1st Part is embedded below.
Link to the website: http://www.everythingisaremix.info/watch-the-series/

http://youarelistening.to/

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My objective was to create sound effects for a short sequence in Terminator 2.
I wanted to be as subtle as possible to highlight the background sounds, without overstating their importance, so as to keep the listeners attention on the foreground. I have been influenced by musician/foley artist Amon Tobin and the way he used found sounds for a concept album The Foley Room (2007), also by the industry standard sounds that are sometimes from completely unrelated sound sources. But I don’t feel I have used any particular style or technique, I have just tried to use sounds I feel the listener would recognise when given the visual aid of the sound source.
I have used the time stretching tool technique to transform some sounds, for example the opening of a coke can is the movement of the robotic arm. I learnt to take care in trying to direct the attention onto the sounds in the foreground, so the background sounds can be processed subconsciously. Studying how sounds have become industry standard, without being close to the real sound, especially because they have been woven in so we don’t question it, has influenced me to be creative with my use of sound. I would give myself about 50% for this because I could have researched more into the techniques and tips of how to create better and more believable work as a foley artist, as well as the subtleties that go into it.

References

Amon Tobin, (2007). The Foley Room [CD]. London: Ninja Tune

Samples all downloaded under the CCL from Freesound.org

futureprobe – flicker_001.wav (light flicker)

DJ Chronos – Boom.wav (Booming Crash)

digifishmusic – Factory Sounds – Lens Making Production Line.mp3 (ambient factory noise)

MaxWiley – crackle.aif (old scratched record crackling)

Razzvio – Metal squeaking chair.wav

Razzvio – Rotating Metal Fan.wav

Razzvio – Welding Torch 2.wav

DJ Burnham – Lizard eye blink.mp3

digifishmusic – Electric_Screwdriver.wav

digifishmusic – Electric Roller Door DOWN.wav

JasonElrod – Lighter.aif (a lighter)

acoley – brushing.wav (hand rubbing against a leather couch)

guitarguy1985 – coffeegrinder.wav

acclivity – WheelNutAirGun2.wav

Tomlija – cola can opening.wav

jaava73 – gate_1.wav (squeaking gate)

LG – Industrial23.wav (hydraulics noise)

HardPCM – Alarm001.wav

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My objective was to create a score for the ‘Dream Sequence’ in American Beauty using percussive techniques. I wanted to use the start of the dream sequence and the underlying rhythm to simultaneously be movement of the girl and the heartbeat of the man.
I also used a part where the girl is unzipping her top and looks up, to pause completely until the next frame. I have been influenced heavily by Thomas Newman’s music from American Beauty (1999) and I personally think Aphex Twin’s Bucephulus Bouncing Ball has had a massive impact on the way I have structured my rhythms. Numerous Indian and African musicians have also influenced the way I think about rhythms and polyrhythms. I have not used any particular new audio technique but I have learnt to use complex rhythms underneath a simple, slow tempo and standard time signature.
I have tried to use Thomas Newman and Aphex Twin as a template for approach this piece and I have tried to implement techniques acquired from lots of different cultures and influences. I would give myself about 50% for this because I could have researched a bit more into other composers and tried to use alternative techniques for different parts of the composition.

References

Aphex Twin, 1997. Come To Daddy [CD]. Sheffield: Warp Records.

American Beauty (1999) [DVD] dir. Mendes,S. USA: DreamWorks Pictures.

Thomas Newman, 2000. American Beauty OST. USA: DreamWorks SKG.

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My objective was to create a piece of music using woodwind instrumentation; we were given a choice of video, I chose the video clip from Psycho. I wanted to adopt a more musical approach to the visuals than I had with my string piece, in order to achieve I tried leitmotifs to identify several emotions and actions of the two characters. I also felt it was necessary to build up the tension in the piece at 1.50”, just before the woman takes the money from her handbag. I have been influenced by the range of sounds the flute in Stockhausen’s Kathinka’s Gesang and various themes and leitmotifs from detectives series’ such as Henry Mancini’s Pink Panther (1964) and also by Debussy use of harps in pieces such as Sonata for Flute, Viola and Harp (1915).
I learnt to use leitmotifs to link musical ideas to the characters, whilst the sounds remained in context with the piece. I have studied detective themes and leitmotifs for when something is about to happen and I have tried to use the flute samples to follow some of Stockhausen’s ideas. I would give myself about 50% for this because I could have researched into other composers and tried to use alternative techniques for different parts of the composition, as well as using my own ideas.

References

Henry Mancini, (1964). The Pink Panther Theme [CD]. USA: RCA. 3 mins.

Stockhausen, (1990). Kathinka’s Gesang [CD]. Germany: Deutsche Grammaphon. 32 mins.

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My objective was to create a piece for a scene in the film North by Northwest using brass. I wanted to highlight the tension as he begins to run from the plane 0.05” and use him hitting the ground at 0.13” as a trigger point. I also wanted to highlight hiding in the crops at 0.54” using a slower tempo and quietening the Tuba and finally when the plane heads towards him at 1.10” with smoke pouring out, I wanted to give a sense of immediate danger.
I have used a similar Introduction to Richard Strauss’s Also Sprach Zarathustra to emphasise the build up before he hits the ground.
I have tried to use techniques from John Williams’ music, particularly trying to heighten tension by moving the key up in semitones.
I learnt to adopt a better understanding of how to change tempo and time signature without losing the piece’s momentum.
I have tried to implement my understanding of building a piece up and down through using the orchestra with lots of tempo, velocity and time signature changes. I would give myself about 50% for this because I could have researched into other composers and tried to use alternative techniques for different parts of the composition, as well as using my own ideas.

