Master Program Music for Film & Media - contents

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1 Master Program Music for Film & Media - contents CONTENT COMPOSING I History of Film Music Content is a brief history of the development of film music and the composers who played a significant part in shaping that development. The content covers the scoring of narrative features in modernest innovation, orchestral and non orchestral music and experimental forms. A brief review of film music research is also included as well as the development from music publishers to production music libraries. Psychology and Perception of Music for Film and Media This course will explore music in film, TV and digital media through the lens of cognitive psychology. The focus is on the interpretation of film music relative to a model of musical meaning. The course emphasis is on the application of psychology to the concepts of motion picture scores Aesthetics and Stylistics: Classical Music, Popular Music, New Music The composer for the media must keep a completely open mind aesthetically, and be equipped with the widest range of musical versatility and production skills, The course gives an overview about different aesthetics and stylistics that comprise popular music, (R&B, Soul, Funk, Disco, Techno, House und Hip Hop) as well as symphonic music (Romantic, Neoclassicism, new music and others) and many other genres and subgenres, which are being created almost each day. The topic of genres driven by humanity s need to further classify and place everything is an important part of understanding music for media. Sound Editing: Hollywood, Bollywood, Europe a Comparative Analysis The concept of European film music is usually seen in opposition to Hollywood. But there is definitely no European concept of film music which is usually defined by national cultures. But working in a globalised world and film industry - creates an assembly of people coming together with cultural differences. While some tend to duplicate Hollywood in the period of globalisation, films from/within the other Europe seem to have replaced the symbolic content of European cinema. The seminar will go beyond the borders, across European and non-european communities, universally. It will try to construct a framework by asking how migrant cinema can contingently transcend the cultural and historical borders, which have become problematic. Migration and diaspora, as concepts, embrace the hosting and hosted positions of people, questioning the concept of hospitality in the sense of Derrida. The course will also be in 1

2 reference to Austrian Composers like Max Steiner, Erich Korngold up to contemporary composers working in different parts of the world. Music for Film and Media: Current Trends and Future Prospects The seminar aims to initiate an ongoing work on the future prospects of music for film & media. The widespread adoption of digital technology has profoundly changed film scoring practices around the globe. This subject will explore those changes in media music with attention to current techniques compared to those of past generations. The seminar will explore the decisive changes in personnel, economics, and stylistic values at work in music for film & media today. It will provide historical perspectives and initiate a discussion with questions concerning future landmarks in music for film & media Dramaturgy of Music for Film and Media The aim of the course is profound studies of music dramaturgy as an integral part of the dramaturgy of audio-visual production. The intention is to stimulate perception of musicpictorial connections as the form-creating elements of a film work. The emphasis will be placed on revealing the hierarchical relations and interconnection between the expressive means of music and picture in succession of the audience s perception. Lectures will be accompanied by an analysis of the music dramaturgy of specific films. The course is an introduction to music dramaturgy and the basic expressive means of music and explains source music and dramatic underscore music. Students will study levels of music-pictorial connections: level of actual relations, spectral level, time level, style and genre characteristic. The course will also cover relationships between sound, image and interactivity, dramaturgy of melodies, hi harmonies, rhythms; effective concepts and applications. Composing for Different Film Genres The subject gives an overview about the different applications of music for different categories of film and media. Composing and producing music for linear media (such as film) vis a vis interactive media (such as games). Students will learn the differences between motion pictures, documentary film, films for science, animation, different concepts, including analysis and anatomy of scores will be considered. The course will also review and analyse music for commercial media: TV, radio, internet, industrials, etc. Scores for interactive games new scoring techniques, new workflow, industrial standards following a new technology (platforms, engines, media interfaces). COMPOSING II Scores for Interactive Games: Basics What is interactivity and why should it bother composers? This course includes the presentation of concepts of modular interactive music and generative music. Another aim is to discuss aesthetic problems and the future of interactive music. Interactive music is normally 2

