and usage options. ▶ Using music from commercial recordings, such as CDs and DVDs, for underscoring should be carefully considered either because of their expense or affi liated identifi cations, or both. ▶ Sampling has made it possible to take any recorded sound—including copyrighted material—process it, and use it for one’s own purposes. Using any copyrighted material without permission is unethical and illegal. ▶ Be wary of downloading samples, or any audio material for that matter, from the Internet. Acceptable sound quality cannot be assumed. ▶ Like sound libraries, music library servers facilitate cataloging, locating, and auditioning cues.