MENC: The National Association for Music Education

Discovering the Lost Ark of Possibilities: Bringing Visibility to the Invisible Art Form of
Film Music in Your Music Classroom
Author(s): Daniel J. Keown
Source: Music Educators Journal, Vol. 101, No. 4 (June 2015), pp. 70-76
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: https://www.jstor.org/stable/24755603
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 by
by Daniel
DanielJ.J.Keown
Keown

Discovering
DiscoveringthetheLost
Lost
Ark
Ark of
ofPossibilities
Possibilities
Bringing
BringingVisibility
Visibility
to to
the
the Invisible
InvisibleArt
ArtForm
Form
of
of Film
FilmMusic
MusicininYour
Your
Music Classroom

Music soundtracks Abstract:

Abstract: Conventional
Conventionalmusic
musiclearning
learning
in in
schools
schools
could
could
benefit
benefit
from
from
the the
study
study
of the
of music
the music
from
from films,
films,television,
television,and
andvideo
video
games.
games.
This
This
article
article
offers
offers
practical
practical
applications
applications
for including
for including
from films, television film
film music
music as
asan
anoutlet
outletfor
foranalysis,
analysis,
anan
interdisciplinary
interdisciplinary
compositional
compositional
art form,
art form,
a viable
a viable
teach teach
shows, Internet ing
ing tool,
tool, and
andananauthentic
authenticperformance/production
performance/production experience.
experience.Music
Music
educators
educators
in both
in both
per per
formance-basedand
formance-based andnon-performance-based
non-performance-based settings
settings willwill learn
learn waysways
filmfilm
musicmusic can serve
can serve as as
videos, and video a tool
tool for
for fostering
fosteringrigorous
rigorouscritical
critical
thinking
thinking skills
skills
via via
analysis,
analysis,
broadening
broadening
creativity
creativity
through
through
composition
composition andandproduction
productionexperiences,
experiences, andand
offering
offering a platform
a platformfor for
artistic
artistic
reflection.
reflection.
A listA list
games offer music
of print
print and
andonline
onlineresources
resourcesdevoted
devoted to to
film
film
music
musicis included.
is included.
educators a teaching
Keywords: composition, creativity, critical thinking, film music, soundtrack, teaching tool
tool that students can
easily connect with. a "visual music-making" curriculum, con
the "invisible art form."1 As spectators ventional music studies could benefit from
Film music has often been referred to as
of film, television, computer interfaces, inclusion of this widely enjoyed invisible art
and video games in today's society, we do form.

not see the musicians generating the music
unless the visual is portraying live perform
ers. Instead, the music becomes secondary
as we attend to the narrative content pro
jected on a screen. These forms of multime
dia surround us on a daily basis, allowing
us the opportunity to hear music through
a visual medium just as often as we listen
to audio alone. In addition to mediating
For this article, film music will be the promi
nent art form referenced, but many of the
applications discussed can be used with any of
the aforementioned multimedia art forms. Fur
thermore, only music that does not emanate
from within the narrative world of the film,
also referred to as non-diegetic music, will be
considered "film music" in this discussion.2 For
example, John Powell's adrenaline-pumping

Copyright © 2015 National Association

for Music Education
DOI: 10.1177/0027432115573872 Daniel J. Keown is the assistant professor of vocal music education in the Dana School of Music at Youngstown State University
http://mej.sagepub.com in Youngstown, Ohio. He can be contacted at dkeown@ysu.edu.

