Sound

Ashley Owens Professor Lleweylln Music Appreciation 13 November 2012 Sergei Prokofiev How does music make us feel? Not what do we feel when we listen to music but more specifically, what is it about Music that triggers our human emotions? What effect did hearing those sad country songs on the radio during my morning drive to school have on the rest of my day? Why does upbeat hip hop music always make me nod my head with the beat? Why does a song like “Go rest high on that mountain” by Vince Gill always make me cry?

Music is a large part of most of our everyday lives. Sergei Prokofiev understood that considering the feelings and emotions of the listener was vital in the production of music, and demonstrates in “Peter and the Wolf” how musical properties can persuade us emotionally. The road to Prokofiev’s growth to being one of the most unique composers of his time started in Sontsovka, Ukraine in the year 1891. His mother was a pianist and his first piano teacher. Prokofiev began writing piano pieces at age five and by age nine had written his first opera.

He studied at the St. Petersburg conservatory starting at ten years of age from 1904 to 1914. Prokofiev performed as a virtuoso starting in 1910 and began making a living in music. At his graduation recital he played his own first concerto. In 1915 during World War I he composed Scythian Suite and his first classical Symphony in 1917 (David Nice). In 1918 Prokofiev moved from Russia to the United States in search for greater artistic perspectives. After mixed experiences he moved to Paris in 1922 and finally returned home to Russia to be with his family in 1936.

One of his first compositions upon returning home was Peter and the Wolf. Written in April of 1936, Peter and the Wolf were written as an introduction for children to the orchestra and were narrated by Prokofiev himself at the children’s theatre in Moscow. The story takes place in a meadow near young Peter’s house. After watching the wolf swallow the duck, the young boy devises a plan with help of the bird, to capture the wolf and take him to the zoo. Each particular character in the story is represented by a musical instrument performed in the piece.

The bird is played by the flute, high in pitch and quick in tempo. The duck is played by an oboe, slow in tempo and giving him a clumsy feel. The clarinet represents the cat, sneaky and methodical. Grandpa is represented by a bassoon deep in pitch giving him comedic properties. The wolf is played by a French horn which gives off a hominess and dark presence. The hunters are played by the Timpani and drums mimicking the sound of their guns as they try to shoot the wolf. Finally Peter is played by a mix of string instruments, Violin, Viola, String Bass, and Cello.

Peter and the wolf show us how musical properties can persuade us emotionally. That we associate certain sounds with being happy or determined like Peter and the string instruments. While other sounds can be associated with sadness or generate fear like the wolf and the French horns. It is both the story, the composition of the music, and its ability to attach to parts of the story, that makes Peter and the Wolf so intriguing and timeless. These qualities also make it fun and enjoyable for multi age groups.

The story itself quickly has us intently supporting our hero Peter as he is visiting animals in the nearby meadow. It builds a rapport with the core characters making us feel involved in the story, making us care for the bird as he narrowly escapes the clutches of the sly cat, and at the same time casting Peter as the hero in this story. It shows us the down fall of the duck, when he is swallowed by the wolf, pulling us in on the real danger there in the meadow. The climax comes when Peter, with help of the bird, capture the wolf and save the meadows animals from harm.

True to his role of the hero Peter then stops the hunters from shooting the wolf and insists that he be taken to the zoo. The story seems to end on a happy note but leaves several questions unanswered and places for the story to continue. Questions like what happened on the way to the zoo, and would the duck ever escape from the belly of the wolf. The story is open-ended and allows us to form our own conclusions. The tune of Peter and the Wolf may be easily recognizable to some, since it is famous for its Disney interpretation and used regularly in classrooms for teaching.

Personally I associate the style of orchestra with older cartoons in which a great deal of them were without much dialog and were backed by classical music, as was Looney Tunes – Pigs in a Polka which contained Brahms Hungarian Dances #5,7,6 and 17. It can be easily argued that Prokofiev is indirectly responsible for all of them, as his Peter and the Wolf were really the first of its kind. Over ten years after its original creation, an animated adaption was created by Walt Disney and released on August 15th 1946 introduced as part of its Make mine Music collection of shorts.

Aside from narration by Sterling Holloway the cartoon is true to the original piece in that the characters are represented in sound by their respective musical instruments. The short animation does a great job of lining up the music with the art really bringing the characters and the music together. However trying to make the cartoon more child friendly the story is slightly altered and added to. During the introduction some of the characters are given names, “Sasha” the bird, “Sonia” the duck, and “Ivan” the cat.

At the end of the Disney version we find that the duck was not really eaten by the wolf but instead had hid in a tree trunk and is happily reunited with Peter and the other pets once the wolf is captured. Since then Peter and the Wolf has been remade several times in various ways most recently in 2008 by Suzie Templeton. Having the music fit into the animations makes it very easy for children of all ages to associate the sounds separately and really enjoy the story. Prokofiev’s music was sophisticated that almost a century later we are still using it to teach our children and entertain us all. Prokofiev was one of the great composers of the 20th century; arguably the greatest. I think the case for Prokofiev’s supreme greatness rests upon the likely premise that no other composer of the 20th century enriched the musical repertoire in as many different forms as did Prokofiev, and did so at such a consistently high level of quality and lyrical beauty” (Turlish). Though he is famous for only very few pieces of his work, the power of those pieces remains nearly unparalleled even to this day. Many artist credit Prokofiev for artistic inspiration in their creations.

Unfortunately Sergei Prokofiev was in many ways a man out of time. He was product of 19th century music that had his own way of writing and composing. For many who lived in the era this made him misunderstood and not taken seriously as a composer. In a recent interview, Barbara Nissman said, “he was such a natural talent, he followed his nose. Nobody ever dictated to him how to write and he wasn’t a member of any school of thought or academic theory. His music went where he thought it was supposed to go. You couldn’t put him in a box. Some people thought he was conservative but others thought he was way too out there.

I think his unique approach to the instrument – his sense of originality – frightened a lot of people, especially the critics who had no idea which box to put him in. ” Music, even if forgotten or put into the back of our subconscious for a long period of time can often trigger a memory or a feeling we had the first time we had heard it. Maybe an important time in our lives that we lived out while the radio was playing, we may or may not have even known it was there. However at any point we may stumble across that song on the radio, waiting in line at the bus station, or shopping at the local grocery store.

For however brief a moment it allows us or forces us depending on how you look at it, to go back in time a memory and recall it with enhanced clarity. Sergei Prokofiev realized these things and implemented this epiphany into his music, which to me seems more than obvious in the classic piece Peter and the Wolf. For years to come both children and adults may associate the hominess sound of the French horn with the frightening wolf, they may hear a flute and be over taken by their first memory of watching the classical Disney short, where they were, or who they were with.

