Music for stage and screen
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Musicals
- Musical theatre uses music and song within dramatic storytelling, often alongside acting, spoken dialogue and dance. Some works are sung through or use little dance, so the proportions vary. Solos, ensemble numbers, ballads and faster numbers can develop character, action or viewpoint.
- A reprise returns earlier material, sometimes with changed words or musical treatment that alter its dramatic meaning. An overture provides introductory music in some works; underscore supports a passage. Roles can overlap without being synonyms.
- Credits are collaborative: Richard Rodgers composed music and Oscar Hammerstein II wrote lyrics and books; Andrew Lloyd Webber composed the music of The Phantom of the Opera, whose lyrics are credited to Charles Hart with additional lyrics by Richard Stilgoe. West Side Story has music by Leonard Bernstein and lyrics by Stephen Sondheim.
Song material and dramatic function
Film music
- Music may guide mood, interpretation, pacing, continuity and association, or deliberately contrast with an image. A leitmotif links recurring material to an idea, character, place or object; transformation can develop that association. Mickey-mousing closely coordinates gestures with individual actions rather than merely following broad mood.
- Diegetic music has an actual or implied story-world source, even if it is not visible in the shot. Non-diegetic music is presented outside that world. Some films play with or move between these conventions. Underscore describes a supporting function, not a source definition on its own.
- Identify the specific production and role: Howard Shore composed the score for Peter Jackson’s The Lord of the Rings trilogy. Hans Zimmer composed the original score for the 1994 animated The Lion King, while Elton John and Tim Rice created its principal songs. John Williams composed the original Star Wars main title theme.
Source is different from mood or visibility
Video game music
- Games may have variable durations and branching events rather than one fixed timeline. Loops can sustain material, horizontal resequencing selects a next segment, and vertical layering changes audible compatible parts within a shared passage. A stinger adds a short event-linked accent. These methods can be combined.
- Transitions can use suitable boundaries or bridging material to maintain continuity. Adaptive does not necessarily mean completely generative or a response to every button press. Chiptune describes classic sound-chip sound or aesthetics, including modern emulation; game music also uses orchestral, vocal and many other sounds or compositional forms.
Ways game music can respond
Techniques
- Explain how harmony, register, rhythm, articulation, dynamics, texture and timbre work together in the actual passage. Brass fanfares may support a heroic convention in one context and something different in another. Tremolo or dissonance can support tension without having a fixed universal emotion.
- Withholding music may expose dialogue, an environmental sound or a sense of anticipation; it is not automatically total silence. A musical effect depends on its relation to image, action, expectation and the rest of the soundtrack, not only one label.
Planning
- A spotting discussion establishes cue placement and dramatic function with relevant collaborators. Note entry, development, important synchronisation points and exit, while allowing space for dialogue and sound design. A cue is a defined musical passage rather than necessarily a single short accent.
- The invented cue-planning table gives one possible approach to an imagined scene. It is not analysis of a supplied recording or a prescribed score. Compare plausible alternatives and review timing and effect with the actual scene rather than claiming the example is the only correct soundtrack.
Invented cue plan for an unopened door
A written adaptive example
- In the invented game example, exploration uses a base layer, a threat state adds compatible percussion, and returning to exploration removes it. This illustrates layering. A different design could instead select a separate threat section with a planned transition, illustrating resequencing.
- A discovery stinger can mark an event without replacing every underlying layer. The diagram is a conceptual control flow, not a playable music file or a claim about a particular game. Assess a real score using the actual sounds and implementation.
An invented layered-music decision
Slide
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Soal latihan
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1.What is a musical?
Easy- Aa dramatic work using songs and music to communicate story or character
- Ba symphony
- Ca concerto
- Da folk dance
2.What does film music do?
Easy- Areplaces actors
- Bremoves dialogue
- Cends scenes
- Dsupports mood and action
3.What is a reprise?
Easy- Aa spoken scene
- Ba dance step
- Cthe return of earlier musical material, sometimes changed
- Da first song
4.What is an ensemble number?
Easy- Aa dance only
- Ba song for a group of performers
- Ca solo song
- Da spoken piece
5.What is underscore?
Easy- Abackground music beneath dialogue or action
- Ba loud song
- Ca final chord
- Da solo
6.What is non-diegetic music?
Easy- Amusic from a radio in the scene
- Blive performance in the scene
- Csilence
- Dmusic presented outside the story world
7.What is diegetic music?
Easy- Asilence
- Ba score
- Cmusic with an actual or implied source in the story world
- Dmusic only the audience hears
8.What is mickey-mousing?
Easy- Aa theme tune
- Bmusic that closely follows on-screen action
- Cmusic that avoids action
- Dsilence
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