70 Music Educators Journal June 2015

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music from The Bourne Supremacy (2004) atmospheres; communicating unspokenFilm Analysis, Music Theory,
accompanying a car chase scene with thoughts; focusing attention toward a
and History
the purpose of emotionally influencing specific point or perspective; acting as
spectators who are watching the film can another visual canvas; narrating specific
Resources for the analysis, theoretical
be considered a non-diegetic treatment j events; relaxing or intensifying a scene;
functions, and history of film music have
of the music.3 This treatment of music foreshadowing events; or perceptu just begun to surface in the past few dec
is dependent on the notion that the car ally manipulating the pacing of a given
ades. A recent resource titled The Music
chase music isn't established from within scene. For example, the iconic "Raider's
of the Lord of the Rings Films presents
the film's narrative world and thus can March" theme from Indiana Jones and a detailed analysis of the music themes
not be heard by the Kirill character in the Raiders of the Lost Ark (1981) encom
from all three films in sequential order.11
pursuit of Jason Bourne during the chase passes the elements of a dramatic brass
With musical notation included for every
throughout the streets of Moscow. How fanfare, often associated with a heroic
major theme, this resource can help
ever, diegetic music, the music that can be j character.7 Even more, there are nuanced
reveal how music functions in the Lord
seen and heard within the film's narrative j elements in this theme that can trigger
of the Rings films. While other resources
world, could also be explored as effective our subconscious thoughts, helping usdo not have the same depth of analysis
treatments of music within the study of realize that the Indiana Jones character
for one particular film, many incorporate
film music. A popular example of diegetic has flaws but that he has escaped yet
analytical findings on portions of various
music can be found in Star Wars: Episode another unimaginable predicament. films, offering an informative starting
IV—A New Hope (1977).4 As Luke Sky Regardless of music's function, film
point for exploration (see the sidebar for
walker and Ben Kenobi search for a pilot i makers' artistic decisions in crafting the
a list of film music resources).
in the cantina, several alien-looking band | presentation of film anticipate the audi-For j students enrolled in either
members can be seen and heard perform- j ence's perception and interpretation performance-based
of or non-performance
ing the "Cantina Band" song for the crowd. the film experience. The audiences' role
based music classes, learning experi
Since the narrative characters in this scene is a critical aspect in formulating what ences
is incorporating the analysis of
can see, hear, and respond to this band seen, heard, and felt. It is this interaction
music accompanying a film can generate
performing, all objects and sounds are between audience and film that prob great interest. A deep understanding of
said to occur within the diegesis world. ably fascinates so many musicians and
music's function in film is often nonexist
Therefore, the music's relationship to the J nonmusicians when creating or thinking
ent partly due to a lack of formal instruc
narrative world can be deemed diegetic. about film music.
tion in the field of film music.12 Adapting
This article presents perspectives and j The acknowledgment of the impor
the process from an analysis project for
practical applications for infusing film tance of music's role in today's society
college students, a music educator could
music into the music education cur was one of the factors that prompted the
have the students analyze film music for
riculum. The information provided can
writing of Vision 2020: The Housewright
a portion or the entirety of a film. For
Declaration.8 In this document, music
be used to enhance the learning expe example, the music by John Williams in
educators
rience rather than add to the already | were asked to join together
E.T.—The Extra-Terrestrial (1982) con
burdening load of content expectations.
in providing opportunities for meaning sists of several motifs dedicated to spe
ful music instruction for all individu
Implementing this medium in the learn cific characters and situations throughout
ing process could offer students more
als through performance, composing, the film.1314 Exploration of each theme
substantial and diverse learning oppor
improvising, listening, and interpreting could be established by describing musi
tunities while enhancing focus on spemusic. During the formulation of these cal, functional, and emotional effects of
cific music concepts and skills. Although
music-learning opportunities, relevancy each music theme. In groups, students
can be established in the content and
specific applications are suggested, the could analyze their assigned themes
following learning experiences can pedagogical
be approaches offered to stu while simultaneously viewing the
adapted for all age and ability levels dents.
in Central to the Rigor/Relevance film. Factors to consider could include
elementary (intermediate level), secondFramework model, Willard Daggett, (1) when the theme occurs, (2) how
ary, and postsecondary schooling. chief executive officer of the Interna
j many times the theme occurs, (3) the
tional
Evidence suggests that music radi- | Center for Leadership in Edu theme's development over the course of
cation, asserts that "relevance makes
cally affects the interpretation of a film's the film, and (4) the theme's relationship
narrative on a cognitive, physiological,
rigor possible."9,10 By establishing the with the narrative content.
and psychological scale.5 Music has been
relevancy of film, television, and video Depending on their ages and abili
commonly known as a signifier of emo game music in the music curriculum, ties, students could report information
tion.6 However, music can also func meaningful learning opportunities can by documenting their analysis on a
tion within a film by creating a sensepresent
of themselves, instilling more rigor, timeline grid, establishing their findings
unity and coherence to a story; estab depth, and impact for many students in by using graphic representation (e.g.,
lishing time, geographic, and culturaltoday's society. shapes, symbols, self-drawn pictures,

www.nafme.org 71

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 Some
Some Film
FilmMusic
MusicResources
Resources