Through concentrated listening we can learn to separate musical properties of any piece. However attaching those pieces to a character or a feeling is something that Sergei did way before his time. Prokofiev has touched so many lives, and through his music changed the landscape of how we all perceive it. Works Cited Turlish, Bruce. Kith. Org. Web. 18 Oct. 2012. Nice, David. Prokofiev: From Russia to the West, 1891-1935. Columbus. MT. Yale University Press Publication. 18 Oct. 2012. Print Nissman, Barbara. Adventures. In. Music. Biz. Web. 18 Oct. 2012

I was staring at empty space. I tried to look for the fixed contours on the paper and the silhouette of the pen I was holding. I tried but to no avail. My mind was swimming in an endless array of uneasiness. I was not certain whether I was dreaming or already awake. This was hard, I told myself. I felt a drop of sweat trickling down my cheek. Thomas Edison once said that genius is one percent inspiration and ninety-nine percent perspiration. If he was right then I was on the right track. But doubt was slowly lurking and creeping around me. Was it really this hard to be inspired to write? I just comforted myself by constantly saying what Jean Anouilh once said, that inspiration was a farce that poets had invented to give themselves importance.

When I was starting to become a writer, I was not even aware that I was trying to be one. Grade school for me was seventy percent playing and thirty percent dreaming. And my dreams during that time were all about winning an Academy Award or being named as one of the sexiest people in the world. Becoming the next president was also in my mind. But the thought of being a writer was like imagining myself eating salad with an alien in a crater of a moon in one of the planets in the Andromeda galaxy; it never crossed my mind.

In a nutshell, when I tried to analyze how I was as a writer in grade school, all I could say was that I was a courageously idiotic writer. An idiot, but brave nonetheless. This was largely due to the fact that everything I had written at that time was not even close to being brilliant or great. All the words I wrote were simply inspired by having the guts to just do it. If there was a paper too difficult to do and a word too hard to define, all I did was to write and write because I believed that everything would be just fine.

I was stupid enough to go forth while all hell broke loose and still smiled at the end of the day. I was guided by my own foolish belief I was brave simply because I would not back away. This was writing for me in grade school. Writing for me back then was not about being witty or being brilliant. Writing was all about just stroking my pen without regret and without regard for the outcome. However, in a sense, everyone who attempted to write had some ounce of courage. I felt that I was a better writer than the other students not because I wrote well but rather, I wrote braver. And I was braver longer than most. As Ronald Reagan once mentioned, heroes were not braver than anyone else. They were just braver five minutes longer.

As I made the transition from grade school to high school, I started to become idealistic. I began having these grand notions of changing the world and eradicating poverty. I was dreaming of winning the Nobel Peace Prize or be named the next Time Magazine’s Person of the Year. This time, I was absolutely clear in becoming a writer. Writing for me during high school was all about greatness. I felt the need to write to impress. I wanted to be witty and brilliant. I wanted everybody to be mesmerized in reading every single word I wrote. When I tried to look back during those days, even when I wrote poorly, I blindly presented my written work of art full of hubris and unafraid. I often compared writing to boxing.

As Muhammad Ali would say, to be a great champion, a person had to believe that he was the best. If he was not, he should pretend that he was. This was me in high school. I was the writer who was so full of himself. If a teacher or a classmate did not like what I wrote, I simply told myself that these people did not understand the high level of writing I was doing. I understood myself to be a brilliant and confident writer. In reality, compared to who I was as a writer in grade school, only one thing had changed. If I was a brave and idiotic back then, I was not confident but just cocky in high school. And to my realization, I was still stupid for thinking of how great I was.

When I stepped into college, a renewed vigour was awakened within me. Maybe I got too tired of being cocky and stupid that I started seeing a new side of me I never saw I had. This time I believed I had transcended from being the good and the better man to the being best man. I was no longer the idiot and stupid writer. I was filled with excitement. I was now the fool. Somehow, the words and lines I were using suddenly all sounded a bit poetic and romantic. I often pondered if I was to be the next William Shakespeare.

This time, I was inspired by the others that had gone before me. I wanted to sway the hearts and minds of people with my writing. I wanted to invoke their deepest darkest secrets through my words. I wanted to encapsulate each soul with a stroke of my pen. I longed to see their tears and hear their laughs by my artistry in poetry. I would be that whom which T. S. Eliot described as the genuine poet who could communicate his words before it was understood. And to my shock, I did see their tears and heard their laughs because of what I had written. I saw my professors crying in pain because they could not even bear one more word of my work. I heard laughs not because I was funny, but because my work was hilarious. Despite this, I still continued and persevered. As one of , Richard Bach, would say, a professional writer was an amateur who did not quit.

Everything was a bit different after that. Somehow, until to this very day, I would still be idiotic, stupid and foolish. But this time around, I was a at the least. I had been quoting Edison, Anouilh, Ali, Reagan and Eliot just to name a few thinking that by using their words, I would be a good writer; I would sound better. But I soon realized that writing was about finding my voice.

I needed to find my own words. Writing was about knowing and understanding who I was. Thus, I resolved to search for the right words, the right imagery, the right tone and the right sound. However, I always asked myself if there were indeed such things. Then, it hit me. I was so concerned with the way I was writing that I forgot to find my purpose for it. Why did I want to become a writer? The answer was simple. It was because in writing, I offered who I was and not what I had. That sounded right, I told myself. It sounded just about right.

Stockhausen became increasingly fascinated during the late ’50s with the spatial projection of music in the performance space. It can be said that Stockhausen’s Gesang der Jünglinge marked the beginning of the end of classic musique concrete. For Kontakte in 1958, using four-track tape, he devised a clever way make the sound of his tape music spin around the audience at various speeds. He did this in the studio using a rotating platform with a loudspeaker mounted on top. He could manually rotate the speaker up to four times a second.

Stockhausen also used a specialized tape recorder called the Springer. Originally developed to lengthen or shorten radio broadcasts, it used a rotating matrix of four to six playback heads that spun in the opposite direction as the tape transport. As the tape passed the rotating playback array, one of the playback heads was in contact with it at all times. The output was equal to the sum of the rotating heads.

It was characteristic of him that he could not be satisfied with Boulez’s and Berio’s derivation of music from verbal sounds and structure: there must be some general principle, which a single work would be enough to demonstrate completely – some system which a work could bring into being. Such a system he found in the organization of degrees of comprehensibility, across a range from the plainness of speech to the total incomprehensibility of wordless music.

This would require electronic means. He needed “to arrange everything separate into as smooth a continuum as possible, and then to extricate the diversities from this continuum and compose with them”, and he found the way to do that through attending, between 1954 and 1956, classes in phonetics and information theory given at Bonn University by Werner Meyer-Eppler. Since, as he there discovered, vowel sounds are distinguished, whoever is speaking, by characteristic formants (emphasized bands of frequencies), it seemed it ought to be possible to create synthetic vowels out of electronic sounds, so that synthesized music could begin to function as language. Working from the other end, the whole repertory of tape transformations was available to alter spoken or sung material and so move it towards pure, meaningless sound.

Around the time that Stockhausen was formulating these criteria for electronic music, the nature of his work began to change dramatically. After completing the two electronic Studien, he returned to instrumental writing for about a year, completing several atonal works for piano and woodwinds, as well as the ambitious orchestral work Gruppen.

Gruppen, written for three complete orchestral groups, each with its own conductor, marked Stockhausen’s first major experiment with the spatial deployment of sound. He positioned the separate orchestras at three posts around the audience so that their sounds were physically segregated in the listening space. The groups called to each other with their instruments, echoed back and forth, sometimes played in unity, and sometimes took turns playing alone so as to move the sound around the audience.

