Music Design for Film and Digital Media 

Music Design for Film and Digital Media is an eText designed for use in university and college programs that offer an introduction to composition for visuals. It may also be of interest to those individuals who wish to explore the subject matter and improve their own knowledge base and skills. An intermediate understanding of music theory and facility with audio technology is recommend for getting the most out of the text.

 

The title states music design, as opposed to film composition, as a means of addressing the many changes in the styles of music now being created for visual projects.  Over the past several years, and as a consequence of improved technologies, it has become clear that we have moved, in many cases, to a more hybrid style and away from the motive based and orchestral scores.  Clearly, in many ways soundtracks have become a design element much like lighting, set, and film coloration among others.  Music is now colored by inventive sounds typically not heard before.  Sometimes scores will merge the experimental aspects of sound with traditional use of instruments.  Hybrid scores combine different languages, delivery mediums, and orchestrations (both acoustic and electronic).

 

This text brings to light some of these different languages and how and when they could be used for soundtracks.  It presents key concepts and terminologies that contribute to the exploration of the subject.  

 

Chapters include:

• Key terms to build a student’s vocabulary so that they can better communicate with directors, music editors and other involved in production.

• Examples cues, drawn from YouTube, Vimeo and other online sources that demonstrate a specific language or technique, are provided for presentation and discussion.

• Each chapter has a creativity on demand (COD) exercise, no longer than 20 minutes, to challenge students to meet the demand of generating ideas, not necessarily in finished form, on short notice.  They teach that there is no such thing as ‘writers block’.

• In-class exercises.

• Notated music examples to illustrate techniques.

• MIDI tips to get the most out of your sonic realizations raising the impact of music ideas using an electronic medium.

• Example student cues created in response to the material covered in each chapter.

• Chapter end quizzes to evaluate student’s understanding of the terminologies presented.

• Additional reading materials are presented at the end of each chapter that may be used as reading assignments to add other perspectives to the material being discovered.

 

They are identified by the following: 

Example Cue 

Creativity on Demand (COD) 

Exercise

Notated Music

MIDI Tip

Student Cues 

Quiz

 

Furthermore, having used the approaches described in this text for a number of years with excellent outcomes, I would suggest the following for an enhanced student and teaching experience: students choose their own cues to use for the assignments since they are more likely to produce a successful soundtrack if they are interested in the content and style (feature, documentary, experimental or animation) of the cues. I also encourage collaboration between students to encourage team-work and provide additional decision making into the process. 

 

Typically, students complete 5 short cues, using the languages presented, of 2-3 minutes in a four-month term course culminating with a 5-8 minute final project. This approach allows for the student to become familiar with sonic possibilities and the technology they are using. The final project can be a film and language of their choice or a hybrid of the ones covered in class. All cues are presented in class and discussed to encourage engagement and use of the vocabulary developed. The creativity on demand (COD) exercises and quizzes should be conducted on a weekly basis or suitable time since not all classes may not cover the material at the same pace. 

 

The technology required to work through this study is any audio software program that contains virtual instruments coupled with a controller. I recommend an Axiom controller and Logic Pro software.

 

Since students, as recommended, choose their own visual cues to work on, I strongly recommend a discussion about the use of violent, profane, and cues with other types of subject matter that my trigger an unfortunate and preventable response by an unsuspecting student. Students should address the type of cue they are presenting in class so that everyone has the opportunity to choose to leave for that presentation without impact on their grade. I also use a disclaimer on the first day of class to begin the discussion of acceptable content. Many video examples can be found by conducting a net search to find the best wording for your situation. I used one that I had a student create complete with audio and moving graphics:

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In summary, Music Design for Film and Digital Media is a pedagogical instrument that contains teaching and learning ideas and a large collection of examples (both audio and video) to enhance the learning experience. It is a practical guide that travels through numerous techniques that allow the user to fill a sonic design ‘tool box’ from which they can withdraw ideas that may be useful for a specific soundtrack project. I am always pleasantly surprised by the creativity the students demonstrate while working through this eText. It is what brings purpose and joy to my teaching. 

 

I view this eText as a work in progress and therefore, should you have any suggestions, ideas, or recommendations, please do not hesitate to contact the publisher. I look forward to hearing about you and your students’ experience with the material. 

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Dr. Rolf Boon