Film-Music

FilmMusicAaronCoplandMillionsofmoviegoerstakethemusicalaccompanimenttoadramaticfilmentirelytoomuchforgranted.Fiveminutesaftertheterminationofapicturetheycouldn'ttellyouwhethertheyheardmusicornot.Toaskwhethertheythoughtthescoreexcitingormerelyadequateordownrightawfulwouldbetogivethemamusicalinferioritycomplex.But,onsecondthought,andpossiblyinself-protection,comethequery:Isn'tittruethatoneisn'tsupposedtobelisteningtothemusic?Isn'titsupposedtoworkonyouunconsciouslywithoutbeinglistenedtodirectlyasyouwouldlistenataconcert?数以百万计的电影观众将音乐伴奏带到一部戏剧电影中，这完全是理所当然的。图片终止五分钟后，他们无法告诉您是否听过音乐。询问他们是否认为乐谱令人兴奋，或者仅仅是足够或彻头彻尾的糟糕表现，会给他们带来音乐上的自卑感。但是，经过深思熟虑，或者可能出于自我保护的考虑，提出了一个疑问：“难道不该有人不应该听音乐吗？难道它不应该在不知不觉中潜意识地作用于您吗？就像听音乐会一样吗？”Knowingmoreofwhatgoesintothescoringofapicturemayhelpthemovielistenertogetmoreoutofit.Fortunately,theprocessistoocomplextobebrieflyoutlined.Inpreparationforcomposingthemusic,thefirstthingthecomposermustdo,ofcourse,istoseethepicture.Almostallmusicalscoresarewrittenafterthefilmitselfiscompleted.Thefirstrun-throughofthefilmforthecomposerisusuallyasolemnmoment.Afterall,hemustlivewithitforseveralweeks.Thesolemnityoftheoccasionisemphasizedbytheexclusiveaudiencethatviewsitwithhim：theproducer,thedirector,themusicheadofthestudio,thepictureeditor,themusiccutter,theconductor,infeet,anyoneinvolvedwiththescoringofthepicture.了解更多有关图片评分的内容可能有助于电影听众从中获得更多收益。幸运的是，该过程过于复杂，无法简要概述。在作曲之前，作曲家首先要做的就是看图片。电影本身完成后，几乎所有乐谱都被写入。对于作曲家来说，这部电影的首演通常是一个庄严的时刻。毕竟，他必须忍受几个星期。与他一起观看的唯一观众强调了这种场合的庄重性：制片人，导演，工作室的音乐主管，图片编辑，音乐剪裁，指挥在脚下，涉及到评分的任何人图片。Thepurposeoftherun-throughistodecidehowmuchmusicisneededandwhereitshouldbe.Sincenobackgroundscoreiscontinuousthroughoutthefulllengthofafilm（thatwouldconstituteamotion-pictureopera）,thescorewillnormallyconsistofseparatesequences,eachlastingfromafewsecondstoseveralminutesinduration.Asequenceaslongassevenminuteswouldbeexceptional.Theentirescore,madeupofperhapsthirtyormoresuchsequences,mayadduptofromfortytoninetyminutesofmusic.演练的目的是确定需要多少音乐以及应该在哪里播放。由于没有背景分数在影片的整个长度（构成电影戏曲）的整个过程中都是连续的，因此该分数通常由独立的序列组成，每个序列的持续时间从几秒钟到几分钟不等。长达七分钟的序列是例外的。整个乐谱可能由三十个或更多这样的序列组成，可能总计四十至九十分钟。Theproducer-director,ontheotherhand,ismorepronetominkofmusicintermsofitsimmediatefunctionalusage.Sometimeshehasulteriormotives：anythingwrongwithascene-apoorbitofacting,abadlyreadline,anembarrassingpause-hesecretlyhopeswillbecoveredupbyaclevercomposer.Producershavebeenknowntohopethatanentirepicturewouldbesavedbyagoodscore.Butthecomposerisnotamagician;hecanhardlybeexpectedtodomorethantomakepotentthroughmusicthefilm'sdramaticandemotionalvalues.