Gruppen and his other instrumental experiments of that time were Stockhausen’s bridge to his next electronic work. By the time he embarked on the creation of Gesang der Jünglinge (Song of the Youths, 1955-56), his views on the control of dynamic elements of electronic music had broadened considerably.

In this creation the synthesized electronic sounds are composed according to principles analogous to those operating in vocal sounds, and the recorded voice, that of a boy treble, is carried into the electronic stream by studio alteration and editing: superimpositions creating virtual choruses, reverberations to suggest great distance, scramblings of words and parts of words, changes of speed and direction.

Nothing on either side, therefore, is quite foreign to the other, and Stockhausen invites his audience to attend to degrees of comprehensibility by using a text with which he could expect them (the work was intended for projection in Cologne Cathedral) to be familiar: the German translation of the prayer sung in the Apocrypha by three young Jews in Nebuchadnezzar’s furnace (hence the title, Song of the Youths). Stockhausen’s electronic composition Gesang der Jünglinge thus attempts to integrate its biblical

German text with all the other materials in the composition (Morgan 442). Even so, the choice of this particular prayer cannot have been uninfluenced by what Stockhausen could have envisioned would be the imagery of the piece, with the boy’s singing surrounded by flames of electronic articulation.

Gesang der Jünglinge is perhaps the most significant work of electronic music of the ‘50s because it broke from the aesthetic dogma that had preoccupied the heads of the Paris and Cologne studios. It was a work of artistic détente, a conscious break from the purely electronically generated music of WDR, in which Stockhausen dared to include acoustic sounds, as had composers of musique concrète in France.

Yet the piece is entirely unlike anything that preceded it. Stockhausens’ Gesang der Jünglinge draws on unorthodox audio materials (Bazzana 74).  Stockhausen’s objective was to fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically. He wanted to bring these two different sources of sound together into a single, fluid musical element, interlaced and dissolved into one another rather than contrasted, as had been the tendency of most musique concrete.  Stockhausen created some stir with works of very new spirit and imaginative form (Collaer 395).

Stockhausen practiced his newly formed principles of electronic music composition, setting forth a plan that required the modification of the “speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre” in an exact and precise manner. There was nothing accidental about this combination of voices and electronic sounds. At thirteen minutes and fourteen seconds, Gesang der Jünglinge was longer than any previous worked realized at the Cologne studio.

It was a “composed” work, using a visual score showing the placement of sounds and their dynamic elements over the course of the work. The result was an astonishingly beautiful and haunting work of sweeping, moving tones and voices. The text, taken from the Book of Daniel, was sung by a boys’ choir as single syllables and whole words. The words were sometimes revealed as comprehensible sounds, and at other times merely as “pure sound values”. Gesang der Jünglinge deals with a much greater variety of sonic material than did the earlier studies (Morgan 466).

Stockhausen’s assimilation of a boy’s singing voice into the work was the result of painstaking preparation on his part. He wanted the sung parts to closely match the electronically produced tones of the piece. His composition notes from the time explain how he made this happen: Fifty-two pieces of paper with graphically notated melodies which were sung by the boy, Josef Protschka, during the recording of the individual layers.

Stockhausen also produced these melodies as sine tones on tape loops for the circa 3-hour recording sessions. The boy listened to these melodies over earphones and then tried to sing them. Stockhausen chose the best result from each series of attempts for the subsequent synchronization of the layers.

Gesang der Jünglinge is historically important for several reasons. It represented the beginning of the end of the first period of tape composition, which had been sharply divided aesthetically between the Paris and Cologne schools of thought. The maturity of Stockhausen’s approach to composing the work, blending acoustic and electronic sounds as equivocal raw materials, signified a maturing of the medium.

The work successfully cast off the cloak of novelty and audio experiments that had preoccupied so many tape compositions until that time. Stockhausen’s concept of “composing the sound”—splitting it, making the changing parameters of sound part of the theme of the work—was first exercised in Gesang der Jünglinge. Rhythmic structures were only nominally present, no formal repetition of motifs existed in the work, and its theme was the continuous evolution of sound shapes and dynamics rather than a pattern of developing tones.

Gesang der Jünglinge was composed on five tracks. During its performance, five loudspeakers were placed so that they surrounded the audience. The listener was in the eye of the sonic storm, with music emanating from every side, moving clockwise and counterclockwise, moving and not moving in space.

Gesang der Jünglinge was originally prepared for five tape channels, later reduced to four, and its ebullience is greatly enhanced by antiphonal effects. Stockhausen himself was to apply in many later works the discoveries he had made here in the treatment of language and of space, of which the latter was already claiming his attention in Gruppen for three orchestras. But perhaps the deepest lesson of Gesang der Jünglinge was that music of all kinds, whether naturally or electronically produced, is made of sounds rather than notes, and that the first task of the composer is to listen. “More than ever before”, Stockhausen wrote, “we have to listen, every day of our lives. We draw conclusions by making tests on ourselves. Whether they are valid for others only our music can show.” (Stockhausen 45-51).

Stockhausen’s Gesang der Jünglinge provided a major turning-point in the artistic development of the studio, for against all the teachings of the establishment the piece was structured around recordings of a boy’s voice, treated and integrated with electronic sounds. In Stockhausen Gesang der Jünglinge electronic sounds take on a disturbing “otherness” when set in relief by the humanity of a boy’s voice, racked at times out of intelligibility, but never out of recognition, by the dissection of its speech elements.

Effects such as the distant murmur of multitudinous identical voices have a dramatic impact far more direct than Stockhausen’s comments on the work would suggest; his concern is to incorporate vocal sounds as natural stages (complemented electronically) in the continuum that links tone to noise, vowel to consonant. His vivid imagination for broad effects is further revealed in the spatial direction and movement of the sound by distribution.

Stockhausen was the most representative composers of a period which is still in its analytic phase (Collaer 48). Gesang der Jünglinge has subsequently become a crucial aspect of electronic composition and has helped to combat the faintly ridiculous sensation with which an audience concentrates on sounds emanating from a single “pseudo-instrument”. Stockhausen’s fanatical devotion to this art is sustained by a vision of public music rooms (spherical ideally) giving continuous performances of spatial music. However reminiscent this may seem of some deplorable cinematic techniques, complex stereophony is an altogether natural development of machine music and may help it to achieve a persuasive idiom owing nothing to instrumental practice.

Works Cited

Bazzana, Kevin. Glenn Gould: The Performer in the Work: A Study in Performance Practice. Oxford University Press, 1997.

Collaer, Paul and Abeles, Sally. A History of Modern Music. World Publishing, 1961.

Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York. Publication, 1991.

Stockhausen “Actualia”, Die Reihe, 1 (1955, English edn. 1958), 45-51, (see also his ‘ Music and Speech ‘).

Electronic Music may include tape music (existing only on tape, and played through loudspeakers), live electronic music (created on synthesizers or other electronic equipment in real time), musique concrete (created from recorded and subsequently modified sounds), or music which combines live performers and taped electronic sound. Although these types of music refer primarily to the nature of the technology and techniques involved, divisions are increasingly blurred. Other terminology, such as computer music, electro-acoustic music, acousmatic music, and radiophonic music, has also come into use, more often to indicate aesthetic rather than technological preferences.

