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Spontaneous Composition for Screen: linear and non-linear improvisation for instruments and electronics

Spontaneous Composition for Screen: linear and non-linear improvisation for instruments and... This research examines non-traditional music performance and composition practices utilising experimental electronic and acoustic performance strategies for scoring films. It looks at innovation within screen sound by examining how technological practices, both innovative and more established, are facilitating and shaping the creative processes of screen composition and sound design. At the forefront of this research is taking into account new forms of electronic and musician interface to the improvisation process when composing in real time, which includes controllers that manipulate sound in real time, musical gesture and notation for live performance, and new compositional structure as pertains to dramatic flow when working to picture. KEYWORDS improvisation film scoring musical performance composition for screen electronic music INTRODUCTION There is a long history of combining musical improvisation with film, however effects of improvisation also need to be looked at from a compositional perspective. Preliminary research suggests that dramatic The New Soundtrack 6.2 (2016): 171­189 DOI: 10.3366/sound.2016.0090 # www.euppublishing.com/loi/sound 1. I believe that film music is not a singular practice, but actually part of several distinct creative skill sets. This is because the creation and placement of music within a film requires different forms of musical understanding, an awareness of film http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Spontaneous Composition for Screen: linear and non-linear improvisation for instruments and electronics

Durant, Yati E.
The New Soundtrack , Volume 6 (2): 171 – Sep 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Yati E. Durant
Subject
Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0090
Publisher site
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Abstract

This research examines non-traditional music performance and composition practices utilising experimental electronic and acoustic performance strategies for scoring films. It looks at innovation within screen sound by examining how technological practices, both innovative and more established, are facilitating and shaping the creative processes of screen composition and sound design. At the forefront of this research is taking into account new forms of electronic and musician interface to the improvisation process when composing in real time, which includes controllers that manipulate sound in real time, musical gesture and notation for live performance, and new compositional structure as pertains to dramatic flow when working to picture. KEYWORDS improvisation film scoring musical performance composition for screen electronic music INTRODUCTION There is a long history of combining musical improvisation with film, however effects of improvisation also need to be looked at from a compositional perspective. Preliminary research suggests that dramatic The New Soundtrack 6.2 (2016): 171­189 DOI: 10.3366/sound.2016.0090 # www.euppublishing.com/loi/sound 1. I believe that film music is not a singular practice, but actually part of several distinct creative skill sets. This is because the creation and placement of music within a film requires different forms of musical understanding, an awareness of film

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2016

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