Film Music History and Composer Interviews Neumeyer,

Neumeyer,David.
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The
Oxford
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Handbook
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MusicMusic
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Buhler,
Buhler,James,
James,David
David
Neumeyer,
Neumeyer,
and and
Rob Rob
Deemer.
Deemer.
Hearing
Hearing
the the
Tan,
Tan, Siu-Lan,
Siu-Lan,Annabel
AnnabelJ. J.
Cohen,
Cohen,
Scott
Scott
D. Lipscomb,
D. Lipscomb,
and Roger
and Roger
A. A.
Movies:
Movies:Music
Musicand
and
Sound
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History.
History.
New New
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Oxford
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Kendall.The
ThePsychology
Psychologyof of
Music
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in Multimedia.
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Hickman,
Hickman,Roger.
Roger.Reel
Reel
Music:
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Exploring
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Hoover,Tom.
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Today's
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Top Film,
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Learning
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Kalinak,
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KathrynMarie.
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A Very
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James. The
The Teacher's
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GuidetotoMusic,
Music,Media,
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Advanced Techniques
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FilmScoring.
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Van Nuys,
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Morgan,
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Knowingthethe
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the
the Art,
Art,Craft,
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Sweat,
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RoyM.M.
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&&
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The New
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Listening
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■■■■■Hi