References

Richard Strauss, (1995). Also Sprach Zarathustra, OP.30, Prelude (Sonnenaufgang) [CD]. London: Decca Records. 2 mins.

John Williams, (2005). The Attack on the Car [CD]. USA: Universal Music Group Recordings. 3 mins.

John Williams, (2008). Ants! [CD]. California: Concord. 4 mins.

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My objective was to add emotion to the characters through the music, using a scene from Psycho. I chose 3 main visuals elements from this piece; I decided to trace the officer’s footsteps once he leaves the car at 0.31”, as well as every time he asks a question, with pizzicato. The women’s emergence from her sleep at 0.47” is important, so it has been overstated and the tension of when she is emptying the money from the bag onto the car seat at 2.06”.
I have been influenced by George Crumb’s Black Angels (1990) by the use of the whole instrument that the string quartet uses and also by Clint Mansell’s score for Requiem For a Dream (2000), especially the way he sets the mood with long notes and counter melodies. I have learned a lot more about using the timbre of the instruments and to create the sounds I have been after, instead of trying to only use melody. This is an example of practice as research as I have tried to use similar techniques to the Black Angels I, Departure (1990), trying to add tension by using the whole body of the stringed instrument and trying to use the influence of Clint Mansell to give the piece a bit more depth. I would give myself about 50% for this because I could have researched more into other composers and tried to use a wider variety of techniques.

References

George Crumb, (1990). Black Angels I, Departure [CD]. New York: Nonesuch Records. 5 mins.

Clint Mansell, (2010). La Guere Froide [CD]. LA: Varese Sarabande. 2 mins.

Clint Mansell, (2000). Lux Aeterna [CD]. New York: Nonesuch Records. 4 mins.

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My objective was to create a piece of music to a chase scene from the movie The Dark Knight using only Piano. I wanted to highlight the gunfire in the alley at 0.19” and the explosion at 0.24” as I felt they were the most important visually. Then I wanted to slow the piece down when Batman started moving again at 0.29” to build up the tension for the ending.
I have been mostly influenced by Danny Elfman’s music. The underlying rhythm made by the Piano in Into Mystery (1989) is particularly prevalent in the first 25” of my piece. I have learnt how to automate different tempos and time signatures changes and I have also found selecting all the notes of a chord in logic, tells you what chord it is, which has been useful, as I haven’t used a midi keyboard to compose this piece. I used the research into Danny Elfman’s music to experiment with chord selections, time and key signatures. I would give myself about 50% for this because I could have researched into other composers and tried to use alternative techniques for different parts of the composition, as well as using my own ideas.

References

Batman. (1989) [DVD] dir. T. Burton. USA: Warner Bros. Pictures

Danny Elfman (1989). Batman: Original Soundtrack [CD] US. WEA.

Main Theme – D#, E, D#, C, A#, G, G#, C

Variation 1 – Inversion of the Original

Variation 2 – Inversion with an alternative order of notes.

Variation 3 – Diminution of the Inversion with a reversed last 4 notes.

Variation 4 – Diminution of the original in the key of B major.

My objective was to write a theme and come up with 4 or 5 different variations. I have been influenced by Olivier Bernet’s Dans La Vie Tu Rencontreras Beaucoup de Cons (2007), the opening piano melody and variation especially.
I used the Midi tracing exercises from the lesson to copy the notes of the Olivier Bernet piece, and then I decided to alter the theme to make it original, I also used a similar method for my first variation.
The main music technique I learnt was to adopt variations of themes and realising how effective they can be.
I would give myself about 50% for this because I could have researched more into other themes and tried to use alternative techniques for the different variations.

References

Persepolis, (2007) [DVD] dir(s). Satrapi, M & Paronnaud, V. New York: Sony Pictures Classics

Olivier Bernet, (2007). Dans La Vie Tu Rencontreras Beaucoup de Cons [CD]. London: EMI. 2mins.

One of the most beautiful songs I’ve ever heard. It is very minimal, but it captures the moment and mood of the film. Thomas Newman’s American Beauty from the film of the same name.

Danny Elfman, for me, sometimes composes music that sounds less serious in the context of the film than it ought to be, but this is one of my favourites, from opening credits of one of my favourite films, Big Fish

Beautiful composition by Olivier Bernet, who from what little I can gather, hasn’t done a lot else (he doesn’t even have a wikipedia page). This is from an excellent film called Persepolis about the Islamic Revolution in Iran from the childhood memories of Marjane Satrapi.

Although this is the single from the soundtrack, most of the soundtrack is based around this song. From another great film The Virgin Suicides, composed by Jean-Benoît Dunckel and Nicolas Godin (otherwise known as Air)

Probably the most epic closing song to a film I’ve ever heard, Clint Mansell’s Lux Aeterna performed by The Kronos Quartet, from Requiem For a Dream.

Now I’ve never seen this film, but after watching Requiem For a Dream years ago I stumbled across more of Clint Mansell’s work. This was my favourite. Beautiful piece called The Last Man from The Fountain.