3 viewed from a technical rather than an aesthetic perspective. This means that composers have needed to work in ways constrained by the software that they are using, rather than being able to purely realise musical ideas without being limited by the sounds used by the hardware. Although many of the methods of generating interactive music are still reliant on the purely modular approach; the content of the seminar is the modular approach as well as the generative approach. Included is a brief look at apps and advancements on the horizon for interactive composers, where they may be heading and what would make life easier for linear systems to adapt the notions of interactivity into their make-up. Scores for Interactive Games: Interaction and Social Effects The focus of this session is on social interaction in multi-player games and the impact of games on the society. The gamer subculture is a community that has recently been able to come together like never before thanks to the Internet. Games are one of the most successful stories in our economy and there is still the cliché that gamers are antisocial and sometimes downright sociopathic, but on the other side games have the potential to move into more acceptable art forms, like music and movies. The seminar will discuss the game controversy, between social and psychological facts and potential developments. Music for Business: Branding Strategies Aim of the subject is to develop a prospect on the question how audio content may be used in commercial settings with different applications and how to develop new opportunities for work in the business area. Today sound is part of nearly every design of products and sound is part of the image of companies. There are lots of jobs to be done in the business sector on a level higher than that of cheap jingles without any artistic value. The subject will focus different developments in product design, sound for business communication (websites, presentations) and in creating complete sound identities sound logo, brand song, sound icons, soundscapes, and more. Dramatic Orchestration: Live Digital The seminar will arm you with the necessary skills to write and orchestrate music for film and media and provide the most up-to-date tools as well as orchestral recording fundamentals and techniques (in case of symphonic, chamber, orchestral scoring). Orchestration begins with an analysis and anatomy of scores combined with a discussion whether dramatic orchestration is realized with an orchestra or digitally. The subject asks when orchestral synthetic renditions may do more harm than good. Content will cover the technological considerations required to create modern day orchestral sounds: sample libraries, sequencing techniques, and different types of hardware set-ups, as well as advanced strategies and approaches to writing for full orchestra up to complex textures. (this course is a preparation for the orchestra workshop). The series Composer Workshop for Film and Media will be in a master class format. For all composition students they offer a 3

4 unparalleled opportunity for an exchange of ideas with some of the world's foremost composers and performers of contemporary music. The Composers in Residence will focus on scoring for different media formats and present significant practical experience through varied scoring practices, examples and discussion of the cues of participating composers. The workshops aim to foster the creation, growth and appreciation of music for film & media by providing a forum of compositionrelated topics, presentations, and performances. Composer Workshop 1 / Composer in Residence: Integration of Different Aesthetics into Filmscoring Composer Workshop 2 / Composer in Residence: Filmscoring Composer Workshop 3 / Composer in Residence: Composing for Games Composer Workshop 4 / Composer in Residence: Soundlogos and Soundscapes recordings of live solo performances. The breadth of these two production types ensure substantial technical information but, more importantly, significant practical experience through varied scoring practices. AUDIO PRODUCTION TECHNOLOGY Basics of Film Production and Editing The Aim of this course is a fundamental knowledge of the conditions and structure of film and media production and its basic elements preproduction production postproduction. In addition to the production basics, which include also information about costs and budgets, is information about the complete staff of a film production, the different professions and essential roles. Professional communication in a creative working environment completes the subject. Aim of the following courses is to provide basic and advanced information about working with computers, digital technology, producing audio recordings, and mixing techniques in addition to broad knowledge of music composition. Composer Workshop 5 / Composer in Residence: Composing for Orchestra Methods and Types of Sound Production This course is designed to acquaint the student Orchesterworkshop: Notation and Orchestration with all aspects of analog and digital audio production including advanced audio production The participating composers will focus on techniques. Emphasis will be placed on scoring orchestral cues during the workshop. methods and skills used in the production of The orchestra will record a orchestral cues music for film and media. It will also explain near the end of the session. The workshop cue operation methods, materials and tools and the will also demonstrate the integration of a hybrid different types of production (electronic, midi, mix of sampled orchestra sounds and life, hybrids) 4

5 Analog and Digital Sound Recording The course will introduce the basics of the audio recording chain: Transducers, signal flow, gain structure, sound processing, capturing and delivery. Sound Synthesis and Digital Audio Signal Processing The subject will give an overview about the development of synthetic sounds, the use of MIDI/audio sequencing in scoring to picture, in conjunction with sample playback and synthesis software. Emphasis is also placed on maximizing dramatic expression through use of the available software tools. Music Studios and Basics of Audio Recording Recording methods, working with microphones, multi-track recording, mixers, manipulation of sound, analog and digital editing, use of faders and equalizers, analog and digital sound design, surround technologies, mastering. The course is completed with a brief overview about the profession Tonmeister. Streaming, Audio Compression, Industry Format Standards and Specifications Streaming / Compression Industry standard formats, specifications and requirements. HD audio, digital file compression, average consumer audio media composers, to implement hardware and software, being able to replace the mixing consoles, recorders, synthesizers, samplers and sound effects devices. This course covers advanced sequencing and orchestration techniques in the electronic and hybrid realms of production. Through an in depth introduction into software and hands-on practice of the major software orchestral libraries, the course integrates all the techniques involved in creating electronic and hybrid productions. Participating composers will learn multilayering of acoustic and electronic instruments; translation into the electronic realm of phrasing, articulations, and performance-related markings; controlled detuning; and horizontal/vertical timbre variation. In addition, through a series of original writing assignments for large ensembles and rhythm section, the course will focus on merging the gap between the composition stage and the final electronic production by covering the mixing stage of the hybrid production process focusing in particular on multireverb placement and variable equalization. Hands-on Training: Digital Audio Workstation General aim is to work with a digital audio workstation, to implement hardware and software, being able to replace the mixing consoles, recorders, synthesizers, samplers and sound effects devices. Digital Audio Workstation and Software-tools General aim is to work with a digital audio workstation as the main instrument of film and 5