72 Music Educators Journal June 2015

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text), or structurally reporting each variety of music, as it encompasses provide the anticipating conductor accu
musical event along a student-made numerous styles and genres. rate timing prior to an important music
pictorial storyboard continuum of the and film sync point. Today, the punches
film. Collectively, the class could share Creating Film Music with and streamers can be digitally imprinted
their findings by discussing the effects of
Young Composers using special computer technology pro
music on the film as related to various grams. Furthermore, SMPTE time code
aspects of the theme, its developmentThe initial idea of teachers as composers,has been and continues to be used to
over time, and its psychological effectslet alone teaching others how to composemechanically synchronize the audio
on the interpretation of the story. in synchronization to a film, probably recording hardware with the video
Music teachers and students will unleashes a large dose of anxiety. Youplayback hardware. The second pro
may ask yourself, "What technology do cess involves the composer/performer
quickly notice that film music is another
mode of storytelling and has more ■ composing and performing the music
I use?" or "Who will play or conduct this
functions than just promoting expres
music once it is composed?" or "Where through MIDI sequencers, digital audio
can I find films to compose music?" recording hardware/software, SMPTE
sion. For example, your students could
Recent advances in computer technoltime code, and various synthesizers,
explore how the music in E. T. functions
in foreshadowing E.T.'s illness and
ogy have allowed many the affordabilitysound modules, and virtual instruments.
capture by authorities though varied
and accessibility to construct their own Through multitrack recording and over
film-composing workstations. While produbbing, the composer has the ability to
entrances of the brooding "Government
the such as Pro Tools, Logic Pro, andrecord electronic or acoustic sounds, or
Force" theme placed throughoutgrams
Cubase could expose students to toolsa combination of the two, locked to an
film or how the music simultaneously
narrates the action of Elliot and his of a professional scale, GarageBand, aimported QuickTime video of the film,
friends being chased on their bicycles.MIDI and audio software program, freeall in the confines of a composer's digi
Through careful dissection, students to Apple users, offers a separate video tal workstation suite. Similar to the tradi
could study how the lush Goldentrack Age and many of the basic functions tional process of recording a symphony
style of film music coherently unites similarly available in professional audioorchestra, film images can be programed
the scene when Elliot kisses a girl he
recording and editing programs. It payswith click tracks to assist in performance
likes as a reenactment to what E.T. is to spend some time researching thesynchronization. Wild tracking—record
watching on the television. A question various available workstation products, ing a performance without a synchroni
could be proposed to the students as as topurchase decisions will depend onzation method—is another approach to
why the composer chose to construct budgetary and functional needs of the scoring a film. Mixing the various tracks
the "Flying Theme" on ascending leaps school and the project. completes the postproduction process.
of a perfect fifth, minor seventh, andThere are generally two approaches While the latter process of performing/
perfect octave to accompany the boys' to scoring when composing, performrecording a film score would be feasible
bikes flying over the forest. Further ing, and recording film music. This firstfor all involved in a film-scoring project
more, experimentation with embedding process involves a composer writingwithin a school, recording live musicians
other musical cues in synchronization
the music before joining a staff of musiis not out of the question. A general rule is
with the flying scene in place of the
cians and engineers to record the music to start small and then work toward using
original music could contribute to in
ansynchronization with the film, a techa film composing workstation as you and
understanding of the psychological nique commonly used in Hollywood the students become familiar with what
effects of film music. since the 1930s. This process oftencan be accomplished with the equip
Some classrooms may find the hisincludes an audible click track and/or ment. Exposure to composing using pen
tory of film music informative whenpunch and streamer method to attain cil and paper, music notation software, or
synchronicity at various accent points
making transfers to American and world graphic notation within a MIDI sequenc
history. Whether influenced by indi
between film and music.15 The punch ing program is essential to understanding
vidual pioneers such as Thomas Edison method involves the process of punch the best mode(s) when guiding students
or the Lumiere brothers, World War ing II, a hole in the film stock that provides through the compositional process.
the advent of television, advancements a bright flash of light at the point of the There are multiple resources for offer
in technology, or the aftermath of 9/11, punch to inform the conductor of an ing compositional training to your stu
the field of film and film music has often
important sync point within the action dents. First, you may be more competent
had influential connections to histori of the film. In addition, conductors may to guide a young composer through this
cal events. There is also a rich history also choose to have the film stock pre process than you realize. There may be
among the various film music compos pared to include a long vertical line local/online composers who can work
ers and film scoring trends throughout moving left to right on the film stock. and collaborate with your students on
several eras of film music. This art formThe streamer will then move left to right a project. In addition, Music Educators
offers much for enthusiasts of a wide when played back in order to visually Journal has some informative articles on

