A new modular approach to the composition of film music.

Abstract

This thesis documents the investigation and development of a new method of composing film music with a flexible structure, which more easily facilitates the mapping and redrafting of music during the film editing process. Frequent editing changes to visual materials are an unavoidable part of filmmaking. Consequently, among the many demands that a film composer faces, the issue of synchronising music to film is frequently a vital one. Since there is no simple correspondence between the temporal structure of music and film, adjustments of music can be difficult. Thus far, a comprehensive method of addressing this problem has not been developed or documented. This project is the first study that specifically addresses the problem of synchronising music with a visual component during film post-production. The approach to this thesis is both practical and empirical. Therefore, the compositions, audio and video files included are an integral part of the investigation, and not merely supporting materials. The method described in this project was created by combining three approaches: a) developing and applying a modular structure for the music; b) using non-linear properties of music; c) applying digital technology where individual modules can be layered, mixed and modified to accommodate changes in duration and structure. The fourth element is a new three-step approach to the composition of music that follows in a general sense the process of film making. Despite the omnipresence of computer technology in film scoring, the compositional approach to film music in many cases is still rooted in functional harmony. As a consequence, traditionally structured linear music does not always allow for non-linear editing, leaving film composers disadvantaged in the use of digital technology in comparison to filmmakers. The proposed new approach to composition of film / media music attempts to provide composers (but also music editors) with means to work with music in a similar fashion to the one applied by filmmakers to film material.