Popular music in filmWord格式.docx

Popular music in filmWord格式.docx

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soriginalandfilmspecificuniquenessandthefoundscorebeingvaluedforit'

sabilitytoredefineandrecycleit'

sselfwhenusedwell,itoffersa“liveagain”feeling,thatallowsthemusictotranscendit'

soriginalform,andfindnewmeritwithinthecontextoftheimage“.（Rodman,fromthecompiledessaycollectionChangingTunes:

TheUseofPre-existingMusicinFilm（2005:

135）

Thisstudydoesnotrefertoaspecificquestionrequiringafinalanswer,insteadaimstoexplorewhetherornottheideaofrecycledmusictrulycantranscendit'

sselfinskilledhands,andiftheuseofpopularmusicinfilmhasbecomeusedmorewidelyandinamoresophisticatedfashionfollowingit'

semergenceinmanyfilmsofthe1990'

s.Ialsointendonlookingintotheworkproducedwhenartistsmoreestablishedwithintherealmsofpopularmusic,trytheirhandwritingoriginalmusicforfilm,andifthiscombinationoffilmspecific,moretraditionalscoredmusicandthedifferentapproachesthatpopularmusicandthosemoreschooledinit'

sconstructioncanbringtothetablewithregardstoanoriginalscore,istrulythedefinitivewaytocreateaninteresting,excitingandtrulybrilliantpieceofworkthatdoeswhatallgoodscoresshouldachieve,toonotonlyenhancetheimage,buttostandstrongonit'

sownaspieceofworkinit'

sownright.Byexploringtheresearchofotherswithoriginalresearchandthoughtsofmyown,Iintendtocometoapersonalconclusionregardingthematter.

Thisinvestigationisgoingtobebasedaroundtheinitialideathatpopularmusichasavaluableandusefulplacewithinmodernfilmmaking,however,duetoitoftenbeingusedinalazyandnotfullythoughtthroughmanner,ithasbecomesomewhatlookeddownuponwithinthemedium,beingseensimplyasameansforcheaplaughs,apleasantwaytopadoutthebackgroundmusicofasceneandasawaytoaddmoremarketabilitytoafilm.Inlightofthisgenerallyacceptedopinionofpopularmusic'

splaceinfilm,andit'

sviewinginsuchanegativelight,Iwishtolookintohowandwhythisviewexists,despitecountlessexamplesofitbeingusedtogreateffectwithinafilmandhowinrecentyears,thetrendforrecruitingtheskillsofpopularmusicianstoconstructoriginalmaterialspecificallyforfilmisnotonlythenextstepinpopularmusic'

splaceincinema,butit'

screativeapex.

Thisinvestigation,throughthecourseofit'

sthreemainchapters,intendstolookcloselyatpopularmusic'

splacewithinmoderncinema,howithasarrivedthere,whereitcangofromhere,andifitcanbeseenasimportantandusefulasclassicalmeansoffilmscoring.

Iintendonlookingintothefollowingpointsthroughoutthecourseofthisinvestigation:

Chapter1-PopularmusicandModernCinema

Howthegenesisofbothpopularmusicandcinemaareinherentlylinkedtooneanotherandacross-pollinationbetweenthemediumshasalwaysbeeninevitable

Howpopularmusicasscorediffersfromtraditionalscoresinwhatitdoeswithinafilm.

Thepotential（bothpositiveandnegative）thatpre-existingmaterialbringstoafilm,fromit'

sabilitytocommentaddextralevelstoafilmthroughit'

slyricalcontentandit'

salreadyestablishedplaceinthepublicsubconsciousthroughtothehistoricalandsocialabilitiesithasinhelpingdefineerasandpublicattitudeswhennecessary.IshalllookattheuseofTheDoorssong‘TheEnd'

inApocalypseNow 

（FrancisFordCoppola,1984）inordertoexplorethis

Thepowerfulimprintingeffectthatthecorrectpieceofpopularmusicandthecorrectvisualscanhaveononeanother,combininginsuchawaythattheyelevatebothsongandscenetoacompletelynewlevelofmeaning,operatingonmanymorelevelsthantheywouldhavedoneseparately.IShalllookatRoyOrbisons‘InDreams'

withinthemoviesBlueVelvet（DavidLynch1982）

Chapter2-PopularmusicasLeitmotif

Lookintohowpopularmusichasadoptedthetraditionalfilmscoringtechnique,leitmotif.

Explorethemannerinwhichpopularmusic'

susedenotativelyandconnotativelythroughleitmotifdiffersfromtheclassicscore,howitisnotreliedupontheactualrepetitionofspecificthemesthatconnectcharactersandnarrative,butrathertherepetitionofstylesofmusicortheirsocialcontext.

