| Contents |
The function of underscore. Playing the action ; Playing obliquely or playing the subtext ; Playing against the action ; What film music can't do -- Choosing the composer. When to hire the composer ; How to hire the composer ; The pop/rock recording artist as film composer -- Communicating with the composer -- The rough cut -- The spotting session -- The composing process -- The recording session. Scoring session basics ; Making changes on the recording stage ; Home-studio recording -- Composers, orchestrators, arrangers, ghostwriters, hummers, and plagiarists -- The music supervisor. Differences between independent supervisors and studio music directors -- The music editor -- Use of songs. Preexisting songs ; Synchronization license ; Master use license ; Original songs ; The function of songs -- ASCAP and BMI -- Musicians' union (American Federation of Musicians). Scoring overseas or domestically non-union ; Alternative scoring venues -- Package deals -- Music budgets. Low-budget feature film ; Medium-budget feature film or television movie ; High-budget feature film -- Synthesized or acoustic? -- Final thoughts -- Quick reference (or The short road to cinematic/musical bliss) -- Appendix I (Addresses). Composer representation ; Performing rights societies ; Music clearance companies -- Appendix II (Recommended reading) -- Glossary. |
| Abstract |
One of the greatest challenges faced by filmmakers is dealing with the music score. This book directly address filmmakers concerning film scoring basics such as the functions of underscore, choosing and communicating with a composer, the spotting session, the composing process, time and budget requirements, the personnel involved, and more. |
| Bibliography note | Includes bibliographical references (pages 105-106). |
| LCCN | 94030604 |
| ISBN | 1879505207 |
| ISBN | 9781879505209 |
