Music in Film. Module Outline Leeds International Summer School

Transcription

1 Music in Film Module Outline Leeds International Summer School Module Overview This module offers an introduction to the history of film scoring from the silent era through to the present. The function of music in a multimedia context will be discussed and students will be introduced to basic analytical techniques that can be used to interpret the role of music in films. The module will also introduce elements of the processes of film scoring through a case study of the work of composer Trevor Jones in order to demonstrate aspects of theory in practice. 1

2 Learning Outcomes On successful completion of this module, students will be able to: recognise the history of film soundtracks from the silent era through to the present; recognise the contributions of a range of film composers; understand and engage with theoretical debates in the history of film music study at an introductory level; analyse sequences from individual film soundtracks with reference to the ideas and approaches covered in the course. Assessment There are two elements of assessment, a group presentation and an individual presentation. All presentations will be video recorded for moderating purposes. 1. Group Presentation 40% of final grade A group presentation of approximately 15 minutes duration comprising a critical evaluation of a set text, and demonstration of ideas using appropriate audio-visual examples. Groups will be formed and texts distributed in the first session of the module. 2. Individual Oral Presentation 60% of final grade A presentation of approximately 10 minutes duration focusing on an analysis of the use of music in a scene (max. 2 minutes) drawn from a film or TV programme not covered in the course. Students should use some of the techniques covered in the course, and all topics must be agreed by the tutors. Please note that although brief handouts and the use of AV materials (such as audio, video, transparencies) can be helpful, we would encourage you to use these intelligently and selectively. 2

3 Schedule of Lectures Day Date Subject Monday 20 July Course Introduction; Music in Silent Film Tuesday 21 July The Classical Hollywood Score Wednesday 22 July Popular Film Scores Thursday 23 July Trip to the National Media Museum Friday 24 July Electronic Music; Group Presentations Monday 27 July New Hollywood Tuesday 28 July The Functions of Film Music Wednesday 29 July Film Score Processes Thursday 30 July Individual Presentations Pre-Course Reading Rick Altman, The Living Nickelodeon in The Sounds of Early Cinema, edited by Richard Abel and Rick Altman (Bloomington: Indiana University Press, 2001), pp Claudia Gorbman, Classical Hollywood Practice: the model of Max Steiner, in Unheard Melodies (London: BFI Publishing, 1987), pp Kathryn Kalinak, The Hysterical Cult of the Director, in Settling the Score: Music and the Classical Hollywood Film (Madison, Wisconsin: University of Wisconsin Press, 1992), pp Jeff Smith Did they mention the music? Toward a theory of popular film music, in The Sounds of Commerce: Marketing Popular Film Music (New York: Columbia University Press, 1998), pp Hilary Lapedis, Popping the question: the function and effect of popular music in cinema, Popular Music, 18:3, (1999), pp This article can be accessed online via JStor, which can be accessed through the University library catalogue when you search for Popular Music journal 3

4 Reading List Abel, Richard, and Rick Altman (eds.), The Sounds of Early Cinema (Bloomington: Indiana University Press, 2001) Altman, Rick, Sound theory sound practice (London: Routledge, 1992) Bennett, Andy, Barry Shank, and Jason Toynbee (eds.) The popular music studies reader (London: Routledge, 2006) Brown, Royal S., Overtones and undertones: reading film music (Berkeley, Los Angeles and London: University of California Press, 1994) Bruce, Graham, Bernard Herrmann: film music and narrative (Ann Arbor, Michigan: UMI Books on Demand, 1997) Buhler, J., Flinn, C., and Neumeyer, D. (eds), Music and cinema (London and Hanover: Wesleyan University Press, 2000) Chion, Michel, Audio-vision: sound on screen Trans. Claudia Gorbman (New York: Columbia University Press, 1994) Cooke, Mervyn, A history of film music (Cambridge: Cambridge University Press, 2008) Cooke, Mervyn (ed.), The Hollywood film music reader (New York: Oxford University Press, 2010) Cooper, David, Bernard Herrmann's Vertigo: a film score handbook (Westport: Greenwood Press, 2001) Cooper, David, Trevor Jones s Score for In the Name of the Father, in The Ashgate Research Companion to Popular Musicology (Aldershot: Ashgate, 2009), pp Cooper, David, Christopher Fox & Ian Sapiro, CineMusic? Constructing the Film Score (Newcastle upon Tyne: Cambridge Scholars Press, 2008). Davison, Annette, Hollywood theory, non-hollywood practice : cinema soundtracks in the 1980s and 1990s (Aldershot: Ashgate, 2004) Dickinson, K. (ed.), Movie music: the film reader (London and New York: Routledge, 2003) 4

5 Donnelly, K.J. (ed.), Film music: critical approaches (New York: Continuum International Publishing Group Inc., 2001) Donnelly, Kevin, British film music and film musicals (New York: Palgrave, 2007) Flinn, Caryl, Strains of Utopia: gender, nostalgia, and Hollywood film music (Princeton, New Jersey: Princeton University Press, 1992) Gabbard, Krin, Jammin' at the margins: jazz and the American cinema (Chicago and London: University of Chicago Press, 1996) Goldmark, Daniel, Tunes for 'toons: music and the Hollywood cartoon (Berkeley and Los Angeles: University of California Press, 2005) Goldmark, Daniel, Lawrence Kramer, Richard Leppert (eds), Beyond the soundtrack: representing music in cinema (Berkeley: University of California Press, 2007) Gorbman, Claudia, Unheard melodies: narrative film music (Bloomington & Indianapolis, 1987) Kalinak, Kathryn, Settling the score: music and the classical Hollywood film (Madison, Wisconsin: University of Wisconsin Press, 1992) Kalinak, Kathryn, Film music: a very short introduction (Oxford: Oxford University Press, 2010) Lannin, Steve and Matthew Caley (eds), Pop fiction: the song in cinema (Bristol: Intellect, 2005) Lapedis, Hilary, Popping the Question: the function and effect of popular music in cinema, Popular music. Vol. 18/3 (1989), pp Marks, Martin, M., Music and the silent film : contexts and case studies, (New York and Oxford: Oxford University Press, 1997) Mera, Miguel, & David Burnand (eds), European film music (Aldershot: Ashgate, 2006) Murch, W., Sound design: The Dancing Shadow in Projections: a forum for filmmakers (London: Faber and Faber 1985), pp Neale, S. & M. Smith (eds) Contemporary Hollywood cinema (London and New York: Routledge, 1998) Powrie. Phil, & Robynn Stilwell (eds) Changing tunes: the use of pre-existing music in film (Aldershot: Ashgate, 2006) 5

6 Richardson, John, Claudia Gorbman and Carol Vernallis (eds) The Oxford handbook of new audiovisual aesthetics (New York: Oxford University Press, 2013) Romney, Jonathan and Adrian Wootton (eds) Celluloid jukebox: popular music and the movies since the 50s (London: BFI, 1995) Smith, Jeff, The sounds of commerce: marketing popular film music (New York, 1998) Stilwell, R. (1997). I just put a drone under him : Collage and subversion in the score of Die Hard, in Music and Letters. Vol. 78, pp Weis, Elizabeth and John Belton, Film sound : theory and practice (Columbia: Columbia University Press, 1985) Winters, Ben, Erich Wolfgang Korngold's The adventures of Robin Hood: a film score guide (Lanham, Maryland: Scarecrow Press, 2007) Wojcik, Pamela Robertson, and Knight, Arthur (eds.), Soundtrack available: essays on film and popular music (Durham and London, 2001) 6