73
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composition and improvising approaches filmmaker to the composer. It is the jobinto your digital audio workstation.
with young musicians and creative music of the composer to then structure the Public Domain Flicks (www.publicdo
strategies to guide students through the new music in accordance to various ele mainflicks.com) is another resource for
music creation process.16,17 Consider the ments of the temp music. Without using legally acquiring full-length feature films
following techniques when composing preexisting music, a similar approach in the public domain. Be aware that
specifically for film. could be used by young film composers acquiring videos from websites such as
with the use of prerecorded loop tracks. YouTube and Vimeo could likely violate
Singing the Score GarageBand includes several prere copyright and should not be attempted
corded loop tracks. If a composer finds jwithout acquiring a license.
When people think of film music, they a loop track that fits the vision of the Studying the art of music specific to
often imagine a big, epic theme. How film in terms of tempo, rhythm, or tim silent films could offer many rewards to
ever, not all films need the "big theme." bre, he or she may choose to overdub students. Since many silent films were
Your students will determine the type of improvised musical ideas with varied produced before 1923, there is ease in
music to compose and its overall struc instruments over a loop track. Eventu legally accessing and altering these pub
ture based on the film's requirements. ally, the loop track can be muted, and lic domain works for student creation.19
Many times, tempo is key to the basic the result is an interesting mix of musi Even more, many films produced in or
structure and foundation of a musical cal figures that can then be processed after 1923 could also be in the public
cue. Just by adjusting the tempo of theand mixed further. An entire class or a domain due to improper copyright regis
audible click track, the student comsmall group of students could arrange tration or copyright expiration. Although
poser will be able to match the music'sdifferent versions of a previously per almost all creative contributions to a
intended pacing to the tempo of the visformed piece of music by altering vari film's production (e.g., composing, cin
ual. Once a tempo has been established,ous musical characteristics, such as ematography, editing, and screenwrit
the composer may choose a particular mode, instrumentation, timbre, tempo, ing) fall under a single copyright, an
instrument and musical idea to build harmonic structure, and/or dynamics, to alteration to these films, such as a newly
on. If students struggle in recording an
match a specific mood or tone. composed score or visual editing, can
intended musical line due to insufficient establish it as a new copyrighted work.
keyboard/instrumental skills, they may Exploring Disciplines Therefore, it is essential to inquire about
want to record themselves singing the outside Music copyright law and fair use privileges in
part in synchronization with the click education for copyrighted and public
track and video. Students may find more Gaining access and permission to use domain film works before proceeding
success if they use vernacular speech to films as a derivative work can be chal with the creation of derivative works.20
record chanting, singing, or whistling lenging. One must become familiar with Once the music teacher and students
during the composing process. Once copyright laws and fair use privileges are comfortable crafting music compo
a single musical line has been realized in education before proceeding withsitions in the ways described, they may
through the recording, students can tran such a project. The music teacher will choose to collaborate with other school
scribe it through playback and notate it most likely want to find other ways ofdepartments to produce an original
in writing or even work toward repli acquiring films for students to work film. In collaboration with the school's
cating it back on a musical instrument. on. One option of legally acquiring thedrama/communication arts department
Vocalizing musical ideas allows student rights to a film is to create your own.(scriptwriting, acting, and directing),
composers to hit all musical accent You could also request permission fromvideo department (filming and edit
points in the picture in real time. Accent the copyright holder of a film. Acquiring), business department (accounting
points are points of emphasis between ing these rights may be more difficult and marketing/promotion), art depart
the music and action in the film.18 If a when requesting from a major filmment (production and postproduction
certain accent point doesn't line up to production company compared with visual design), and the music depart
the narrative event in the film, compos asking a local filmmaker. You mayment (music and overall sound design),
ers can simply adjust various parameters also choose to use films that are in the students could create a film in a cross
of the notation with a MIDI sequencer. public domain or created through col curricular format. This integrated pro
laborative film production platforms for cess could strengthen the breadth and
amateur filmmakers such as those found depth of the music experience for a stu
Using Temp Tracking
at www.wreckamovie.com. The Inter dent and also be an assessment oppor
Temp tracking involves matching a pre net Archive (http://archive.org/index. tunity under National Association for
Music Education National Music Stand
existing track of recorded music to a film. php) is an online digital library offering
In filmmaking, this temp track is used free universal access to books, music, ard 8, "Understanding relationships
to communicate how the music should and videos. Public domain films can be between music, the other arts, and dis
function within a scene as directed from downloaded from this site and imported ciplines outside the arts."21 By guiding

74 Music Educators Journal June 2015

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students through the experiences of sto
rytelling and filmmaking in association
with music, teachers could help forge
new pathways for students to explore,
synthesize, and assimilate these experi
ences and further their development as
learners, filmmakers, and musicians.
manipulation of tempo, mode, voicing, images in concerts, few opportunities
ornamentation, and other musical char seem to be available for musicians to
acteristics in conjunction with the film's perform film music in synchronization
narrative events, students could take a with a projected film, as intended by the
contextual approach to developing an filmmakers. This could in part be due to
understanding of the leitmotif concept limited access to notated film scores.
by approaching it from a standpoint of In an effort to meet the artistic needs

a musician, a storyteller, a filmmaker, and desires of performers, audiences,

Teaching through Film Music
Even if you don't have the means of set
ting up a film music composing suite or
have access to a general music class where
you can focus on the analysis of music in
film, film music can still be incorporated
in the music classroom. Choral and instru
or a character actor in a relevant and and communities, more concerts per
influential manner. forming live to projected film visuals
Last, these hands-on, contextual should be considered when program
approaches to interacting with film ming concerts. Similar to the collabora
music could elevate students' under tion between composers and lyricists
standing of their own creativity andduring
indi the compositional process in
choral music, composers, publishers,
viduality. In a recently designed music
activity attainable for all levels of and
learneducators of choral and instrumen

mental conducting teachers will often use tal

ing called "White Sheets," groups of stu music should consider collabora

extramusical approaches, such as the use tion

dents are asked to draw a representation with filmmakers to create artistic

of metaphors, guided imagery, or kines of sound on a white sheet of paper opportunities

