• 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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.183-192
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• 2019

This study studied five major films from the 1980s to the 2000s when Philip Glass's minimal music was used, and studied the aesthetic and functional meaning of the minimal music. Minimal music has a repetitive rhythm and is understood to be aesthetically monotonous, to avoid a particular purpose, or as an expression of moveless. On the one hand, it can mean infinite persistence by repetitive rhythms, or sometimes repetition with subtle changes. The functions of film music were applied as the function of film music common to many theorists. As a result of the analysis of the music in five films, the aesthetic meaning of Philip Glass's minimal music was most relevant to the characteristics of the film story, and the functional meaning of the film music was determined by the structure, form, and genre of the film. Therefore, the theme of the film and the contents of the story played an important role in the aesthetic interpretation of film music with repetitive rhythm characteristics. And the elements of the plot such as the structure, form, and genre of the film are thought to have had a significant effect on the functional interpretation of the film music. The aesthetic value of the film music is closely related to the story of the film, and the functional meaning of the film music is interpreted as determined by the formal elements of the film.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.99-110
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• 2019

This study reconsidered the characteristics of the narrative through the analysis of the meaning and function of the film music in the feature film "The Truman Show". Especially, this study was focused on the music of Philip Glass among the film music of this film, and it started from the analysis of his musical meaning and function written in the pre-existing film according to the use of the editing music. As the film music needs to be analyzed from the viewpoint of the storytelling of the narrative of the film, the music is analyzed through 12 functions of the background music. Throughout the film, Philip Glass's music has been very important in the scenes of amplification, climax, and resolution of conflict. Especially, in the important context of the character and narrative structure of the film, such as the amplification of the tension and the resolution of the tension in the conflict of Truman, the main character of the film, Philip Glass's music is important through the contrast of the tempo of music and the contrast of emotional character. It can also be understood that this contrasts with the character and storytelling of the film in terms of film musical contrasts.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.76-88
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• 2020

Since the pre-existing music itself used in has no direct relation to the film, it raises the question of whether it was properly utilized as film music. The purpose of this paper is to clarify that 's 20th century modern music effectively fulfills the role of film music through iconicity with images. This study approached the similarity between the character of fear and the form of music through Hanslick's formal aesthetics to discuss the use of 20th century modern music in the horror film. The formal characteristics of music are observed in the movement of notes, which are similar to the fearful state of mind mentioned by Heidegger. In the analysis, the stagnant movement and the continuity of notes, the special playing method of the musical instrument, the unspecified trembling of the clustered notes, the melody of the weak intensity in the high-pitched range, the smash of percussions, and the progression of the notes that deviate from the center confirms the aptitude of 20th century modern music in the horror film. The fact that this study did not simply rely on the emotions represented in the 20th century modern music, but thoroughly caught the movements of the notes, has great significance in the research of film .

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.247-259
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• 2019

This study aims to develop Korean film music by using Korean traditional music with proper technique. As of 2019, current Korean film music is mostly modeled after Western music. The usage of traditional music instruments is significantly lower than the usage of western instruments and is merely used in Korean historical movies as embedded music. This supports the many views that Korean traditional music seems too difficult to appeal to the general audience in these modern times. Furthermore, there aren't any such cases to apply traditional music techniques to western instruments whereas there have been many occasions where traditional music instruments imitate western instruments with its tones. The suspected reason for this is due to the lack of proper understanding and techniques of traditional music that Korean film composers have utilized, and its limited exposure in popular music. However, traditions are special and unique way to represent the history, culture, lifestyle and characteristic of countries. Therefore, it is our duty to protect our own traditions. As both a Korean, and as a musician, new film music is needed which uses traditional music instruments and its techniques. When film composers create music with better understanding of Korean traditional music, this unique music will be able to transcend borders and spread throughout the world.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.319-331
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• 2020

This study investigated the meaning of absolute music of the first movement of Brahms' symphony No. 1, which was used as film music in the films "Tetro" and "Savages" and interpreted the meaning of this music used in these two films. Therefore, the purpose of this study is to explore the characteristics that classical music can be interpreted ambiguously in films. In particular, it was examined whether film music could be interpreted in a new meaning rather than a program music. The first movement of Brahms' symphony No. 1 is in a sonata form and has the characteristics of a chromatic grammar of the romanticism. In "Tetro", the irony about the value connection between this music and the characters of the film, the composition process of this music and the historicity that appeared in the character story of the film presented important. On the other hand, in "Savages", the chromatic grammar of this music expresses the emotional meaning of the characters in the film and the atmosphere of the event. This can be said to be the role of program music. In particular, the scene in which this music is used at the end of "Tetro" shows an ambiguous characteristic that can interpret a piece of music in different meanings depending on which of the two characters appearing in the film interprets the music from the perspective of the character. And the fact that Brahms spent 21 years to complete this music and that Tetro, the main character of the film, spent about 10 years before going through theatrical scenario and submitting it to the festival in the film, coincide with each other in terms of historicality. This gives the meaning of understanding film music from a new point of view, not from the point of view of absolute music or program music. In addition, this musical setting made the music recognized as an essential element of the film and as an irreplaceable auditory theme. When classical music meets other art such as film, this ambiguity Characteristics of music will have a great influence on the new perception of classical music.

• 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 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.

• 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.