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The aim of this unit is to enable learners to understand and apply techniques to the
composition
of music for film and television, analysing key works and practical considerations.
Unit abstract
Composition for the moving image is a functional application of music composition, and is
intended to serve and complement other creative material. It requires a different approach to
abstract composition: film composers work within a set of externally imposed parameters to a
brief that is usually supplied by a director. As film composition usually involves working with or
for several different specialists (directors, editors and music editors), it requires flexibility, and
the ability to compromise and adapt to changing requirements.
The most important consideration when composing for moving image is to score music that is
both appropriate to the film and meets the directors brief. As such, the composer must avoid
flash or ego-driven composition, and score with economy and sensitivity.
Whilst traditional film composition often necessitates a big budget for multiple performers and
studio time, modern film composers can actualise final productions from a good home studio,
using synthesisers or quality sampled software instruments. Quality production methods are
now easily available, but this also means there are many enthusiasts willing to score to
moving image for the experience, making it difficult to find a way into the industry.
Having a showreel that showcases either a specific and individual style or the capability to
produce diverse work is essential to anyone wanting to compose for the moving image, and
students will be required to produce a portfolio of original music scored to picture. They will
also examine key examples, creative approaches, technical considerations, and the
underpinning theories involved in composition for the moving image.
Learning outcomes
On successful completion of this unit a learner will:
1. 1 Understand definitive examples of music composed for the moving image
2. 2 Be able to apply compositional techniques involved in the composition of music for
film and television
3. 3 Understand practical considerations involved in composing for film and television
4. 4 Be able to use studio technology in the production of music for film and television.
UNIT 10: COMPOSING FOR FILM AND TELEVISION
BH029654 Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Music Issue 2 October 2011
Pearson Education Limited 2011
Unit content
1.
2.
3.
4 Be able to use studio technology in the production of music for film and television
Technology: sound technology eg synthesisers, sampling, drum machines, sound libraries,
MIDI, sequencers, synchronisation, standards; recording technology eg multi-track recording
systems, stereo recording and mastering systems, tape and digital formats, synchronisation
to video, digital synchronisation, multi-track and mastering standards, labelling systems,
processors and effects units, microphone techniques, mixing consoles
Computer technology: advances eg hardware, software, virtual instruments, plug-ins,
recording and editing systems, integrating audio and MIDI, compatibility, industry standards
Surround sound: advances eg psycho-acoustic sound localisation, Huygens principle, wave
field synthesis, Ambisonics, Penteo
BH029654 Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Music Issue 2 October 2011
Pearson Education Limited 2011