6 PRODUCTION MANAGEMENT FOR FILM AND MEDIA The following courses provide basic and advanced informations about production management and enable composers to become leaders of successful film and media - music projects. Project Development Participating composers will learn the critical techniques required to plan and organise projects successfully. Basics of Project Management Knowledge This session provides an overview of the film music process and examines the conceptual thinking behind the music. Topics include planning; conceptual discussions; aesthetics; communication with clients, directors, producers, and designers; examining the different types of scores; the collaboration between the composer and the director; and choosing a composer appropriate for a specific project. This session provides an overview of the film music process and examines the conceptual thinking behind the music. Topics include planning; conceptual discussions; aesthetics; communication with clients, directors, producers, and designers; examining the different types of scores; the collaboration between the composer and the director; and choosing a composer appropriate for a specific project. Production Workflow and Management The aim is to understand the impact of the whole production chain on the artistic, technological and organizational development of music production for music for film and digital interactive media. Production chain: Editing, sound design, sound synthesis postproduction: mixing, surround, mastering; editing pictures, synchronisation ( AVID etc.), integration into total soundtrack and sync to picture. This session covers the issues involved in the pre-production process including deciding how musical scenes should be shot for maximum effects, and anticipating technical challenges during production to ensure a smooth post-production process. An image editor discusses the interface between image and sound and covers the particulars of available technologies such as Avid and Final Cut Pro. This session covers the crucial role of the music editor of applying music to picture, as well as the latest computer technology used in music editing, including software for spotting and timing notes, digital audio workstations, and the programming of timing elements crucial to the scoring process. Topics include the process of music editing, cueing systems for composing and scoring, and dubbing sessions. This session covers the workflow of musicrelated components in of post-production including: Spotting music and FX, budgeting, working with Composers and Music Editors, running a Mix, spotting session, the scoring session, music editing, pre-lay, the mix, and music Cue Sheets. Emphasis will be on the spotting session including layback, ADR/looping, group, foley, Dolby Surround and the audio assembly. 6

7 Project Controlling Professional Communication and Teamwork Budgeting and controlling, P&L, reporting. This session includes reviews of the different types of production (higher-budget, lowerbudget) and the cost and elements associated for each music line item. Also covers P&L and reporting, as well as the financials of orchestral music versus computerized; and original music versus using licensed songs. This subject refers closely to leadership and will develop the skills to communicate in complex structures. This session covers the responsibilities of different professions and how they work together including the role of the composer and his crucial role in team collaboration, and communication with the production team. Creative Leadership Pitching and Self Presentation The goal of the leadership-course is to develop skills, knowledge, experiences for composers to develop initiative, innovation and collaboration in the film music business. The subject introduces extra-musical tools and information for composers which are essential for working in social settings. This include the cultivation of self-management skills and an awareness of the current climate for the arts as well as understanding one s own role in music and media business. The key components of this programme are the two special core units, Creative Leadership and Understanding Creative Leadership. Together, these complementary units address the concepts and the practice central to the development of an effective creative leader. These concepts may be categorised as follows: Development of the artist Development of the teacher/facilitator Contextualisation application and practice Critical thinking and personal development The objective is to develop the ability to pitch and present ideas effectively to all types of audiences. This session covers the tools of business and professional practices of film and media composers, including how to self-market using Web 2.0 techniques and technologies; how to secure employment; the most likely career paths; how to break into the business and preparing demo reels; how to find an agent, manager and attorney; negotiating the composer agreement; and work-for-hire issues. Marketing Mix for Film and Media Composers The aim is to understand marketing as a tool to commuicate artistic production and to find its own position in heteronomous marketplace. The course will discuss traditional and new approaches to strategic marketing and, most importantly, how they apply to the specific context of culture and the arts. It should also offer an analytical framework and a series of reflections that will help current practices in film. It will discuss marketing as a useful tool for anyone seeking to understand how marketing works within the cultural context 7

8 and to familiarize themselves with the unique challenges posed by artistic products in the choice of marketing strategies. Networking The course aims to assert and maintain the specificity of the profession, reinforce the dialogue with producers, editors and broadcasters, enrich respective professional cultures, allow for a greater hearing of professional interests by the European authorities and facilitate exchanges and mobility by building contacts, links to professional associations and networks. Legal Basics and Framework The aim is to develop a profound knowledge about the legal basics of the profession including: Copyright / intellectual property / creative commons; media law, labor law, contract- and tradelaw. Students will gain an understanding the contractual and business issues that affect the way in which rights are monetized and money is generated. The course also covers issues such as building contacts, services and contracts; professional associations and networks; film music law; copyright/intellectual property; media law, labor law, contract- and related trade law; music publishing rights and licensing music for film, television and video games; monetizing income in connection with mobile, download and subscription services. 8