Purpose of the course is a) to obtain a thorough specific knowledge of the history of the movie soundtrack, its aesthetics, its technical development, its theoretical debates; b) to become skilled in autonomous av analysis of soundtracks, using various theoretical models and methods; c) to present proof of these skills in written and verbal assessments; d) to place own research critically into a scholarly discourse.
This course is for students in the MA Applied Musicology, RMA Musicology, MA Arts and Society and MA Contremporary Theatre, Dance and Dramturgy; students from other MA Programmes should check with the course coordinator before enrolling. Only this way participation can be granted. The entrance requirements for Exchange Students will be checked by International Office and the Programme coordinator. You do not have to contact the Programme coordinator by yourself.|
Film music is a specific music genre with a history of well over a century. In this course, new research areas will be exploited via lectures, classroom discussion and individual research. Following Neil Lerner (2013), we can argue that: [d]riving the study of music here are the underlying assumptions that music together with screen media (understood broadly to accommodate rapidly developing new technologies) participate in important ways in the creation of meaning and that including music in an analysis opens up the possibility for interpretations that remain invisible when only using the eye.’ Technology, aesthetics and implications of the use of music in cinematic media will be examined, using several film musical theoretical approaches, whereas ideological, historical, social, and performative factors will be incorporated in the debate as well. In this course we follow the discussions, the topics and the paradigm changes, up and including some of the most actual ones. To name a few of the most important that will be addressed in this course: the current attention to the music documentary, for early jazz film formats, improvisation versus meticulously planned film score, silence versus sound, or music accompanying films made in Holland.
In the first part of this course, we will briefly summarize context and content of the most prominent aspects of the use of music within (most importantly) narrative feature film. The seminars focus on historical contexts of film music, and address key facts and analytical concepts, statistics and terminology that are more or less parallel to the aesthetic and technological development of the feature film. Therefore, the first seminars offer a tour d’horizon on technology, aesthetics and implications of film sound and film music, using several theoretical approaches (Breil, Adorno, Eisler, Copland, Prendergast, Gorbman, Chion, Kassabian, Pisani et alt.), that were introduced in the Bachelor track Music and Media. The second part of the course will zoom in on innovative (and/or minimally researched) topics regarding music on screen. The term paper consists of a detailed case study relevant to one of these new topics within the discipline.
Bronnen van zelfstudie
|Je moet voldoen aan de volgende eisen|
- Minimaal 1 van de onderstaande cursussen moet(en) zijn behaald
- Mastercursussen Geesteswetenschappen (200501100)
|Students with deficiencies are encouraged to study the book that was used in the Bachelor course Film Music: Mervyn Cooke, A History of Film Music (Cambridge etc.: CUP, 2008)||Verplicht materiaal|
|To be announced via course syllabus|
|To be announced mostly available via Blackboard|
AlgemeenThe course is a seminar with lectures, student presentations and classroom debate.
Voorbereiding bijeenkomstenThe students are obliged to read the texts thoroughly and critically, prepare analyses and present their research results for class discussion.
Bijdrage aan groepswerkWhen assignments are tackled in groups, each member will need to have a specific and well-defined role in the academic process.
Beoordeling- Knowledge of the history of the movie sound track, its aesthetics, its technical development, its theoretical debates; skills in autonomous analysis of soundtracks, using various theoretical models
- Positioning own research in larger academic debates
- Written academic presentation skills