Music And The Movie
Music for the film (in the first place I think of instrumental music for the film) now has become a complex phenomenon, both in the film industry as well as in musical creativity. Instrumental music for the film can only may be in the function of the film. But film music can be so independent that they can listen to and separate from the film. Yet in both cases, it must firstly satisfy the needs of the film for which it composed.
The music for the film can be regarded as an independent art, and like all art, it must contain two elements: inspiration and work. Inspiration comes from within, from the artist's imagination. Quality of work depends on the theory and practice, but also the experience of listening and watching other artists. These two elements are constantly complement one another and constantly provoke.
For the film can be used earlier composed music, or you can ask the musicians to create an entirely new music. In the first case, the selection of music, the key person is a film worker. In another case, a key person is a musician.
For the film can be used earlier composed music, or filmmaker can ask the musicians to create an entirely new music. In second case the key person is a composer, and it is a better option in the making of the film music.
Music for the film can only be a soundtrack, but it could be the product of more or less intense experience of the film by the composer. Music can track human movement, then it is more in terms of mathematics. Music can describe the mental state of characters, and that means greater involvement of composer in the creation.
Music with its quality can override the film and then it's not good. Music can be a genius, but in the same case does not meet the needs of the film. Also, music can be so impersonal that can ultimately reduce the quality of a movie. But when you get along at the same time a remarkable film creation and excellent original music, we can speak of timeless artistic achievement.
The music for the film can be regarded as an independent art, and for it, as for every genuine art, needs inspiration. Inspiration comes from within, from the artist's imagination. Inspiration, knowledge of music theory, practice, but the experience of listening to other artists are elements that are continuously updated and provoke each other.
Most primitive form of film music is taking a ready-made and popular musical numbers in order to increase the commercial success of the film (although there are some good attempts). Second, bad form of film music (a bit less bad than the previous one) is the order of music from the already established musicians (who do not make music for the film). And third, the least bad, is cooperation with the successful creators of movie music. The aim of this cooperation is, however, the name of the composer, and then the music. Of course, this list is not meant to minimize the value of cooperation between musicians and filmmakers, but also give an overview of the initial reasons for beginning of cooperation.
The music for the film can be regarded as an independent art, and like all art, it must contain two elements: inspiration and work. Inspiration comes from within, from the artist's imagination. Quality of work depends on the theory and practice, but also the experience of listening and watching other artists. These two elements are constantly complement one another and constantly provoke.
For the film can be used earlier composed music, or you can ask the musicians to create an entirely new music. In the first case, the selection of music, the key person is a film worker. In another case, a key person is a musician.
For the film can be used earlier composed music, or filmmaker can ask the musicians to create an entirely new music. In second case the key person is a composer, and it is a better option in the making of the film music.
Music for the film can only be a soundtrack, but it could be the product of more or less intense experience of the film by the composer. Music can track human movement, then it is more in terms of mathematics. Music can describe the mental state of characters, and that means greater involvement of composer in the creation.
Music with its quality can override the film and then it's not good. Music can be a genius, but in the same case does not meet the needs of the film. Also, music can be so impersonal that can ultimately reduce the quality of a movie. But when you get along at the same time a remarkable film creation and excellent original music, we can speak of timeless artistic achievement.
The music for the film can be regarded as an independent art, and for it, as for every genuine art, needs inspiration. Inspiration comes from within, from the artist's imagination. Inspiration, knowledge of music theory, practice, but the experience of listening to other artists are elements that are continuously updated and provoke each other.
Most primitive form of film music is taking a ready-made and popular musical numbers in order to increase the commercial success of the film (although there are some good attempts). Second, bad form of film music (a bit less bad than the previous one) is the order of music from the already established musicians (who do not make music for the film). And third, the least bad, is cooperation with the successful creators of movie music. The aim of this cooperation is, however, the name of the composer, and then the music. Of course, this list is not meant to minimize the value of cooperation between musicians and filmmakers, but also give an overview of the initial reasons for beginning of cooperation.
About the Author:
Author is a writer that writes about instrumental music for movies. Be open minded and listen to his suggestions and you will see what made him a huge fan of instrumental music for film.