1. Part 6: Music in Broadcasting, Film, and Theater

2. Chapter 21

3. Start Thinking... It has been said that “the musical score is the glue that holds much of a movie together.” In what way is this true? How does music enhance a movie, TV show, or video game?

4. Chapter Goals Become knowledgeable about motion picture music history and changing musical styles. Learn how music for film, TV, and games is created, recorded, and synchronized to events on the screen. Gain awareness of how musicians and technicians are used in the motion picture music field.

5. Background Silent films accompanied by small orchestra or organist First music on a movie sound track the Jazz Singer in 1927 initially music borrowed from other sources then classical composers scored original music Major studios in the Golden Age salaried, full time composers staff orchestra

6. Background Changing Styles After World War II tastes changed musical clichés abandoned experimentation with contemporary American sounds Composers influenced by cartoon techniques

7. Background Changing Styles Value of popular songs discovered in 1949’s The Third Man Composers developed into three groups a. those able to underscore drama on film (1950s) b. the pop songwriters (1950s) c. artists able to underscore film drama appropriately and also invent attractive pop melodies (1960s)

8. Background Changing Styles Jazz found its place in film scoring given impetus by TV shows such as Peter Gunn Instruments some experimentation with synthesizers return to late-19th-century neo-romantic music with full orchestra native instruments for films with strong ethnic element

9. Background The Emergence of Sound Tracks Song scores now prominent in movie sound tracks Songs and sound track albums have potential for tremendous profits for films’ producers and composers

10. Background The Emergence of Sound Tracks

11. The Craft The Process Film shot completely and edited at least once Temp score put together by music editor Sometimes the temp score is preferred 2001: A Space Odyssey The Exorcist

12. The Craft Spotting the Film Composer, producer, director, film editor, music editor watch the film together Director and composer spot the film Composer receives first part of fee Music editor makes spotting notes

13. The Craft Spotting the Film Scene breakdowns SMPTE technology click tracks tempo video tape “striped” with SMPTE code, or DVD is slaved in Quicktime

14. The Craft Composition Once familiar with film, composer composes score Composer receives another payment Tight deadlines expected Composer composes orchestral sketches instrumentation indicated orchestrator renders full score Film scoring done electronically and acoustically

15. The Craft Recording to Film Music is recorded Final installment of fees paid Some composers prefer conducting using streamers and punches Feature films recorded “live” all at once recorded on movie scoring stages Producers and directors may throw out score or demand changes

16. The Craft The Final Mix Dubbing sessions music combined with dialogue and sound effects composer, music cutter, sound effects person, engineers, and film directors attend Rerecording sets relative sound levels

17. Music Scoring for TV Same stylistic approach as for feature films faster pace producer makes music decisions TV dramas use original and library music music use varies from show to show New shows composer composes two to three week’s music to create feel music editors cut required bits for later shows

18. Music Scoring for TV Styles same wide range as feature films music cutter lays in various musical sources as appropriate for new timing and dramatic situations TV series composer may be a one-man band usually has assistants and music engineer Society of Composers and Lyricists

19. Music Scoring for Video Games Process very similar to film and TV Composer’s objective = catch a game’s personality and emotional heart in music Audio content is mostly original to “brand” the game Composers are hired on a freelance basis Popular music is also licensed non-linear synchronization rights Music-based games act as aggregators of music Game music added as a category to industry awards

20. Library Music Library music tracks used for educational films, documentaries, and films for business and industry low cost includes all clearances and licenses Library services classify cues in predictable ways music often prepared by composers with MIDI studios

21. Hiring Practices AFM Contracts AFM does not set scales for composition AFM does set scales for other personnel Musicians working in film additional income once a year AFM Film Musicians Secondary Markets Fund

22. Hiring Practices Package Deals All musicians and support personnel hired on freelance basis Producers negotiate package deals with independent contractors Producers like package deals transfers all financial risk to independent contractor Composers who budget time and expenses come out well AFM has a two-tier scale for motion picture work

23. Hiring Practices Composers Many employment opportunities in scoring Few agents composer should be aggressive to secure employment must achieve several scoring credits to secure an agent Additional opportunities for breaking in: top composers need assistants orchestrators work as ghost-writers be an advanced student of a busy composer

24. Hiring Practices Music Supervisors Responsibilities of a music supervisor find songs and music to support and enhance the film act like an A&R executive could be in charge of everything from the song to hiring the composer

25. Hiring Practices Music Supervisors Potential duties of a music supervisor 1. draw up budget and make deals 2. place existing songs in appropriate spots of the movie 3. oversee a musical movie 4. be in the studio when a performer is recording a song 5. prepare people for the set, including lip-synching 6. assist the director and choreographer in designing shots that will work with the music 7. explain “score design” to investors

26. Hiring Practices Copyists Engaged by the composer or orchestrator Copyists work under intolerable time pressures head copyist may engage a music preparation service Most copyists now use computer music programs such as Finale allows for instant changes of key and time signature Supervising copyist attends film and TV recording sessions

27. Hiring Practices Orchestra Musicians Instrumentalists most often members of AFM non-union musicians increased MIDI studios and computer one-person bands High-paying work for small pool of musicians only auditions rare prove abilities to inside pool of players teachers are often orchestra musicians

28. Hiring Practices Orchestra Musicians String players Brass players Woodwind players Studio percussionists Keyboard players Guitarists

29. Hiring Practices Music Editors Music editing can make or break a film’s score Copies and cuts cues Job of a music editor: ensure music is cued to the right spots in the action understanding of SMPTE code, click tracks, and Pro Tools essential Music editors usually acquire skills on the job

30. Hiring Practices Society of Motion Picture and Television Engineers SMPTE serves as an information exchange Attempts to standardize recording and synchronization techniques

31. For Further Thought... What are some of the subtle differences between scoring for a feature film, a television show, and a video game? How might an aspiring musician gain entry into a studio orchestra?