Unit 10:

Unit code: QCF level: Credit value:

Composing for Film and Television

A/601/1544 5 15

︎ Unit aim The aim of this unit is to enable learners to understand and apply techniques to the composition of music for film and television, analysing key works and practical considerations. ︎ Unit abstract Composition for the moving image is a functional application of music composition, and is intended to serve and complement other creative material. It requires a different approach to abstract composition: film composers work within a set of externally imposed parameters to a brief that is usually supplied by a director. As film composition usually involves working with or for several different specialists (directors, editors and music editors), it requires flexibility, and the ability to compromise and adapt to changing requirements. The most important consideration when composing for moving image is to score music that is both appropriate to the film and meets the director’s brief. As such, the composer must avoid flash or ego-driven composition, and score with economy and sensitivity. Whilst traditional film composition often necessitates a big budget for multiple performers and studio time, modern film composers can actualise final productions from a good home studio, using synthesisers or quality sampled software instruments. Quality production methods are now easily available, but this also means there are many enthusiasts willing to score to moving image for the experience, making it difficult to find a way into the industry. Having a showreel that showcases either a specific and individual style or the capability to produce diverse work is essential to anyone wanting to compose for the moving image, and students will be required to produce a portfolio of original music scored to picture. They will also examine key examples, creative approaches, technical considerations, and the underpinning theories involved in composition for the moving image. ︎ Learning outcomes On successful completion of this unit a learner will:

1. 1 Understand definitive examples of music composed for the moving image 2. 2 Be able to apply compositional techniques involved in the composition of music for

film and television 3. 3 Understand practical considerations involved in composing for film and television 4. 4 Be able to use studio technology in the production of music for film and television.

UNIT 10: COMPOSING FOR FILM AND TELEVISION BH029654 – Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Music – Issue 2 – October 2011 © Pearson Education Limited 2011

UNIT 10: COMPOSING FOR FILM AND TELEVISION

Unit content 1. 1 Understand definitive examples of music composed for the moving image

History: landmarks eg film, television scores, the growth of music and the moving image, genre specific landmarks, exemplar material, use of source music, important composers Analysis: musical and technical analysis eg comedies, horror films, westerns, war films, soap opera, television series, documentaries, advertisements, comparison of television and film approaches, landmark scores Aesthetics: the art of composing for film/television eg dramatic and musical relationships, style, ethnic/geographic considerations, audience expectation, pastiche, period, source music versus original music, songs

2. 2 Be able to apply compositional techniques involved in the composition of music for film and television Melody and harmony: techniques eg motifs, multiple motifs, unaccompanied melody, melodic texture, melodic character, familiarity, harmonic language, pedal and ostinato, characterisation, tension and release Rhythm: techniques eg tempo, pulse, metre, percussion, rhythmic themes, rhythmic ostinato, polyrhythm Orchestration: techniques eg colour, colour changes, characterisation, locale, orchestral effects, scoring, instrumental effects, non-traditional instruments, contemporary instruments and rhythm sections, style Drama: techniques eg underscoring, musical language, emotion, tension, emphasis and de- emphasis, silence, point of view, diegesis, conventions

3. 3 Understand practical considerations involved in composing for film and television Practicalities: working with music editors and directors eg budgets, communication, spotting, temp tracks, scoring stages, recording stages, timings, sound effects, dubbing, mixing, concepts, showreels, musical cues, demos, networking, agents Film and television business: roles within the industries eg the director, the producer, editors; budgets, schedules, costing, contracts, copying, the script, cuts and assembly, copyright issues Synchronisation: timing practicalities eg frames and frame-rates, click tracks, timing, cues, hits, hit points, stings, ritardandos and accelerandos, score lengths, tempo changes, timing mathematics

4 Be able to use studio technology in the production of music for film and television Technology: sound technology eg synthesisers, sampling, drum machines, sound libraries, MIDI, sequencers, synchronisation, standards; recording technology eg multi-track recording systems, stereo recording and mastering systems, tape and digital formats, synchronisation to video, digital synchronisation, multi-track and mastering standards, labelling systems, processors and effects units, microphone techniques, mixing consoles Computer technology: advances eg hardware, software, virtual instruments, plug-ins, recording and editing systems, integrating audio and MIDI, compatibility, industry standards Surround sound: advances eg psycho-acoustic sound localisation, Huygens’ principle, wave field synthesis, Ambisonics, Penteo UNIT 10: COMPOSING FOR FILM AND TELEVISION

UNIT 10: COMPOSING FOR FILM AND TELEVISION

Learning outcomes and assessment criteria Learning outcomes On successful completion of this unit a learner will:

Assessment criteria for pass The learner can:

LO1Understand definitive examples of music composed for the moving image

1. 1.1 discuss important developments and key figures in the history of music for film and television

2. 1.2 use analysis to integrate appropriate composition and scoring techniques into a personal creative resource

3. 1.3 analyse the aesthetics of composing for film and television

LO2Be able to apply compositional techniques involved in the composition of music for film and television

1. 2.1 compose music showing the relationship between melody, harmony and the moving image

2. 2.2 apply the effective use of rhythm and hit points in music for film and television

3. 2.3 assess techniques for orchestration appropriate to film scoring

4. 2.4 evaluate the relationship between music and drama in the context of scoring for film and television

LO3 Understand practical considerations involved in composing for film and television

1. 3.1 appreciate the practicalities of functioning as a composer within the film and television business

2. 3.2 analyse the structure and operation of the film and television business

3. 3.3 discuss approaches to synchronisation between music and the moving image

LO4 Be able to use studio technology in the production of music for film and television.

1. 4.1 use appropriate MIDI technology in the creation of music for film and television

2. 4.2 use appropriate recording technology in the creation of music for film and television

4.3 ︎ integrate advances in computer technology into the creative production process

4. 4.4 analyse the application of surround sound mixing

5. 4.5 present a showreel of music composed for the moving image in an appropriate format.

BH029654 – Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Music – Issue 2 – October 2011 © Pearson Education Limited 2011