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Music effecting the emotions essay
Music effecting the emotions essay
Music effecting the emotions essay
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Feeling emotion through music in film is most easily recognized when the composer uses certain elements associated with sadness. Creating a melody that behaves similarly to human speech when one is sad, the composer can express sadness during a scene. Sorrow, grief, even anger and fear, which often occur prior to a sad plot turn, can be manipulated by the music during a film. Often the melodies are written in minor keys giving us a sense of melancholy. Slower tempos also add to the feeling of sadness as does the use of strings because of their beautiful timbres. The composers of these scores take it upon themselves to create an emotional expression of what we the audience are feeling as we watch the plot unfold. It is speaking to us as though
It is true that the essence of any story is emphasised through distinctively visual images created for the audience. The ability of any composer- an artist with paint brushes, a musician with chords or the writer with words- to entice and evoke is at the centre of a narrative. Both Peter Goldsworthy’s novel Maestro and Beneath Clouds by Iven Sen evoke emotions in the responder through distinctively visual elements and exploration of the concepts appearance versus reality and influence of environment.
All through this film moods were continuously changed through lighting and music creating a symbolic meaning behind every scene. An example
The musical score proficiently provides the viewers with a sense of what is happening in the scene which could not be communicated through text. Dramatic music is played for Creon’s entrance; this immediately communicates to us that he is a man of great importance and power. When Antigone enters after being arrested, the music is dynamic and tense. This conveys the seriousness and desperate atmosphere of the scene. The score is also a representation of the varying moods of the characters. An example of this is when Antigone is anxiously trying to appeal her sentence. The music makes the audience drawn is drawn to feel sympathy and pity her when she is preaching her views on death. For instance, a solemn melody is played when Haemon’s dead corpse is brought to King Creon. Creon grieves by himself as he is overcome with devastation caused by his foolish actions; his emotions are intensified by the sorrowful and sombre background music. The music is able to complement the play, while accentuating the more significant events.
The music and sound effects are in the same pont with what the author nedded to say in that play. In the smok and sword fight on the first act we thought will be a play where every body is confusing and fight each other. The phone ringing all the time and this help the actors to play around in the hury and action come up with rehearsal process. The purposes of the phone is any time we heart that something is going to happen, so we expectin to change the sequence in the play. Ringing the phone open a problem, hanging up the phone close the problem. Opening and shoutting the door of dressing room as a slamming it create for the audience understanding the flow of the show and leaves the flexibility as we see white and black to the performance. Crying with tears make the player dramatic, but afraid of discover which it trying to keep things together laughting and
them as unattractive and menacing and everything about this scene is threatening and ugly and makes the audience feel uncomfortable impact. in the audience of the. The music is like funeral music, loud and sad. The... ... middle of paper ... ...bloodshed and murder that follow.
Sadness, downswings in mood, setbacks, and disappointments are prominent themes in Melancholia (Lars Von Trier, 2011). The film uses many formal elements such as editing techniques, point of view shots, and the positioning of characters within the editing and mise-en scene to involve, alert, and implicate the viewers.
For this essay I will be looking at the work of Hans Zimmer to discuss how music in film engages the viewer and evokes emotion and pulls the viewer toward the film. Hans Zimmer is a German born music composer. Hans Zimmer’s love of music stems from his childhood when he learned how to play various instruments. Before Zimmer began composing music for films he was in a well-known band. The band was called The Buggles whom were famous for their song Video Killed the Radio Star. After the Buggles Zimmer played in other bands but never had another hit. As Zimmer has progressed as a film composer so has his list of nominations and awards. Zimmer has won 4 Grammy Awards and 2 Golden Globes and many more for his outstanding film scores. The reason I chose to write this essay on Zimmer was that his genres and music score are extremely versatile ranging from animations to comedy to dark thrillers. This is important to highlight as it shows Zimmer can create almost any atmosphere with his music whether it be sad or creating tension that all cause us to engage with the film. Zimmer's use of themes and introduction of different instruments allowed him to create these wonderful engaging film score. In this essay I will look at three films by Hans Zimmer these are The Holiday Rush and Rain Man.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
There is a growing body of work in the philosophy of music and musical aesthetics that has considered the various ways that music can be meaningful: music as representational (that is, musical depictions of persons, places, processes, or events); musical as quasi-linguistic reference (as when a musical figure underscores the presence of a character in a film or opera), and most especially, music as emotionally expressive. Here I will focus on the last topic, for I believe it will be useful for researchers in music perception and cognition to avail themselves of the distinctions that aestheticians have worked out regarding the musical expression of emotion.
Music can decipher a narrative event by indicating a perspective. To unify a set of diverse images and provide rhythmic and formal continuity and momentum, a film’s structure is more often than not, directly articulated by a musical structure. Music can assist the dialogue and visuals of film and often is inaudible (e.g. music is meant to be heard unconsciously, not consciously). Music has been used by directors to reinforce or strengthen certain weak scenes in film and then on the other hand when music is not needed to reinforce a scene
Different from other types of films, the music in Phantom of the Opera was used by all the characters, as a way to tell their part of the story. The music created a convincing surrounding for the film, guided the audiences. The music was constantly a signifier of emotion, as the characters expressed their feelings through the songs. The music score was an emotional and scary score that tied into their diegetic/non-diegetic singing, giving the main characters an identity, specifying situations and places to help connect certain points. When we hear the dark music play throughout the movie, it plays a certain theme, that theme gives the viewers a clear hint of who or what the music is talking about. Another example of signifier of emotion was in The Devil Wears Prada, where the film used either fast upbeat songs for when Andy walks all around the city, running errands for Miranda, or romantic alternative music when Andy is with her boyfriend and true friends (The Phantom of the Opera/The Devil Wears
Emotions are easily affected by outside forces. Music can provoke emotions of sadness, grief, joy, and even ecstasy. There are several different aspects of music that change how a song is interpreted. From these interpretations come emotions. Among them is the tempo, which is the speed of the song. If a song is sad, the tempo is often slower. If a song is meant to be happy, the tempo is quick and light. If the intention of a song is to bring about fear, it is either extremely slow and eerie or quick and adrenaline pumping. Another factor of interpretation is the key it is in. A key is, “a particular scale or system of tones” (Dictionary.com). There are 24 different keys that are separated into two categories. These categories are major and minor. The major are made up of more sharps, and the minor of more flats. The major key is used to express feelings of joy and happiness. The minor key however, is used to express feelings of sadness, depression, and regret. When the two are awkwardly combined, the key of the music changes to neither minor or major, and is referred to as a dissonance. A dissonance is defined as, “a simultaneous combination of tones conventionally accepted as being in a state of unrest and needing completion” (Dictionary.com). When a passage of music uses a dissonance, the ultimate goal is to create ...
The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.
...ide of people, which is generally excited by happiness in the central case (Matravers 174). Music is not the whole part of the feeling; it just causes it (Matravers 174). When the volume from the music goes up, emotions will rise (Matravers 174). As the music goes down, the emotions decline as well (Matravers 174). The connection between music and emotions are similar to a mirror (Matravers 174). Whatever happens to the music, the human feelings will follow.