In the early 1900s the Italian Futurists, led by composer Luigi Russolo, envisaged a music created with noise and electronic “music boxes”, and the first commercially available electronic music instruments appeared at this time. However, although visionary composers like Scriabin and Henry Cowell had dreamt of music created by purely electronic means, electronic music first became realistically possible when recording technology developed during World War II.

Several studios came into being in the 1940s and 1950s, and were associated with key figures and specific artistic aims. In France, sound engineer and composer Pierre Schaeffer formed the French Radio studio (RTF) in Paris, built around several tape recorders, microphones, and tape editing equipment. The principal techniques for creating music were the cutting, splicing, looping, or reversal of lengths of recorded tape. These tape manipulation techniques resulted in a kind of sound montage, painstakingly created from recordings of sounds from the “real world”.

Schaeffer referred to the results as musique concrete, a term still in wide use today, especially in France. His first experiment in this new genre used recordings of the sounds of trains, and all his works of this time were brief sound studies with evocative titles, such as Symphonie pour un homme seul, composed in collaboration with his younger colleague, Pierre Henry. Schaeffer’s practical experiments in electronic music composition were supported by his influential theoretical writings on the subject, and the studio of Henry and Schaeffer attracted several emerging composers, among them the composer Pierre Boulez.

In the late 1940s in Germany, Werner Meyer-Eppler, a physicist and Director of the Institute of Phonetics at Bonn University, first demonstrated a Vocoder, an analytical device which included a synthetic human voice. His theoretical work influenced the composers associated with the West German Radio studio in Cologne (founded 1953), who were concerned with the electronic synthesis of sounds, through the use of tone generators and other sound-modifying devices. The first director of the Cologne Studio, Herbert Eimert, was highly influential in his method of using total serialism as a basis of constructing electronic works. In this method all aspects of music, including pitch, rhythm, and relative volume were controlled by numerically defined principles. Electronic sounds and devices provided a suitable precision and control for the realization of this concept. By a process known as additive synthesis (see section on sound synthesis, below) composers such as Maderna and Stockhausen laboriously constructed short electronic pieces, derived entirely from electronic sounds.

In the later 1950s many electronic music studios were established in Europe, the most significant being the RAI studio in Milan, founded by Berio and Maderna, the Institute of Sonology in Utrecht, and the EMS studio in Stockholm. The division between musique concrete and pure electronic music was a largely European phenomenon. Although various studios arose at the same time in the United States, aesthetic distinctions were less important. In the 1950s in New York, composers Otto Luening and Vladimir Ussachevsky produced tape music from very basic studio equipment.

Their music transformed the recorded sounds of instruments and voices through tape manipulation techniques and simple reverberation units. In the late 1950s they became associated with the Columbia-Princeton Electronic Music Center, at which composer Milton Babbitt used a huge RCA computer, filling an entire room, to create music composed on similar serial principles to Eimert and Stockhausen in Cologne. His work Philomel (1964) was one of the first to be written for live performer and tape. The development of computing technology in the 1950s and 1960s led to the establishment of a number of studios specifically concerned with computer music at American universities and, to a lesser extent, in Europe.

During the 1960s and 1970s the Americans Paul Lansky and Barry Vercoe, among others, developed music software packages (computer programs specifically designed for the manipulation and creation of sound) which were freely available to interested composers. This tradition of software development at American universities has done much to aid the growth of computer music worldwide. The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, in California, and the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris, founded by Pierre Boulez in 1977, both made significant use of computers and remain influential centres of electronic music composition today.

The rapid development of computing technology, in the last 15 years or so, has brought about a revolution in computer music and electronic music in general. Computers are now more affordable, and computer programs which originally took hours to run can now be completed in a matter of seconds, or even in real time. Today, many universities have a computer music studio and several countries have national studios, devoted to the composition of electronic music. In addition, composers are increasingly working independently, in personal studios.

1.From the offset Ministry of sound has had to deal with numerous environmental factors that has fashioned the club in the early stages and in the later years. Weather it has hindered its development or accelerated it is up for analysis. During the early stages logistically they had to deal with the issue of the clubs location being in a high crime rate borough of Southwark situated in Elephant & Castle. Also with “Acid House” derived music, the nightclub inherited the underground rave culture that is synonymous with the designer drugs of the 90’s such as ecstasy. The national drug offences crime rate is at 4.5 were as Southwark council is 18.6 far exceeding national average, this is shown in appendix 1.

These factors could have been detrimental to the development of the club and portray the label in a negative public image. In addition with the security team fuelling the drug trade within the club could be seen as one of the principle threats. But with the overhaul of the security team and the zero tolerance on drugs, they managed to change the clubbing ethos to a cleaner and safer environment. During the later stages one of the weakness could be the commercialisation of the brand, loosing the “edgy” and “underground” crowd that established the club. However this also means commercial success with ministry of sounds DJ Eric Prydz “call on me” reaching number 1 for 16 weeks in 2004.

2.The capabilities of ministry of sound has vastly increased over its life p with itself becoming a brand, gaining brand recognition. Which could be now recognised as a worldwide music lifestyle. With its product portfolio ranging from; record labels, branded apparel/electronics, worldwide tours, radio and fitness DVD’s. it has outgrown its venue in south London from just a nightclub to a movement, being able to influence popular music trends and unearthing new styles and genre of music. Ministry of sound has now achieved a significant presence within the industry, which allows the company to expand and diversify its product portfolio successfully within the mainstream markets.

3.To identify the main stakeholders we have to differentiate the qualities and recognise the levels of significance they hold to the organisation. We can do this by analysing stakeholders by categorising them, such as internal and external stakeholders and by using the power interest matrix as shown in appendix 2.

There are 4 categories within the power interest matrix that we can apply to Ministry of sound. The fist being A “minimal effort” which is low power and low interest, they do not have any authority they can exert onto the organisation. Then there is B “keep informed” these stakeholders have high interest and limited ability to influence directly, for example those who visit the nightclubs and events and retail customers. However they do expect a high quality service or product, whilst expecting a euphoric experience.

Category C “keep satisfied” are stakeholders that have low level interest but can exert change relatively easily, such as government bodies or local authorities. Their expectations seem to be generic to all other organisations, follow laws and regulations and act coherently within society. Lastly being arguably the most important stakeholders are D “key players” these are employees and investors like venture capitalists 3i, who are key players in ministry of sound organisation. Expecting good return on investment and dividends, whilst expanding creating growth and longevity for the company.

4.Strategic choices at this point are vital to the prosperity and future of Ministry of Sound. They are required in this case to develop their strategies to improve the performance of the organisation in accordance to their external factors.

Taken from Johnson, Scholes and whitington “Exploring corporate strategy” states there is a strategic model were a business route will be taken in relation to three requirements. Suitability, does it make economical sense? Also would it be suitable in context of environment and capabilities. So if Ministry decided to open a new super-club in Dubai, would it make economical sense? Dubai may have high levels of disposable income within its population, but the market may not be as strong or cultural differences may occur. Another is a financially superior competitor may invest more entering the market. Feasibility, are the resources available to execute the strategy? Includes cash flow analysis break-even analysis and forecasting. Acceptability, this is in relation to the risk involved in the project and the returns gained. Also to do with stakeholders, it requires the company to review the reactions and the possibilities of the venture.