(e.g., and authentic production
thetic, to instigate a musical response a day of the week or a mood).24 Stu
experiences. This would likely make it
from student musicians during ensem feasible for students and the community
dents can work together or individually
to interpret and improvise the musical
ble rehearsals.22 In a recent study, choral to appreciate the art form live in concert.
singers perceived themselves as singing sound as represented on the white sheet
with more expression when performing of paper; this is followed by additional
Resources
while simultaneously viewing a well discussions and listening activities. In a
matched projected film visual compared similar way, music teachers could use textbooks on the subject of
Several
film music and notated sheet music in
to those who sang with an unmatched fragments of films in place of the white
film visual or without a visual compo sheets to stimulate students' explora
piano reduction form have been offered
nent for some film visual sequences.23 tion of communicating musical sounds
in recent years. However, many more
resources can be found online. Film
The majority of the singers indicated that through improvisation. These activities
they preferred the process of perform are just a few examples of how music Score Monthly (www.filmscoremonthly
ing with a well-matched film visual com teachers can use film as a vehicle to .com) is one of the most prominent web
pared to an unmatched visual or no visual guide students toward a deeper under sites related to film music appreciation
stimulus at all. Therefore, these results standing of musical concepts, creativity,
on the Internet, offering the general pub
seem to suggest that the inclusion of film refinement, expression, and individual
lic insight into the art of music in film, tel
visuals as a pedagogical tool during the independence in the classroom. evision, and videos games through their
rehearsal process could be an effective online magazine (FSM Online) while
and viable option for student musicians Authentic Performance connecting individual film music enthusi
to gain a deeper understanding of expres Production Experience asts through its online discussion board.
sivity as another mode of an extramusical Other website resources include Film
approach. Further investigation is needed Using projected film visuals in the
Music Society, Film Music Magazine,
on how to facilitate learning through the rehearsal process could also inspireFilm
a Score Click Track, and multiple
incorporation of a film visual as an extra new approach to how composers com
film-music critique and composer society
musical pedagogical tool. websites. DVD bonus features and online
pose and distribute music for performing
The medium of film could also func video interviews are also fine resources
ensembles. In an effort to offer diverse

tion as a tool for developing students' concertgoing experiences for patrons ofto help readers gather information about
understanding of music concepts. A concert halls, ensembles such as the Chi the musical and artistic choices shared
music educator interested in introduc cago Symphony Orchestra have branchedby filmmakers. Contacting local filmmak
out to diverse populations by includingers and music composers in your area
ing the concept of leitmotif could have
the students collaborate in groups to "Friday Night at the Movies," a concert could be the most productive in terms of
compose and improvise a theme for series
a where the symphony performs liveaccessing available resources.
given character to be performed in synin synchronization with the projection Music educators have recently been
chronization with a live-action or an of a film on an overhead screen. While
offered a resource by Cathy Blair, in
animated film. With the task of continu school ensembles have been known to
association with Lorenz Publishing,
titled "Music Makes the Scene." This
ing to develop the theme through the occasionally project moving and still

