• Title, Summary, Keyword: Film Music

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Listeners' Perception of Intended Emotions in Music

  • Chong, Hyun Ju;Jeong, Eunju;Kim, Soo Ji
    • International Journal of Contents
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    • v.9 no.4
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    • pp.78-85
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    • 2013
  • Music functions as a catalyst for various emotional experiences. Among the numerous genres of music, film music has been reported to induce strong emotional responses. However, the effectiveness of film music in evoking different types of emotions and its relationship in terms of which musical elements contribute to listeners' perception of intended emotion have been rarely investigated. The purpose of this study was to examine the congruence between the intended emotion and the perceived emotion of listeners in film music listening and to identify musical characteristics of film music that correspond with specific types of emotion. Additionally, the study aimed to investigate possible relationships between participants' identification responses and personal musical experience. A total of 147 college students listened to twelve 15-second music excerpts and identified the perceived emotion during music listening. The results showed a high degree of congruence between the intended emotion in film music and the participants' perceived emotion. Existence of tonality and modality were found to play an important role in listeners' perception of intended emotion. The findings suggest that identification of perceived emotion in film music excerpts was congruent regardless of individual differences. Specific music components that led to high congruence are further discussed.

Movie 'Cinema Paradiso' theme music function analysis (영화 시네마 천국의 테마음악 기능분석)

  • Lim, Ju-Hee
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.19 no.12
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    • pp.561-568
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    • 2018
  • This thesis focuses on the five functions of film music as proposed by American composer Aaron Copland, and the application of these functions in the modern film Cinema Paradiso featuring music by Italian composer Ennio Morricone. Morricone has shown the application of these techniques in Western films such as the 1960s film A Fistful of Dollars and the top-rated 1980s films The Mission and Cinema Paradiso. Through his work, he maximizes the effects of representation in each scene by using variations of the theme music to effectively apply the functional theory of film music. Cinema Paradiso, especially, pursued the consistency and diversity of film at the same time. And it emphasized the specific atmosphere, intending to provide continuity in the scenes during the progress of the film. This thesis provides an understanding of the variation technique in film music, and the functionality of film music from scene to scene, as used by Morricone, for students majoring in film music.

Timing Synchronization for film scoring (영상음악 제작을 위한 Timing Synchronization)

  • Park, Byung-Kyu
    • Journal of Digital Contents Society
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    • v.12 no.2
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    • pp.177-184
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    • 2011
  • This study deals with Timing Synchronization of motion picture and music in film music's physical point of view. Timing Synchronization appears by using Click Track, which calculates time of picture and location of bar. We also can find Hit, the emphasis point of music, by computation Frame Per Beat and estimate the location of note per time. Hit can be placed at upbeat, but, because of music's characteristic, it is more convenient to composer when it's placed at downbeat. Therefore, this study suggests three methods to sync the music and picture. First of all, sync through time conversion, second of all, sync through tempo conversion, and lastly, there is way to sync through offset. These each methods have their pros and cons, so choice should be made based on the music's natural flow.

The Using of Music for Psychological Expression in the Film 「Punch-Drunk Love」 (영화 「펀치 드렁크 러브(Punch-Drunk Love)」에서 심리표현을 위한 음악의 활용)

  • Ahn, Seongae;Lee, Seungyon-Seny
    • The Journal of the Korea Contents Association
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    • v.18 no.7
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    • pp.120-126
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    • 2018
  • The film is an audiovisual art and conveys stories using various audiovisual techniques. Among the auditory elements, music has a wide variety of expressive techniques, a wide range of applications, and is sometimes used as a proprietary tool to convey stories. This study examines the musical expression technique for expressing the psychology of the character in the film by using the movie "Punch Drunk Love" as a subject of study. We study the use of music used to reveal meaning that does not appear on the screen in the film story flow, which is a tool to create the hidden meaning of the person's inner psychology and situation. This provides an example and perspective of the contrast and symbolic expression of character psychology in film music.

Temporality of Music in Film (영화 <인셉션>에 나타난 음악의 시간성)

  • Park, Byung-Kyu
    • The Journal of the Korea Contents Association
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    • v.20 no.5
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    • pp.251-260
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    • 2020
  • In , music becomes a passage of spaces in dreams and at the same time causes a problem of temporality between spaces with different time speeds. This paper aims to examine the temporality of the music through Bergson's concept of time. The music used in the film, 《Non, je ne regrette rien》, is divided into the original version, the slowed-down version, and the rearranged version with the slowed-down, and this study visually confirmed the characteristics and similarities through practical analysis. From the perspective of Bergson's perception and memory diagram, non-diegetic music of the actual(the rearranged version) in which diegetic music of the virtual(the slowed-down version) inherent, plays the role of film music and music signal simultaneously. Also, the original version and the slowed-down version are the relationship of durational identity with qualitative changes. We looked at the position in the inverted cone diagram and applied their relationship to the diagram. It is a great achievement of this study that we explored the temporality of music in the multi-layered structure of , based on Bergson's philosophy of coexisting with the present and the past.