5.Another factor they should include is when entering new markets and countries, they should employ mid level native managers. This is to extract local knowledge of laws and cultural differences, in order to maximise company competency within the new country. So when considering reorganisation and the three divisions, each need to be catered in forms of correct management style and strategy implementation. I agree with the reorganisation of the company as it separates departmental aims and outcomes.

This intern specialises each department, however the company should employ previously successful and experienced department managers. This would ensure the running of the departments to be more efficient and productive. In conclusion the reorganisation is key to the development of company, and now relies on the implementation of the key strategies. With the rearrangement of the company, different aspects can get specialisation and close focus rather then being neglected that could be detrimental to the organisation. This is imperative for long term orientation of the product portfolio and expansion prospects.

Bibliography

http://news.bbc.co.uk/1/hi/england/london/8468372.stm

As we know, the movie sound design is divided into two chief classs. The first is sound effects design, largely non-musicals. The 2nd is movie tonss composing, in other words, the background music that is written specifically along with a movie, largely musicals.

Film mark ought to incorporate cue paths. Each path is an single piece, which will typically be a composing from instruments. Nowadays, a turning figure of movie tonss include a mixture of orchestral and electronic instruments.

The impression of a point of hearing can hold two significances:

• A spacial sense: from where do I hear, from what point in the infinite represented on the screen or on the soundtrack?
• A subjective sense: which character, at a given minute of the narrative, is hearing what I hear? ( Chion, 1994 )

Sound is indexical in our natural manner of listening. Sound conveys clip information more accurately than visuals. When sound occurs, an event of stuff interaction is taking topographic point. Sound fertilises and enhances the ocular landscape, makes us able to do an lineation of information about the beginning every bit good as the cause. In short words, sound reflects the physical world of the scene, immerses the hearer into the universe, which makes the environment comes alive.

What is of import to the audience is to cognize what produces the sound and where it comes from.

Diegetic sound is sound whose evident beginning is in the space-time continuum of the scene onscreen. Diegetic sound is sound that the movie leads us to believe the characters can hear. ( Chion, 2009 )

For bespeaking the materiality of the sound beginning more accurately, the dimensions and distances more exactly, sound effects design has more to be considered.

While some sound effects are recorded while they are produced, most of them are added or created afterwards. Production sociables usually ask that all action cease for a few minutes on each location so that they may enter the uninterrupted background ambient sound in that infinite, such as H2O lapping on shore. Editors will subsequently hold to reinsert atmosphere under duologue and effects created during postproduction for continuity with production sound. Sounds from disparate beginnings must be adjusted with tools like equalizers and filters to fit and flux seamlessly. Choices of features imparted to the sound in echo, tempo, timber, volume, and commixture of sounds with each other may non merely make up one’s mind our sense of the physical world of the infinite, but besides suggest a figure of feelings, such as solitariness, joys, paranoia and so on.

Echo is an indispensable tool for puting a sound in a infinite to bespeak how far we are from a sound ‘s beginning.

You can clear up an component of the secret plan with sound, or you can do things more equivocal, which is frequently what you want to make.

In such close-ups of sound we must be careful, nevertheless, to bear in head the specific nature of sound which ne’er permits sound to be isolated from its acoustic environment as a close-up shooting can be isolated from its milieus.

Music played in a eating house can non be wholly cut out if a particular close-up of say two people quietly speaking together in a corner is to be shown. The set may non ever be seen in the image, but it will ever be heard. The close-A­up will incorporate the whole acoustic ambiance of the eating house infinite. Thus we will hear non merely the people speaking, we will besides hear in what relation their speaking is to the sounds all round them. We will be able to put it in its acoustic environment. ( Weis, 1985 )

Sound can rise pragmatism or it can decrease it. Sound can pull attending to a item or draw attending off from it. ( Sider, 2003 )

The mike is non as selective. The sound interior decorators have to extinguish that unintended blare from planetary for audience.

The camera shoots straight at a clicking clock, we may hear the ticking. But a few seconds after the character looks off, the ticking will be bit by bit dropped out.

“ Origin ” is a movie that tells a narrative about origin of thought in dream. The film itself is a head changing insight and an intelligent experience. It implants much secret plan hint utilizing a really good sound design. In fact, it is besides a successful aural origin. This is a traveling through of all the interesting proficient points in this movie.

The thing that differs “ Inception ” from the other movie is the coincident hierarchy architecture. It is common in this movie that multilayers of sound happen at the same clip in the film. And in different degrees of dream, the audience acquire different gait of sound.

You can state person what portion of the universe they are in, depending on what sorts of sound you play.

The basic timeline and secret plan are based on dream within a dream. Even if the characters are in dreams, we expect them to follow the Torahs of natural philosophies.

The really usage of sound in this movie is that the sound is used for linking the different beds of dreaming.

The vocal used for the “ musical countdown ” to do the dreaming characters cognizant of the at hand boot is “ Non, Je ne Regrette Rien ” by Edith Piaf. There are 3 versions of “ Non, Je ne Regrette Rien ” , which are the original, the slowed version and the super-slowed version.

When clip is switching between the dreams, the original “ Non, Je ne Regrette Rien ” is decelerating down and being cross-faded with Zimmer ‘s mark.

When the musical countdown is heard down a degree from its beginning, it ‘s slowed down by 300 % , and when it passes down another degree, it slows by 300 % once more.

By decelerating down “ Non, Je ne Regrette Rien ” by 300 % , the sound becomes really similar to the slow horns in “ Half Remembered Dream ” at the beginning of the movie.

When Cobb and Ariadne descend into oblivion, without any earphones on to re-adjust the pacing of the music, that same mark is heard slowed down by 300 % . As Cobb and Ariadne wash up on the shores of Cobb ‘s subconscious, the loudest and most extended horn subdivision of the full soundtrack takes topographic point in the terminal of the mark “ 528491 ” .

The audience is non the lone portion involved hearing the slowed mark, but so are the characters in the movie.

Many different movies have made usage of first individual positions. It is merely like sing life from theA firstA personA point of position ofA Malkovich in the film “ Being John MalkovichA ( 1999 ) ” . The first-person aural position has an huge impact on sing movie. The first individual positions will certainly do the audience feel in the characters ‘ manner. The audience hears what precisely the characters hear.

Since the characters can hear the music with us, the mark itself is a intimation at what bed of a dream we are sing. Knowing this, it becomes possible to separate between dream and world by simply hearing the music. The fact that score ne’er dips into the slow monotone in the world degree is a reasonably good cogent evidence that the top degree in the film is so world.

The better-defined movie sound became in the high frequence scope, the more it induced a rapid perceptual experience of what was onscreen. This movie has a really good dynamic frequence scope. As for low frequence, there is the shaking of the edifice and the boom sound. As for high frequence, there is H2O lapping and the gun shooting recording.

Cryptic electronic sound at the beginning implies that it is traveling to be a really unusual movie.

The H2O imbrication and moving ridges sound on shore goes from right to go forth harmonizing to the H2O fluxing on screen. It can be a unrecorded record, but more likely is reinserted when station production.

“ We Built Our Own World ” begins when Cobb is lying on the shore. It provides a strong sense of devastation when Cobb is looking at his kids, which means he is non in the world.

