Musical accompaniment

Ebook "Film music: A very short introduction" takes readers behind the scenes to understand both the practical aspects of film music--what it is and how it is composed--and the theories that have been developed to explain why film music works. This accessible book not only entertains with the fascinating stories of the composers and performers who have shaped film music across the globe but also gives readers a broad sense of the key questions in film music studies today.

146p hanlinhchi 29-08-2023 7 4   Download

We propose a content based video retrieval system in some main steps resulting in a good performance. From a main video, we process extracting keyframes and principal objects using Segmentation of Aggregating Superpixels (SAS) algorithm. After that, Speeded Up Robust Features (SURF) are selected from those principal objects. Then, the model “Bag-of-words” in accompanied by SVM classification are applied to obtain the retrieval result. Our system is evaluated on over 300 videos in diversity from music, history, movie, sports, and natural scene to TV program show.

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Accompanied by guitar music composed by the Argentine Gustavo Santaolalla – who is known for his film scores for Alejandro González Iñárritu – it sets a quiet pace with a dreamlike quality. This quality is further enhanced by the lack of any sounds from the environments shown in the images. As I have noted elsewhere (Flückiger, 2001: 397) this absence of environmental sounds marks a detachment of the character from the world he or she inhabits, be it euphoric (as is often the case in American montage sequences) or dysphoric (as in nightmares or borderline experiences)....

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However, some focus group participants also found the use of electronic music “distracting.” Several students who disliked the use of DJ Spooky’s music accompanying Caligari noted being distracted by the modern drum loops and electronic sounds, claiming that they didn’t “suit” the film. Another student anonymously described having seen the film before, and feeling “far more removed from the film” because of the electronic music: “the experiment created an unconscious focus on where the film and the contemporary DJ track ‘synched’ up.

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What became most striking about the survey results, however, was the pat- tern that emerged when comparing the preferences of individual respondents for one screening to that same respondent’s preferences in other screenings. In so doing it became evident that those who disliked or were neutral about one choice of electronic music were likely to be enthusiastic about another such choice.

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In the initial demonstration using music by DJ Spooky to accompany Cabinet of Dr. Caligari, 72.2 percent of students felt that the music enhanced their engage- ment with the film. Additionally, 19.4 percent found that the music detracted from their viewing experience and 8.3 percent felt that it neither enhanced nor detracted. Alternatively, these statistics point out that 80.5 percent of students had no objections to the use of a modern score. In contrast, 47.8 percent of stu- dents felt that a symphonic or string instrument score would have enhanced their engagement, but only 9.

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Dominique Russell argues that film music currently exists within a changing “soundscape,” whereby “there has been a change in our sound envi- ronment through the proliferation of ‘private sound bubbles, ’ created through compact music players. Headphone technology creates private soundtracks to common images.... Insulated from room tone and ambient noises, two head- phone wearers become spectators to two very different scenes, depending on what they are listening to.

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In this volume of interviews and collected writings, Joy Harjo acts as a guide, taking us on a journey into her identity as a woman and as an artist, poised between poetry and music, encompassing tribal heritage, productive reassessments, and comparisons with the American cultural patrimony. But even before presenting herself in an exquisitely literary context, she proudly underlines her Indian roots, and this allembracing assertion unceasingly leaves a profoundly coherent mark on form and content.

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Ca Tru music sounds strange to the uninitiated. Clicks and clacks accompany the centuries old ballads. It is not the kind of music that inspires toe tapping or humming.

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