موسيقى الأفلام

A film score being recorded by the composer (conducting at the podium, with his back to the camera) and a small ensemble. The film is playing on the screen to act as a reference.

موسيقى الأفلام film score، هي original music written specifically to accompany a film. The score forms part of the film's soundtrack, which also, usually includes pre-existing music, dialogue and sound effects, and comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.[1] Scores are written by one or more composers, under the guidance of, or in collaboration with, the film's director or producer and are then usually performed by an ensemble of musicians – most often comprising an orchestra or band, instrumental soloists, and choir or vocalists – known as playback singers and recorded by a sound engineer.

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. The majority of scores are orchestral works rooted in Western classical music, but many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.[2]

Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of live instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers.

Songs such as pop songs and rock songs are usually not considered part of the film's score,[بحاجة لمصدر] although songs do also form part of the film's soundtrack.[3] Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs which are "needle dropped" into a specific scene in film for added emphasis, or which are depicted as being part of the scenes' background (e.g., a song playing on a character's car radio), are not considered part of the score, although occasionally the score's composer will write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.


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عملية التأليف

Spotting

Syncing

Written click track

الكتابة

Orchestration

التسجيل

عناصر موسيقى الأفلام

Temp tracks

التكوين

موسيقى المصدر

Artistic merit

Music criticism

جهود الحفظ

التاريخ

المؤلفون

حائزو ومرشحو جائزة أوسكار

أبطال بوكس أوفيس

[4]


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العلاقة بالمخرجين

المقالة الرئيسية: قائمة تعاونات المخرجين السينمائيين والمؤلفين الموسيقيين

موسيقى الإنتاج

المقالة الرئيسية: موسيقى الإنتاج


انظر أيضاً

منظمات متعلقة

مواقع مراجعة موسيقى الأفلام

Independent specialist original soundtrack recording labels

دوريات

المصادر

  1. ^ Savage, Mark. "Where Are the New Movie Themes?" BBC, July 28, 2008.
  2. ^ "Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet'". The Independent. London. May 8, 2008. Retrieved 2010-05-02.
  3. ^ Rockwell, John (May 21, 1978). "When the Soundtrack Makes the Film". The New York Times. Retrieved 2010-08-10.
  4. ^ Source: Box Office Mojo – All-Time Domestic Box Office Grosses [1], All-Time Domestic Box Office Grosses Adjusted for Inflation [2], All-Time Worldwide Box Office Grosses [3]

قراءات إضافية

  • Andersen, Martin Stig. "Electroacoustic Sound and Audiovisual Structure in Film". eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010). Montréal: CEC.
  • Dorschel, Andreas (ed.). Tonspuren. Musik im Film: Fallstudien 1994–2001. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). ISBN 3-7024-2885-2. Scrutinizes film score practice at the turn from the 20th to 21st century. In German.
  • Elal, Sammy and Kristian Dupont (eds.). "The Essentials of Scoring Film". Minimum Noise. Copenhagen, Denmark.
  • Harris, Steve. Film, Television, and Stage Music on Phonograph Records: A Discography. Jefferson, N.C.: McFarland & Co., 1988. ISBN 0-89950-251-2.
  • MacDonald, Laurence E. (1998) The Invisible Art of Film Music: A Comprehensive History. Scarecrow Press. ISBN 9781461673040.
  • Holly Rogers and Jeremy Barham, The Music and Sound of Experimental Film. Oxford: Oxford University Press, 2017.
  • Slowik, Michael. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934. New York: Columbia University Press, 2014.
  • Spande, Robert. "The Three Regimes – A Theory of Film Music" Minneapolis, 1996.
  • Stoppe, Sebastian, ed. Film in concert: film scores and their relation to classical concert music. Glückstadt: Verlag Werner Hülsbusch, 2014. ISBN 978-3-86488060-5.
  • Stubblevine, Donald J. Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from Squaw Man (1914) to Batman (1989). Jefferson, N.C.: McFarland & Co., 1991. ISBN 0-89950-569-4.
  • Various contributors [wiki]. "Films with Significant Electroacoustic Content[dead link]". eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006). Montréal: CEC.

وصلات خارجية

منظمات موسيقى الأفلام
دوريات (أونلاين ومطبوعة)
تعليم
لغات
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