The sound of whirling top is much louder than it should be because the film maker wants us to concentrate on the whirling top but non anything else. Then the whirling sound bit by bit fades out after exchanging positions.

Recording the background voices in a eating house where Cobb was holding a repast with Saito was a cagey manner of presenting the thought that they were in a really large edifice. We can hear low-frequency noise which sounds like the land that is agitating at the same clip. And so it gets louder and louder. All the above information that sound conveys is a hint that they are really in dreams and lay the basis for the edifice prostration shortly after that. Subsequently the audience can hear the agitating sound of the tabular arraies and the spectacless really clearly. Then the clicking sound of the clock goes faster and faster, which means we are going from dream to world. Without sound, the audience do non even cognize what is traveling on. Sound necessarily carries much utile information in this fall ining scene so.

The audience can hear background riot voices when there is merely inside-house shootings taking on, which means these background voices come from the public violence people outside. Then we hear a fake detonation sound which makes us experience we are in the scene.

When Cobb is speaking with Mal, we can hear ambience sound of H2O lapping sound once more while we can non see the shore, which means the shore is right beside the edifice.

“ One Simple Idea ” takes topographic point when Cobb is seeking to steal an thought from Saito in dream. That is evidently a on the job subject that calms the audience down and tells the audience that Cobb is in the procedure of making something of import.

Sound interior decorator should enter the edifice fall ining sound or imitate it in post-production in order to immense the audience into a environment ambiance of danger. The background music “ Dream Is Collapsing ” is a brilliant piece that we can experience the dream is in the procedure of fall ining.

In the gun changeable scene, we can non see the slug or the fire visible radiation but we can hear really loud gunfire so that we know they are firing at each other.

When Cobb is falling into H2O, it seems that we can hear what Cobb is hearing. Because Cobb is woolgathering, so really he is in two beds of universe. In the upper bed dream, we here the H2O bubble sound when Cobb is submerging into H2O and H2O is running into his ears, therefore doing a echo. But in the dream within a dream, the H2O is oppressing into the edifice from everyplace, and so we should hear a sound like monolithic H2O bead on the land, which is really similar to waterfall sound. When the scene goes back to submerging Cobb, we hear a pulsation with its frequence acquiring faster and faster, which means he is traversing one dream bed up.

We can hear the sound of a traveling train when we see the characters are kiping and woolgathering together, which means in world they are really woolgathering in a moving train. The sound interior decorator absolutely builds up three beds of universe utilizing sound as a hint to the audience, but it is difficult for the audience to detect these small hints. Anyhow the sound hint will go clear when the audience watch the movie a 2nd clip. When the dreaming character listens to the music on earphone, the audiences hear “ Non, Je ne Regrette Rien ” as if they are the dreaming character. Again there are two beds of sound at the same clip. In the dream bed, the character can merely hear a extremely filtered version of “ Non, Je ne Regrette Rien ” in a low voice as if person is whispering beside the ears.

Sound images are frequently used in the movie for the intent of making an ambiance. Merely as the movie can demo ocular landscapes, so it can demo acoustic landscapes. ( Weis, 1985 ) Sound can depict an acoustic infinite. ( Sider, 2003 )

Sometimes sound is simple plenty to state the audience what is go oning, we do non necessitate an excess ocular image demoing the item. When Cobb drags Saito to the land, there is no image demoing Cobb has loaded the gun, but the audience hear a slug loaded sound, which means Cobb is endangering Saito and likely he is traveling to kill Saito if Saito does non state the secret of his company. That same thing happens once more in the scene when Cobb is about to kill himself in dream.

When Cobb is playing the whirling top, we hear the familiar “ Old Souls ” once more. Every clip when Cobb is non certain if he is in dream, the subject “ Old Souls ” will look. It feels like a iteration paradox. We can ne’er do it right ; we can ne’er travel out of the paradox. That is what Zimmer tries to convey to the audience through “ Old Souls ” .

When Cobb is holding conversation through telephone, we hear Cobb is talking usually, but evidently echo is added to the voices come from the other terminal and these voices are so clear as if we are hearing it from Cobb ‘s first individual position. The sound interior decorator has to do it clear so as the audience will non lose any information or emotion that Cobb receives from the telephone. When they mention Mal in the telephone, the background music all of a sudden changes into a soft and sad piece. That means Mal ‘s dead is truly a incubus for Cobb. He can non halt his eternal grieve about Mal.

The mike is placed in two topographic points to enter the address in a large concert room between Cobb and his designer instructor. At first it is a close-up record. When the scene changes into a broad shooting, the audience can hear a distant record version with more reverberations which makes the atmosphere sounds more realistic than earlier. And that genuinely helps force the audience into the universe. During the conversation, the background music “ Old Souls ” comes up once more because they are speaking about the thought of planing dream.

“ One Simple Idea ” is a good pick of background music when Cobb is learning Ariadne how to plan a dream universe like labyrinth. That music merely draws the audience ‘s attending to hard staff they are traveling through but non itself. That is to state, when background music goes off or goes down without any back uping emotion, it leaves the infinite for the audience to remain in the ocular and the profound thought of course.

To do the narrative more logical and each secret plan scene connected better, a good, logical and complicated sound design is required. Even if it is in dreams, the atmosphere sound goes like it is in world. When Cobb is speaking with Ariadne, the voices of the other people around are still available. In order to surprise the audience with a ulterior detonation scene, the interior decorator would instead allow the audience believe this is a world scene at first. So everything sounds every bit normal as day-to-day life at the beginning. In fact few people can detect that the “ Non, Je ne Regrette Rien ” is “ melting in ” in the detonation scene when the dream is fall ining, which means the earphone on Ariadne ‘s ear is playing to wake her up.

A land traveling sound is simulated in the scene that Ariadne is turn uping the land upside down in her dream. Everybody knows there is no manner to enter this sound in existent life, we have to enter the other sound, such as stone traveling on the land, to replace the imagined sound in the scene to do it sounds like what it should be.

“ Extremist Impression ” is on the manner when Ariadne makes everything working extremist and incredible in her experimental dream. The two bit by bit exchanging chords make us experience the manner like “ How could it be like that? ” “ What an astonishing thing! ”

If the scene has a large alteration, it is a good pattern to infix a background music which is in wholly different manner from the music in the scene before. Actually the “ Mombasa ” subject has already begun long before the chasing takes topographic point, but once more it is a bit by bit attenuation in, which means something excited should be merely around the corner.

We can hear sound similar to chopper and besides the sound of air current when Mal is sitting on the window. The minute when she jumps out, the background music all of a sudden changes into a sad melody. That seems to state it is non in dream but in world. So it deserves to be a calamity decidedly. And this subject lasts until Cobb ‘s narrative is over.

When they are taking action to commandeer the boy of the company ‘s caput, the music becomes really intense from that clip. When Arthur is holding gun fire, we hear the sound from his angel but non enemies ‘ angel because we merely necessitate a first individual record. The sound the enemies are hearing is non that of import to the secret plan.

We can detect that whenever the address between the characters is over, the background music will shortly acquire louder. The sound interior decorator does non desire the background music cover our semantic hearing.

