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| one of the most influential figures in the history of film music; termed the total artwork as the Gesamtkunstwerk |
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| the central role of the director, the creative force that forges all the artistic elements into one principal goal |
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| the revolutionary concept of the total artwork; termed by Richard Wagner |
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| first created by Richard Wagner; musical themes that represent various characters and aspects of the story |
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| contains: exposition, complications, climax, and resolution/denouement |
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| rather than moving through a series of complications, this type of plot presents a succession of events that do not build directly from one to the other; stories involving travel frequently have this structure |
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| can interrupt the chronological flow of the story, bringing new insights to the current situation |
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| a story that maintains a strict chronological timeline |
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| a plot that incorporates either logical or illogical jumps of time |
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| tend to have a long string of complications that lead to a number of climaxes, while conveying a larger story of a person’s life or a major event |
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| principal character; it is primarily through his or her eyes and experiences that we follow a story |
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| principal adversary; generates a conflict that sets a series of complications in motion |
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| refers to both the location and thetime framein which a story takes place; can have an important influence on a narrative |
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| a movie that is set in a defined historical era; suggests attention to details of costumes, sceney, and manners |
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| a category based on similar stories and other conventions; narrative films can be organized into these |
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| the art of a cinematographer taking moving pictures |
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| the visual element in film; borrowed from the theater; encompasses aspects such as lighting, costumes, and decor, the relationship of these elements to each other, and how they are photographed |
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| the perspective of the camera eye |
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| the view that a narrative film is usually shot through; the camera moves at the will of the director; we are allowed to see the action as an observer, and hence often know more about a situation than do the principal characters |
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| when the cinematographer lets us see through the eyes of one of the characters; Jaws (the underwater perspective of the shark) |
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| the final stage of the creation of a film; the film is given its final shape through the editing process and the addition of sound effects and music |
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| the shots created during production are joined together |
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| an uninterrupted length of film |
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| the precise moment when one shot ends and another begins |
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| the alternation of shots from two or more sequences |
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| refers to a section of film comprising a number of brief shots edited together in order to show a condensed series of events |
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| a succession of pitches that is heard as a unit; usually somewhat memorable; can also use the word “tune” or describe it as being tuneful; |
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| a melody that moves primarily in small intervals; |
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| a melody that contains a significant number of large intervals |
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| ends of phrases; can be incomplete, independent, or questioning; equivalent of punctuation marks |
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| the melodic units that rests create; give the singer a chance to breathe |
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| melodies in vocal style with limited ranges, conjunct motion, and regularly recurring phrases |
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| a small melodic idea that can serve as part of a larger melody or stand on its own |
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| a melody that recurs within a given work, usually with special significance to the drama |
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| the relationship of a melodic line to other musical material in a given passage |
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| type of texture; single dominant melody with accompaniment or music that seemingly has no dominant tune; found a lot in film music |
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| the presentation of a single melodic line without any other musical material; not common in film music; |
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| a type of texture; can also simply be called counterpoint; the presence of two or more equal melodies |
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| a type of counterpoint; when a song is played in a round; most often encountered when a brief musical motive is played alternately by two or more instruments |
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| when the imitative counterpoint suggests a chase |
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| the element of music that is created when two or more pitches are produced at the same time |
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| harmonic term; the sound of three or more pitches at any given moment in a musical work |
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| harsh and disturbing; created when the pitches clash with one another |
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| the distance between two pitches, whether they are played simultaneously or in succession |
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| the element of music dealing with time |
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| diminished fifth or augmented fourth; this interval creates great tension both melodically and harmonically in traditional Western music |
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| two seven-note scales which use a combination of whole and half steps |
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| the speed at which pulses are heard |
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| the pattern when beats often occur in regular patterns or strong and weak pulses |
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| when the melodic material contradicts the given pulse by creating accents on weak beats or between beats |
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| the technical term for the color or tone quality produced by voices, instruments, and various combinations of the two |
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| when composers initially write their music at the piano and then assign the various musical ideas to voices and instruments |
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| someone who specializes in orchestration; can provide valuable assistance to a composer by suggesting possible instrumental combination for a given passage and by completing the time-consuming job of writing out individual orchestral parts according to the direction of the composer |
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| the earliest electronic instruments heard in film music are the theremin and ondes martenot; produce oscillating pitches that create an eerie, unreal sound |