Investigatetwofilmsthatusepopularmusicasleitmotif,ShaunofTheDead（EdgarWright,2004）andPulpFiction（QuentinTarantino,1992）andhowtheiremploymentofthetechniquedifferstooneanother.

Chapter3-ThePopularMusicianasComposer

Investigate,throughexistingexampleswithinmovies,ofpopularmusiciansbeingeitherbeingusedtowritefilmspecificmusicforcinemaoractuallyconstructinganoriginalscoretailormadeforafilm,andiftheseapproachesheralddifferentresultsandopportunitiestoscoresconstructedbymoretraditionalcompositionmethods.

Conclusion

Discussanoverviewofmyinvestigation,cometoapersonalevaluationofwhetherpopularmusic'

splacewithincinemasaudiolandscapeisviableasartisticallyexpressiveandappropriateasamethodofscoring.

Chapter1-PopularMusicandModernCinema

Popularmusic,sincethelate1970'

shascometoholdaparticularlyinterestingandpowerfulpositionamongstthemanyvisualmediaformsthatexist,andthoughalargemajorityoftheseformsthathavemutatedandcrosspollinatedasaresultoftheriseofvarioustechnologiesandtheprominenceofpopularmusicasaformofculturalexpression,aremainlyusedastoolsofmarketing（musicvideos,televisionspotsandadvertisements）,itpossessauniquefunctioningpurposewithinthemediumoffilm,“onlyindramaticfilmandtelevisionarepopularsongsusedinordertohelptellasustainednarrativestory-arolethathastraditionallybeenplayedbycommissionedmusicalscore”（Wright,PopularmusicandFilm,2003:

8）

It'

shardlysurprisingthatpopularmusichascometobeusedassuchwithinfilm,thoughattheirmostfundamentallevelstheyoperateastwoquitdifferentformsofexpression,thetrajectoriesbothhavemovedalongthroughtheearlytwentiethcenturyshowstrikingsimilaritiestooneanother,toquoteIanInglisinhisintroductiontoPopularFilmandMusic（2003）

“Thegenesisofbothcameaboutasadirectresultoflatenineteenthcenturytechnologicaldevelopments,bothpredominantlyrelyonanewtypeofmassaudiencesharingacommoninterest,bothstartedwithhumblebeginningsasnoveltiestoexpandandbecomesomeofthelargestindustriesintheworldwithcolossalannualturnovers,bothhavebeenapproachedandconsumedfromperspectivesthathaveallowedthemtoevolvefromsimpletoolsofpopularandmasscultureintoexamplesofmorehighandeliteculture“.（Inglis,2003:

1）

Itisnolongerrequiredinmodernfilmmakingtocontainascorewrittenspecificallywiththeimagesandnarrativeinmind,amovie'

smusicallandscapeisnowjustaslikelytobeentirelyfilledwithpre-existingsongs（betheypopularormoreesoteric）asitistofeatureamoretraditionalscore,oftenacombinationofthetwowillbeemployedbyadirector.

Inordertogreaterappreciatetherolethatusingpre-existingpopularmusicinafilmcanhaveon,notonlythenarrativeimplications,butthewayanaudiencewillrespondtothemoviegoingexperience,onemustlayouttheinherentdifferencesandopportunitiesthatpopularmusiccanbringwhencomparedtoatraditionalclassicalscore.

Musicwrittenandscoredwithafilminmindisspecificallycateredtotheneedsoftheimagesonscreen,oftenafilmwillbescoredlateinafilm'

sproductionschedule,thereforitisnecessarytobendandfittotheconstraintsoftheimage,thecomposerisalmostaslavetothefilmathand,takingfullresponsibilityforfleshingouteverynuanceandemotionthatascenerequires.Theymustadaptandfitaroundwhatis（normallybythetimeacomposerisbroughtonboard）afairlyconcretestructureofhowthenarrativeeventstakeplace.

Ontheotherhand,whenadirectorchoosestousepre-existingmaterialinafilm,thesceneshaveusuallybeendesignedinsuchawayastobendaroundthesong.Pre-existingmaterialcannotbemanipulatedinthesamemannerofapiecetailoredtofitanarrative,however,throughtheuseofshootingandeditingasequencewithmusicinmind,itallowsacertainunityandrhythmtoemergefromthecombinationofthetwo.

Lookingatwhetherornotoneoftheseapproachestofilmscoringismoreartisticallyviableisamorecomplexquestionthatatfirstitwouldappear.

“Themostfundamentalobservationthatcanbemadeaboutmusicinanyaudio?

Visualmediumisthatitenjoysaratherdirectroutetooursubconscious.Humansarebynaturemorevisuallyorientated,wedigestvisualinformationmoreconsciously-andmorecritically-thanwedoauralinformation”（Wright2003:

10）

Sinceit'

smusic'

suncannyabilitytooverridethelogicalfro