It is ever a serious concern to enter the sound when several drive autos are firing at each other, because there is frequently fast exchanging shooting. In the movie, the auto braking sound, the gun fire sound, the braking glass sound because of the gun shooting and the H2O lapping sound, every sound mix with each other at precisely the same clip. So post production edit for the recorded sound is evidently needed at this specific minute. Some portion of the sound is reinforced while some is reduced or diminished. It is the manner to choose utile sound information for the audience.

When we see a close-up shooting of a glass of H2O is agitating, we get a glass agitating sound. After the shooting switches to people ‘s face, we still acquire that glass agitating sound. This clip we know what it is the glass that is bring forthing the sound. And besides we can judge the shaking strength merely by the geting the volume of the glass agitating sound. When the glass hits the tabular array and interruptions, we hear a sound which is similar to metal tintinnabulation and the ringing supports enduring for a long clip. And that is the clip when Cobb ‘s attending is extracted by his subconscious. That pealing is a hint that he may lose himself in believing about Mal and his kids. He merely can non run off from the thought.

The sound interior decorator has to believe of a best manner to present the sound in a practical environment. When the scene is exchanging between two degrees of dream, particularly at the concurrence point, sound effects do non necessary have to finish a sudden alteration. Sometimes for the consideration for continuity the sound from the upper degree will go through on to the following degree. The air current blowing sound and H2O lapping sound from the upper degree go the boom sound causation by the unusual conditions in the following degree. This is a really good illustration of planing sound harmonizing to the demand of secret plan and environment. I have to state that this is truly a really smart sound design.

A close-up shooting on Robert Fischer ‘s face with a boom sound above makes the whole scenery more nervous. Robert Fischer decidedly feels dying about being in dream with a unusual go oning boom sound above. The really clear fast take a breathing sound of Robert Fischer besides reveals his anxiousness. We can hear about all the item from Robert Fischer ‘s oral cavity so clear that it sounds like the mike is merely around the oral cavity of Robert Fischer. Thus it has to be a later recorded version of syncing facial look with a close-up recorded sound.

The mussy footfalls sound is a good manner to demo a helter-skelter scene, therefore reflects people ‘s tenseness. When Robert Fischer is get awaying with Cobb from the work forces who were sent to kidnap Robert Fischer, the sound of footfall is acquiring louder and quicker.

At the best portion of the movie when five degrees of dream are interacting and the shootings maintain exchanging between these five degrees every few seconds, there is no address, merely the sound effects with brilliant background music which sounds like orchestra March. That peculiar background piece makes up the best portion of the movie, stating the audience this should be a dramatic minute that they would ne’er see in any other movie. In a word this piece stirs the emotion to the flood tide of the whole movie.

When the characters on the 3rd and 4th degree of the dream put on earphone on the 2nd degree, they hear a deformed version of “ Non, Je ne Regrette Rien ” . All the perceptual experience on the upper degree has a contemplation effects on the deeper degree. In here, the music contemplation consequence is distortion music sound.

The music at the shore of Cobb ‘s subconscious is a dizzy piece. It makes us do n’t cognize where we are. In fact it is the 5th degree of dream. It is besides desolation piece that few people can come in this degree of dream so far. It becomes a strong boot with a long horn when the music “ Non, Je ne Regrette Rien ” is on. This clip it is non a deformed version, it is a new recorded slow version of “ Non, Je ne Regrette Rien ” .

Let us take a expression at the movie score portion of sound design. What can movie mark does to the movie? The obvious first thing to state: It makes you experience a certain manner. It adds emotion, it evokes feelings, and it creates a temper.

They can set up the gait of a scene. Directors are invariably inquiring composers to compose a piece of music which will do the scene seem to travel faster, or slower, than it goes. ( Sider, 2003 )

A good movie mark will force the audience into the film ‘s secret plan. It should make the perfect interaction point between audio and visuals. Normally the composer is shown an unpolished “ unsmooth cut ” of the movie, and negotiations to the manager about what music manners should be followed. Once a composer has the movie, they will so work on composing the mark. Some composers prefer to work with traditional paper tonss, but if it comes to hit like “ Inception ” that contains uneven ambient and electronic noises, it has to be written in a computer-based environment. In some cases, movie composers may be asked by the manager to copy a specific manner.

As seen in many movie DVDs, the orchestra performs in forepart of a big screen picturing the film, helping the music director to synchronise the music with the movie.

Movies frequently have different subjects for of import characters, events, thoughts or objects. So we divide the whole soundtrack into pieces of tonss.

By convention, the movie soundtrack is constructed so as non to pull the audience ‘s attending to itself but to attach to the movie unless it is portion of the secret plan.

The manager, composer, and music editor will hold a staining session, running through and holding on where and what sort of music is needed.

The composer of the “ Inception ” scores is Hans Zimmer, whose music is characterized by high hearable. Because “ Inception ” is based on the pattern of come ining dreams and seting an thought in person ‘s caput, the soundtracks to “ Inception ” should be designed as dream-like and make a complete sonic universe to plunge the audience into each beds of the dreams. The original soundtrack album is mostly an atmospheric album. The soundtrack has to be composed in ways that are rather unrealistic so that the audience will non detect the background music. Listening to this soundtrack truly steer me to remember most of the chief secret plan, at the same clip music is the perfect incarnation of the movie ‘s subject. It is an aural journey into one ‘s imaginativeness which creates images and narrative lines in my head. It is a soundtrack to the imaginativeness, or possibly, dreams.

In sing period, the movie mark will ne’er catch the spotlight of the movie itself, but to assist the audience construct up the bravery of the dream and advance the development of the secret plan.

Inception film scores rely more on existent unrecorded instruments instead than digital audio samples. The whole soundtrack is a combination of electronic and classical. Traditional orchestra can be heard here and at that place in each path. Some cues even play with electric guitar, uneven ambient and electronic noises.

“ Dream Is Collapsing ” is one of the most powerful paths in the mark. It is seen as absolutely rational that all characters in this scene maintain composure and act of course with holding a house prostration. This technique increases the contrast of the characters ‘ rational behavior against the powerful background mark which tells the audience that it deserves to be a nervous scene. “ Dream is Collapsing ” is really good done and improbably habit-forming. “ Dream is Collapsing ” is the most memorable vocal.

“ Extremist Impression ” begins with bosom round which makes the audience lulled into a false sense of security. Those low chords that switch up and down earlier lie underneath strings as if a animal is quietly eupneic, or possibly, it implies that it is the dreamer who is take a breathing, and ever with a slowed down version.

Recuring figure, musical fragment or sequence of notes that has some particular importance in or is characteristic of a composing

“ Extremist Impression ” is a path that walks in familiar district in footings of the twine ostinatos.

It is a motive which is persistently repeated in the same musical voice. It is a sequence of equal sounds, wherein each note ever has the same weight or emphasis. The perennial thought may be a rhythmic form in itself.

Starts off playing the chief motive instead dramatically so dips into some excessively cool for school material before playing around with the small motif some more. The last minutes of the path gets aggressive.

“ Old Souls ” reflects Mal ‘s dying about life in dreams. It makes the audience puzzled, inquiring if they are populating in dreams. And the vibrating electronic underscoring is used in such a particular manner. It is a long and effectual path that continues the atmospheric feelings of the album. “ Old Souls ” is a cue that leads us into the conversation between Cobb and Mal and do every audience puzzled with what they are making and why they are moving like that.