75
www.nafme.org

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fifty-minute DVD includes ten short
movie clips, with each one shown three
times with multiple music underscores.
Through reproducible worksheets and
listening guides, fifth- through eighth
grade students are able to explore the
effects of music in conjunction with the
movie clips, thus broadening the stu
dents' critical listening skills.
Notes
1. Hanns Jelinek, "Muisik in Film und
Fernsehen: Einige Bemerkungen zu
einem aktuellen Thema" [Music in Film
and Television: Some Remarks on the
Topic], Osterreichisches
Österreichisches Musikzeitschrift (Universal City, CA: Universal Studios
23, no. 3 (1968): 122-35.
2. Claudia Gorbman, Unheard Melodies:
Narrative Film Music (London: BFI
Publishing, 1987).
1987).
Media Competence Can Help Music
Studies Move into the Digital Era,"
Music and the Moving Image 5, no. 2
(Summer 2012): 16.
14. Steven Spielberg, Kathleen Kennedy, and
John Williams, E.T.—The Extra-Terrestrial
Home Entertainment, 1982), Film.
!
15. Roy15.
M. Prendergast, Film Music: A Roy M. Prendergast, Film Music: A
NeglecteNeglected
d Art (New York: W. W. Norton & Art (New York: W. W. Norton &
Co., 1992), 266-68.

"Visible" Conclusion Greengrass, Frank

3. Paul Greengrass, Frank Marshall,
Marshall, 16. Clint
Clint Randies
Randiesand
andMark
MarkSullivan,
Sullivan,
Patrick Crowley, Paul L. Sandberg, and "How
"How Composers
ComposersApproach
ApproachTeaching
Teaching
John Powell, The Bourne Supremacy Composition:
Composition: Strategies
Strategies for
for Music
Music
Many of us are at a disadvantage (Universal Studios, 2004), Film. Teachers,"
Teachers," Music
MusicEducators
EducatorsJournal
Journal99,
99,
because we most likely did not take no. 3 (March 2013): 51-57.
4. George Lucas, Gary Kurtz, and John
a course in film music and perhaps Williams, Star Wars: Episode IV—A New 17. Nathalie F. Robinson, Cindy L. Bell, and
believe we do not have the training to Hope (20th
Wope (20th Century
Century Fox,
Fox, 1977), Film. Lenore Pogonowski, "The Creative Music
teach this art form. Therefore, equipped 5. Siu-Lan Tan,
Tan, Annabel
Annabel J.
J. Cohen,
Cohen, Scott
Scott Strategy: A Seven-Step Instructional
with your bullwhip, brown hat, and D. Lipscomb, and Roger A. Kendall, Model," Music Educators Journal 97,
leather jacket (cue the "Raiders March"), The Psychology of Music in Multimedia no. 3 (March 2011): 50-55.

