Brief Discussion on History of Film Music
The history of music as a backup to visual stimulation is doubtlessly a long one. Without retreating to antiquity, there is all way of theater (musical or non-musical), theatrical presentations and different types of musical show. In these types of theater, music can embrace a scope of parts: now and again it is a characteristic part of the amusement (a gathering of melodies or a musical), and once in a while it is giving a backup to other visual or verbal types of excitement. As a backup music can just "be there" (out of sight), however regularly the music is picked with a specific motivation behind improving the display somehow (making environment) or in a more modern manner to make or upgrade an enthusiastic response among individuals from the gathering of people. This range of musical contribution in the excitement likewise applies to film.
A fragment of film celluloid When it comes to film as a projection through celluloid, the most punctual cases comprised of moving pictures just and no solid. Be that as it may, a quiet film without a musical backup appears to be thoroughly void, so music was ordinarily given in the theater by a performer on piano or organ (or a gathering of artists) to offer accentuation to the story. At first it was up to these theater performers to pick or ad lib the music, however there were music distributers who represented considerable authority in delivering music appropriate for film which these artists could allude to. It wasn't much sooner than producers applied more noteworthy control over the musical backup, by indicating the music to be played, and even now and again having it exceptionally composed for the event. It is intriguing to note as of right now that one of the immense performers of the quiet time, Charlie Chaplin, additionally formed the music for some of his own movies, for example, City Lights.
Process of Creating my Final Piece.
Using my electric piano at home, a MIDI channel (irig) and my phone. I was able to create the piece that is shown with my video. Above, a screenshot of the recorded file is shown. I was unable to play the final piece as it is with the timing and complex nature of it on my own and therefore I used several tools to achieve the process. I first recorded a simple piece with just octaves on the left hand, which I then used in conjunction with garageband, which has a built in tool to turn simple notes into arpeggios. That is the reason that my final piece sounds much more complex than my recording. I also used garageband to fix the timings of my piece. A screenshot below shows the tool that turns octaves in to arpeggios.
The history of music as a backup to visual stimulation is doubtlessly a long one. Without retreating to antiquity, there is all way of theater (musical or non-musical), theatrical presentations and different types of musical show. In these types of theater, music can embrace a scope of parts: now and again it is a characteristic part of the amusement (a gathering of melodies or a musical), and once in a while it is giving a backup to other visual or verbal types of excitement. As a backup music can just "be there" (out of sight), however regularly the music is picked with a specific motivation behind improving the display somehow (making environment) or in a more modern manner to make or upgrade an enthusiastic response among individuals from the gathering of people. This range of musical contribution in the excitement likewise applies to film.
A fragment of film celluloid When it comes to film as a projection through celluloid, the most punctual cases comprised of moving pictures just and no solid. Be that as it may, a quiet film without a musical backup appears to be thoroughly void, so music was ordinarily given in the theater by a performer on piano or organ (or a gathering of artists) to offer accentuation to the story. At first it was up to these theater performers to pick or ad lib the music, however there were music distributers who represented considerable authority in delivering music appropriate for film which these artists could allude to. It wasn't much sooner than producers applied more noteworthy control over the musical backup, by indicating the music to be played, and even now and again having it exceptionally composed for the event. It is intriguing to note as of right now that one of the immense performers of the quiet time, Charlie Chaplin, additionally formed the music for some of his own movies, for example, City Lights.
Process of Creating my Final Piece.
Using my electric piano at home, a MIDI channel (irig) and my phone. I was able to create the piece that is shown with my video. Above, a screenshot of the recorded file is shown. I was unable to play the final piece as it is with the timing and complex nature of it on my own and therefore I used several tools to achieve the process. I first recorded a simple piece with just octaves on the left hand, which I then used in conjunction with garageband, which has a built in tool to turn simple notes into arpeggios. That is the reason that my final piece sounds much more complex than my recording. I also used garageband to fix the timings of my piece. A screenshot below shows the tool that turns octaves in to arpeggios.
This is a good introduction to the history of music in film, but is lacking the detail of how & why it developed as it did. What was the purpose behind the development?
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