Most of the original background cues have something in common, but some of cues have slight differences. “ Mombasa ” is the lone percussion in the mark, which has typical spirit from the remainder of the mark. What is happening on screen is a trailing scene which lasts about 4 proceedingss. Thus the attach toing soundtrack should be a really fast ongoing beat in order to arouse audience ‘s emotions. The Hi Octane component provides intense personal experience and delivers a paranoid sense of being chased when Cobb is running to acquire out of the pursuers. It has a reasonably light start, but it shortly explodes into an action cue.

“ Dream within a Dream ” brings back the motive heard in “ Dream is Collapsing ” but adds some excessively cool for school percussion.

“ Waiting for a Train ” is the longest cue of all, which feels really cryptic and nostalgic when there are excessively many musical elements and emotion altering blended in. Around 3 proceedingss, it changes the feeling wholly and the ambiance becomes a small darker in nature. At around 5:30, it gets more dramatic as there are about merely synths left. In blunt contrast, Edith Piaf is in there at around 7:04. “ Non, Je Ne Regrette Rien ” is a authoritative, but it still sounded unusual at that place. The female voice aftermaths up the dreamers. All of these signifier 9 proceedingss and 29 seconds of uninterrupted admirability.

Great inspirational tonss and soundtracks should all hold the quality of independency from their intended movie. “ Time ” may be one of the most beautiful heroic poem vocals in the soundtrack that can be appreciated independently from “ Inception ” . It gives a sense of closing by constructing up an emotional yarn from get downing to stop. There is no uncertainty that “ Time ” should be the chief rubric in this original soundtrack album. The piano gets the position feeling sentimental, which brings cryings to the eyes, particularly at the really terminal after the audience has experienced all the dreams in the movie. This is likely the 1 that most people will truly love and listen to a 1000 times without being tired of. What Time did was no pure sensationalism, the destiny of a sense of devastation in which the tune is along with the whirling top, so that we can non separate if it is a dream or non.

It is non merely orchestral music, but every signifier of music because you ne’er know when you might necessitate to utilize some electric guitars.

Great composers adapt to the narrative and to their manager ‘s vision.

It can be said that sound ‘s greatest influence on the movie is manifested at the bosom of the image itself. ( Chion, 1994 )

“Zombieland” is a film where a lot of stylistic choices were made. Especially the opening scene says a lot about the film and the characters. Mise-en-scene, cinematography, editing and sound shape the film’s effect on the viewer. The film begins in the middle of a zombie apocalypse. The first shot is unbalanced to prime our expectation that something will change position. The shot is of the American flag, which is focused while the background is unfocused which means it indicates that the flag is of importance.

From the close-up of the American flag we get a handheld panning shot of a car crash, this shows us a deeper meaning: America has fallen. While the actor stands up with his body-mounted camera it creates an illusion of a point of view shot, tracking what the eyes see. This illusion is emphasized after a zombie is attacking the character. The point of view shot transitions into a close up of the zombie breaking the fourth wall by looking right into the camera. The entire opening scene has titles in them that change every few seconds as the previous actor has destroys them.

The filmmakers used bold red font for the titles. Red is used because it symbolizes blood and death, which represents the gore within the film. The titles are the actors/actress, production and filmmaker’s names. Another artistic choice is the use of ramping; the entire sequence is slowed down to slow motion. This gives the sequence a dramatic effect and it increases the intensity of the moment created subsequently the picture fade away. When it fades back; the first scene of the movie is shown. The exposure during the whole movie is half a stop darker than a usual exposure.

The color of the film is natural, which gives the movie a more realistic tone. It shows the world as it is. What also becomes visible in this film is the unrestricted narration. Meaning that we are only confined to what the character sees and since it takes place in the time of a zombie apocalypse, it gives the story a realistic feel, this because we function unrestricted too. We only see something when we are directly looking or sensing it. For instance Columbus; we see the world mainly through his eyes. Columbus narrates the entire story. Herewith we built up a relationship with this film character.

We feel sympathy for him. Big motifs in the film are his rules of survival and a parallelism where Columbus is talking about the death (of a zombie) of the week with Tallahassee. Columbus mentions these things quite a few times in the film. Sound is also a big part of the film. There is a non-diegetic soundtrack used throughout the title sequence, which is rock music and when the American flag appears, the music changes to the American anthem, which is slightly lower pitched and distorted. This adds to the whole imagery of the film. Then you also have Columbus’s observations and comments that run throughout the film as well.

Director and editor also used diegetic sound, which is mainly used for the growling of the zombies when they are attacking people. The sound of the zombies growling is low pitched and the amplitude of the vibrations is loud. Another big part of the film is mise-en-scene. For instance the setting; throughout the film the filmmakers made use of a lot of local areas like on location settings. “Zombieland” was filmed in Atlanta, GA so they used a lot of practical locations like the grocery store and the amusement park in which a big fight between the living and the undead played out.

The settings the director and producer have chosen are not typical for a horror film since they’re well lit daily life locations. The lighting is mainly high key, which emphasizes the use of the setting since this kind of lighting gives an upbeat mood to the scene. The establishing shot of the post-apocalyptic world is mainly lit low-key to show how annihilated the world is. Natural light is not often used. Although the setting and lighting are not stereotypical horror they are all stereotypical for television, like sitcoms and comedies, which is what the film is going for since its main genre is Comedy.

The overall lighting in the film makes the situation of the people in more realistic. It seems that this could happen in the real world. Another part, which is also important for the mise-en-scene, is makeup and the costumes. Costumes and make-up are different for the humans and the zombies. The zombies are covered in blood; their body seemed to rot and their costumes are ripped away from their body. The humans are dressed in everyday clothes with simple make-up. The make-up of the zombie is mainly paint-brushed realistically, reflecting the stereotypical Horror genre.

The Comedy in this film is shown through facial expressions and body language. During the whole film the axis of action is maintained, ensuring that the position of the person in the frame remains a consistent screen duration and eyeline. If the axis of action would not be maintained it could create jump cuts this could also affect the mood and sphere of the film, which could distract the audience. The temporal continuity in the film is in complete continuity. None of the sounds are elided; this makes the scene more intense because the viewer is not distracted by the sound that is slightly jumped over.

The flashbacks cause certain disunity in the film, since they are not elements that fit in the already established pattern. Columbus is geeky and neurotic character, as is shown through his narration during the film. It reveals that he is lonely, and through the cinematography it becomes clear that his loneliness is the gravity of the film. This by showing how the world to him became to: “Shit storm”. The way it was shot shows his view on the world and how terrible it became. This makes him even more aware of how lonely he is since there is nobody he can interact with. He can’t even escape into his virtual world like he used to.

Even low-key lighting shows how grim the world became to him. The setting also contributes to show his loneliness, like the freeway, which is abandoned. His facial expression during the movie is expressing one mood: anxiety. Even when he is with Tallahassee he carries around the feeling of anxiousness and desolation until he meets Wichita. This is when the setting changes to a more colorful and saver surrounding: Bill Murray’s house. All in all, this film is about Columbus’s loneliness and how that develops throughout the movie with the help of numerous techniques as cinematography, mise-en-scene, sound and editing.