A Study on the Compositional Manners for Emphasizing the Dramatic Lines in Film (영화의 장면에 악센트를 부여하는 음악 기법 연구)

  • Shin, Hye Seung
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.17 no.11
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    • pp.437-442
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    • 2016
  • The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

Using Film Music for Second Language, Target Culture, and Ethics Education: With Reference to the OST of The Lion King (제 2언어, 문화 및 윤리 교육 자료로서의 영화 음악 활용: 라이온 킹 OST를 중심으로)

  • Kim, Hye-Jeong
    • The Journal of the Korea Contents Association
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    • v.17 no.5
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    • pp.509-519
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    • 2017
  • This study addresses the effective utilization of film music as learning material for language, target culture, and ethics education. Music is intertwined with language and culture, and even with ethics. This study focuses on the potential power of film music in the processes of teaching and learning in a classroom. For this purpose, five songs are selected from the soundtrack of Disney's famous animation The Lion King: "Circle of life", "I just can't wait to be king", "Be prepared", "Hakuna Matata", and "Can you feel the love tonight?", and concrete learning activities are suggested based on these. Using these five songs, gap-filling and singing-recoding tasks are proposed as listening and speaking activities respectively. Film music is also very useful in learning vocabulary, sentence structure, and grammar. Learners participate in a writing activity involving creating their own lyrics for the tunes reflecting their experiences. Next, for culture education, a teacher asks their students to discuss about, and be aware of, food culture using a specific character's song. Finally, for ethics education, a philosophy of life, natural logic, leadership qualities, and the motto Hakuna Matata("no worries") are explored and discussed through an analysis of the lyrics. The open-ended questionnaire survey is conducted. The result shows that music has a positive effect on culture and ethics education. Film music can be effective in learning a second language, target culture, and ethics.

The Functional Role of Theme Music in the Crime Movie 「Double Indemnity」 (범죄영화 「이중배상(Double Indemnity)」속 테마음악의 기능적 역할)

  • Choi, Eumi;Lee, Seungyon-Seny
    • The Journal of the Korea Contents Association
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    • v.15 no.3
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    • pp.48-56
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    • 2015
  • The film music in the 1940s is characteristic of its functional role of afterward crime movie and for expressed theme of scene to causing tension by encompassing the situational description of the scenes as well as psychological struggles of characters within the realm of musical techniques. This study demonstrates the process of change of theme music that expresses time-dependent plot development in Double Indemnity in which Miklos Rozsa participated as a music director and the result verifies the hypothesis that stimulate the senses and induces increased for the absorbed in the scene musical elements can be adopted as a symbolic means to emotions in movies.

Semiotic Analysis of Film Sound in Hitchcock's <The Man Who Knew Too Much(1956)> (히치콕 <The Man Who Knew Too Much(1956)> 영화 사운드의 기호학적 분석)

  • Park, Byung-Kyu
    • The Journal of the Korea Contents Association
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    • v.15 no.4
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    • pp.65-74
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    • 2015
  • This study is dealing with sound of Hitchcock's movie <The Man Who Knew Too Much (1956)> from Peirce's semiotic perspective. This paper examined Peirce's theory prior to semiotic discussion, and analyzed the three elements of sound(speech, noise, music) depending on the type of sign that he presented. Music is possible to express emotions as an index through intervals. The instrument sound under firstness works as the element of narrative and it may be a dynamic object, transferred to the dicisign of secondness. Also, a word in speech is possible to represent an object allusively through an icon in the film. Noise and music as an index are serving to increase the tension of film. Meanwhile, two different genres of music on the juxtaposition are in charge of narrative function as a dicisign. Thus, Hitchcock's sound has various semiotic qualities of signification depending on the context.

Interdependence of Images and Music Combined by Sharing the Identical Properties - Based on the Movie - (동일 속성 결합에 의한 영상과 음악의 상호의존성 -영화 <인터스텔라(Interstellar, 2014)>를 중심으로-)

  • Lee, Do-Kyoung;Kim, Jun
    • The Journal of the Korea Contents Association
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    • v.19 no.10
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    • pp.237-247
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    • 2019
  • This study looks at common features between the two media to explore the deepening relationship within music and images in movies and finds at how they are combined each other and the resulting effects. Beyond the limitations of conventional viewpoints of music as video-dependent media, The is analyzed to focus on the deepening relationship between the two media. In the movie, music and video were combined by sharing the same attributes of 'repeating structure', which increases the transmission power to the film's subject and story, maximizes visual and auditory stimuli, and forms a sense of immersion. That is, video and music combined in equal positions have great influence to each other, thus representing for a positive consideration of the potential for establishing interdependent relationships.