begin exploring the art form yourself. (Oxford, UK: Oxford University Press, 18. Scott D.
D. Lipscomb,
Lipscomb, "The
"The Perception
Perception
2013); Fred Karlin, Listening to Movies: of Audio-Visual
Audio-Visual Composites:
Composites: Accent
Accent
Try analyzing the film music underscore
The Film Lover's Guide to Film Music
Structure
Structure Alignment
Alignment ofof Simple
Simple Stimuli,"
Stimuli,"
in relation to a specific film, compos (New York: Schirmer Books, 1994); and Selected
Selected Reports
Reports in
in Ethnomusicology
Ethnomusicology12 12
ing a piece of music for a short film, or Kathryn Marie Kalinak, Film Music: A (2005): 37-67.
simply researching film music resources. Very Short Introduction (Oxford, UK:
Sonny Bono
19. Sonny Bono Copyright
Copyright Term
TermExtension
Extension
During this process, you can begin to Oxford University Press, 2010).
Act,
Act, 17
17 U.S.C.
U.S.C.§§301-305(1998)
301-305 (1998)
develop knowledge in the field with the 6. Royal S. Brown, Overtones and http://www.copyright.gov/.
http://www.copyright.gov/.
ability to offer your students a unique, Undertones: Reading Film Music
20. James
James Frankel,
Frankel,The
TheTeacher's
Teacher's Guide
Guideto to
(Berkeley: University of California Press,
individualized, and diverse perspective. Music, Media,
Music, Media,and
andCopyright
CopyrightLaw[ LawNew
(New
1994), 16.
Whether studying music in film, tel York:
York: Hal
Hal Leonard,
Leonard,2009).
2009).
7. Frank Marshall, George Lucas, Howard
evision, online video content, or video 21.
21. The
The School
SchoolMusic
MusicProgram:
Program: AA New
New
Kazanijan, and John Williams, Indiana
games, you are presenting an art form Jones and the Raiders of the Lost Ark Vision:
Vision: The
The K-12
K-12 National
National Standards,
Standards,
that is extremely relevant and applicable PreK
PreK Standards,
Standards,and
andWhat
WhatThey
TheyMean
Mean
(Paramount Home Entertainment,
to Music
Music Educators
Educators(Reston,
(Reston,VA:VA:Music
Music
to your students and their culture.25 In 1981), Film.
Educators
Educators National
NationalConference,
Conference, 1994).
1994).
fact, many students today are develop 8. Vision 2020: The Housewright
ing skills in programing their own video Symposium on the Future of Music 22.
22. John
John A.
A. Sloboda,
Sloboda,"The
"TheAcquisition
Acquisition
Education (Reston, VA: National of Musical
Musical Performance
PerformanceExpertise:
Expertise:
games. With the advancement in com
Deconstructing the'Talent'
Deconstructing the 'Talent'Account
Account
Association for Music Education, 2000).
puter graphics and full orchestral scores of Individual Differences in Musical
dedicated to video games, the genre 9. International Center for Leadership in Expressivity,"
Expressivity,"ininThe
TheRoad
Roadtoto
Excellence.
Excellence:
Education, Rigor and Relevance Handbook
offers an intriguing and possibly entre The
The Acquisition
Acquisitionof
ofExpert
ExpertPerformance
Performance
(Rexford, NY: International Center for
preneurial opportunity for students who in the
the Arts
ArtsandandSciences,
Sciences,Sports
Sports
and
and
Leadership in Education, Inc., 2010). Games,
Games, ed.
ed. K.
K.Anders
AndersEricsson
Ericsson(Mahwah,
(Mahwah,
would otherwise not enroll in a formal
10. Patrick Creaven, "Education Expert NJ: Lawrence
NJ: LawrenceErlbaum
ErlbaumAssociates,
Associates,
music class. One could, therefore, main Stresses Relevance in Public 1996), 107-26.
tain that inclusion of multimedia music Schools," ConcordPatch (2011), 23. Daniel
Daniel J.
J. Keown,
Keown,"The
"TheEffects
Effectsofof
can have immediate and perhaps life accessed January 3, 2013, http://
Projected
Projected Films
Filmson
onSingers'
Singers'Expressivity
Expressivity
long influences on how students under concord-ca.patch.com/articles/ in Choral
Choral Performance"
Performance"(PhD
(PhDdiss.,
diss.,
stand and interact with this medium. daggett-relevance-needed-in-us-schools. University
University of
ofMissouri-Kansas
Missouri-KansasCity,
City,
I hope that this article lends itself 11. Doug Adams, The Music of the Lord 2013), 133-37.
of the Rings Films: A Comprehensive
to future inquiry, practical applica 24. Joseph Parisi, "White Sheets: A Road
Account of Howard Shore's Scores (Van
tions, perspectives, and adventures to Composition and Improvisation,"
Nuys, CA: Alfred Music, 2010). Missouri School Music 68, no. 2 (2013):
on how to infuse film, television, and
12. Elsie Walker, "Introduction: Teaching 12-13, 23.
video game music into the music edu Music and the Moving Image and the
25. and
Victoria J. Rideout, Ulla G. Foehr, and
cation curriculum in an attempt to take Value of Praxis," Music and the Moving Donald F. Roberts. Generation M2:
this invisible art form and make it Image 5,
5, no.
no. 22 (Summer
(Summer 2012):
2012): 1.
1. Media in the Lives of 8-18- Year-Olds
"visible" in our classrooms, schools,13. Philip Tagg, "Music, Moving Image, and (Menlo Park, CA: Henry J. Kaiser Family
and communities. the 'Missing Majority': How Vernacular Foundation, 2010).
Foundation, 2010).

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76 Music Educators Journal June 2015

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