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| effective in suggesting an earlier time period; the most distinctive antique-sounding instrument is the harpsichord |
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| can perform in a style indigenous to their region, but they also may be combined with Western instruments to suggest another culture while maintaining a musical style that is familiar to Western audiences |
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| when the music contains a series of tunes from the film; common in musicals |
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| meant to precede the beginning of the film |
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| immediately precedes the resumption of the film; functions as an overture for the second part |
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| source music (diegetic music) |
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| heard as part of the drama itself; the characters in the film are able to hear it; |
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| underscoring (non-diegetic music) |
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| has no logical source in the drama itself; creates a general mood and guides us emotionally and psychologically through the course of a film |
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| a passage of underscoring from its entrance to its end |
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| when music plays almost continuously in a film |
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| borrows a melody from another source, and the film composer provides it with an original setting suited to the film |
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| when one can observe a clear and consistent relationship between a musical idea and its onscreen counterpart; |
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| helps to create variety and gives support to dramatic situations; a leitmotif can be altered when it recurs during a film |
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| borrows a complete passage from another source, including both melody and accompaniment |
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| in the silent film era, scores that are a pastiche of borrowed music; |
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| in the sound era, film music that is substantially borrowed |
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| a score that’s weird and makes no fucking sense |
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| running counter to the action |
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| when the music depicts a mood that deliberately does not match what is happening on the screen |
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| when the music is too obvious; like accenting every step of someone walking |
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| produced a commercially viable phonograph and met with Muybridge in 1888; introduced the Kinetoscope in 1891; opened the first Kinetoscope parlor in 1894; Unveiled the Kinetophone in 1895; Premiered the Vitascope 1896; Invented the phonograph in 1876 |
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| Exhibited the Zoopraxiscope in Stanford’s home in 1879; met with Edison in 1888; leading photographer of the American West; placed 12 cameras at specified intervals next to a racetrack to show that horses do completely leave the ground while they run |
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| exhibited by Muybridge in Stanford’s home in 1879; a projection device |
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| was the principal moving force behind the development of moving pictures at the Edison lab; created the first studio, a small building called the Black Maria, directed the early films, and even appeared as an actor in several of them |
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| the first studio which was created by Dickson |
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| first introduced by Edison in 1891; |
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| Muybridge introduces the Zoopraxiscope which dealt with series photography (horse photography experiment) |
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| George Eastman creates “roll film” which were sensitized strips of paper; these replaced glass plates |
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| Edison produced the phonograph |
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| Eastman introduce roll film made out of celluloid; transparent; could project light through |
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| kinetoscope with an attached record player; debuted in 1895 and came equipped with both a viewer and earphones |
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| Edison introduced the Kinetoscope |
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| Edison opened the first kinetoscope parlor |
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| Edison introduced the kinetophone which was a kinetoscope with a record player attached and the Lumiere brothers presented their first films with music |
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| When did the Lumiere brothers come up w the cinematographe? |
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| Paris; first motion picture; acc. by live music; great success |
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| What was the first narrative film? |
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| What was the first film with crosscuts? |
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| Great Train Robbery (1903) |
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| academy of motion pictures arts and sciences |
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| founded by Louis B. Mayer in 1927; founded on the concept of film as a total artwork, dependent on a large # of individual artists |
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| Louis and Auguste Lumiére |
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| created the cinematographe in 1894 which was a device that was capable of taking moving pictures, printing film, and projecting images onto a screen |
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| a device which was capable of taking moving pictures, printing film, and projecting images onto a screen; could be taken outdoors because it only weighted 12 lbs. |
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| his works preceeded those of the Lumiere brothers, but they are often overlooked; on Nov. 1, 1895, he projected films before a paying public |
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| Edison’s projector which he invented after he abandoned the idea of the peephole of the kinetoscope |
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| young magician; most famous work was A Trip to the Moon (1902); he was characterized by elaborate sets and costumes, fantastic stories, and lots of beautiful girls |
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| director of The Great Train Robbery in 1903 |
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| small shops that showed films exclusively, usually for the admission price of a nickel; first nickelodeon was established in 1905 in Pittsburgh |
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| when the music was not played in the theater, but rather in front of the shop, where the volume would be boosted in order to attract attention |
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| films that were created to illustrate a popular song that would be played or sung with the film or slide show; it was common for these to alternate with narrative films in a nickelodeon |
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| L’Assassinat du Duc de Guise |
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| Intolerance and The Fall of a Nation |
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| generally regarded as the single most important figure in American film; first great artist in the field; directed The Birth of a Nation |
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| a corporation formed in 1919 by D.W. Griffith, Douglas Fairbanks, Mary Pickford, and Charlie Chaplin; the first film under this umbrella was Broken Blossoms |
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| America’s largest organ maker; began producing instruments designed for movie theaters; started adding different devices so that irregular sounds could be made |
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| one of the main genres of music; an example would be James Bond movies |
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| the first films were just capture of everyday things; example: The Kiss by WKL Dickson and Edison and the Serpentine Dances |
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| in 1928, Mortimer Mouse was in Steamboat Willy; soon became Mickey Mouse; first and only animation until Snow White in 1937 |
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| formed in 1914; charges theaters 10 cents per seat per year for composer royalties |
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| created by the mixture of drama, music, and dance; successful effort of combining divergent arts |
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| someone in a story; protagonists and antagonists |
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| the credits at the end of a film; giving credit to those who took part in the making; |
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| a genre of film; example: Mash |
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| very similar to actualities; short films depicting parts of everyday life |
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| a genre of film; example: King’s Speech |
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| postproduction stuff; decide which shots will be chosen; put in cuts and crosscuts |
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| action/adventure, animation, comedy, drama, horror, musical, romance, mystery, and science fiction |
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| pioneer in compiling music for films |
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| the music director for the Capitol Theater; worked on many of MGM’s greatest silent films; ushered MGM into the sound era almost single-handedly; directed “Don Juan” which was the first film with synchronized sound (1926) |
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| compiled the kinobibliothek in 1919 |
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| created the backstage story, effective humor, and elaborate dance routines for the movie “42nd Street” |
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| America’s first significant film composer; composed the music for “Queen Elizabeth” in 1912 in addition to severl of DW Griffith’s films such as Birth of a Nation and Phantom of the Opera |
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| wrote the first film tune called “Charmaine” in 1926 ;(in movie called What Price Glory) |
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| 1928; first full-length film to use the sound on film method; won an academy award in 1928 also (at the first academy awards) |
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| could record sound on disk and mechanically sync w/ film; disk could only be played 20 times before it had to be replaced with a new disk |
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| first cartoon character (Mortimer Mouse) appeared in this film in 1928 |
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| Sam Fox Moving Picture Music Volumes |
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| appeared between 1913 and 1914; 70 original compositions in 4 volumes |
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| premiered with a score by Breil in 1915; super controversial due to racist nature of the film (KKK) |
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| first narrative film; by George Melies in 1902; had 15 scenes |
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| Lumiere brothers present first films with music |
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| Edison introduces the Vitascope |
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| A Trip to the Moon by George Melies |
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| Edwin Porter’s The Great Train Robbery |
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| Harry Davis opens first nickelodeon in Pittsburgh |
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| There were approx. 3000 nickelodeons in the US |
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| There were approx. 8000 nickelodeons in the US; first original film score commissioned |
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| NYC’s Capitol Theatre (largest in the US) employed 6 organists |
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| The Sam Fox Moving Picture Volumes appear |
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| ASCAP is formed and charges theaters for use of music |
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| The Kinobibliothek (kinothek) is published in Berlin |
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| Motion Picture Moods for Pianists and Organists appears |
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| Don Juan, the first film with synchronized sound, premieres |
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| The Jazz Singer, the first feature-length “talkie” premieres |
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| directed the last great silent films: City Lights (1931) and Modern Times (1935) |
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| founded the academy of motion picture arts and sciences in 1927 |
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| 1927; movie palace; NYC’s largest (6200 seats) |
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| commissioned the first original film score (L’assassinat…) in 1908 |
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| motion picture moods for pianists and organists |
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| several hundred pages of music; by Rapee; 1924 |
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| 1919; published in Berlin; had music that could be used in movies; |
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| 1903; by Eadward Porter; first movie with crosscuts |
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| 1927; recording sounds on records and syncing was used; 25% “talkie”; used the vitaphone system; first time food was used in a movie; |
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| L’Assassinat du Duc de Guise |
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| used the first original film score by Saint Saens which was commissioned in 1908 |
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| was told she would not succeed in music; studied classical music at Oberlin; Orson Wells’ first organist; used to have to play to a film she was seeing for the first time sometimes; |
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| produced by Edison in 1888 |
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| developed by GE for Fox studios; the “sound on film” method |
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| first hit tune from a film; “What Price Glory”; 1926; Rapee; |
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| one of the last great silent films; 1931; by Charlie Chaplin |
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| 1926; the first film with synchronized sound premieres, but still no dialogue; by William Axt |
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| significant film of 1928 (same year as Steamboat Willie); incorporates both underscore and sound music, including an extended live musical number |
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| commissioned the first original film score in 1908 which was used in L’assassinat… |
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| composed music for DW Griffith and was later awarded the first music Oscar for his contributions to One Night of Love (1934) |
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| created some of the synchronized music which was presented in silent scenes |
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| joined the disney studio and created the music for many of the early catoons |
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| child prodigy; scored over 300 films; won 3 academy awards and was nominated for 15 other Oscars; King Kong, Casablanca, among tons of others |
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| directed films in both the silent and sound eras; one of the uncredited directors of The Wizard of Oz (1939) |
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