另一方面，从直接功能使用的角度来看，制片人/导演更容易产生水貂音乐。有时他有别有用心：场景中有什么不对劲–表演不佳，台词不好读，尴尬的停顿-他暗中希望能被一个聪明的作曲家掩盖。众所周知，制片人希望将整个图片保存得很好。但是作曲家不是魔术师。除了通过音乐使电影的戏剧性和情感价值发挥作用外，他几乎没有什么能做的。Whenwell-contrived,thereisnoquestionbutthatamusicalscorecanbeofenormoushelptoapicture.Onecanprovethatpoint,laboratory-fashion,byshowinganaudienceaclimacticscenewiththesoundturnedoffandthenonceagainwiththesoundtrackturnedon.Herebrieflyarelistedanumberofwaysinwhichmusicservesthescreen:如果做得很好，毫无疑问，乐谱可以为图片带来巨大的帮助。可以通过向观众展示关闭声音然后再打开音轨的高潮场景来证明这一点，即实验室时尚。这里简要列出了音乐在屏幕上播放的多种方式：1.Creatingamoreconvincingatmosphereoftimeandplace.NotallHollywoodcomposersbotheraboutthisnicety.Toooften,theirscoresareinterchangeable:athirteenth-centuryGothicdramaandahard-boiledmodembattleofthesexesgetsimilartreatment.Thelushsymphonictextureoflatenineteenth-centurymusicremainsthedominatinginfluence.Butthereareexceptions.Recently,thehigher-gradehorseoperahasbeguntohaveitsownmusicalflavor,mostlyafolksongderivative.1.营造更具说服力的时间和地点氛围。并不是所有的好莱坞作曲家都为这种精致而烦恼。他们的分数常常是可互换的：十三世纪的哥特式戏剧和艰苦的现代两性之战得到了类似的待遇。十九世纪末期音乐的郁郁葱葱的交响纹理仍然是主要的影响。但是也有例外。最近，高品位的马戏已经开始具有自己的音乐风格，主要是民歌的衍生品。2.Underliningpsychologicalrefinements—theunspokenthoughtsofacharacterortheunseenimplicationofasituation.Musiccanplayupontheemotionsofthespectator,sometimesCounterpointingthethingseenwithanauralimagethatimpliesthecontraryofthethingseen.Thisisnotassubtleasitsounds.Awell-placeddissonantchordcanstopanaudiencecoldinthemiddleofasentimentalscene,oracalculatedwoodwindpassagecanturnwhatappearstobeasolemnmomentintoabellylaugh.2.强调心理修养-对角色的潜移默化的想法或对情境的看不见的暗示。音乐可以播放观众的情绪，有时会通过听觉图像来反驳所看到的事物，这暗示着所看到事物的反面。这听起来并不那么微妙。放置适当且不和谐的和弦可以使听众在感伤的场景中感冒，或者经过精心设计的木管乐器通道可以将看上去很庄重的时刻变成令人belly然心动的笑声。3.Servingasakindofneutralbackgroundfiller.Thisisreallythemusiconeisn'tsupposedtohear,thesortthathelpstofilltheemptyspots,suchaspausesinaconversation.It'sthemoviecomposer'smostungratefultask.Butattimes,thoughnooneelsemaynotice,hewillgetprivatesatisfactionfromthethoughtthatmusicoflittleintrinsicvalue,throughprofessionalmanipulation,hasenlivenedandmademorehumanthedeathlypallorofascreenshadow.Thisishardesttodo,asanyfilmcomposerwillattest，whentheneutralfillertypeofmusicmustweaveitswayunderneathdialogue.3.用作中性背景填充剂。这确实是一种人们不应该听到的音乐，这种音乐有助于填补空白处，例如谈话中的停顿。这是电影作曲家最忘恩负义的任务。但是有时，尽管没有其他人会注意到，但他会从这样的想法中获得私人满足，那就是，通过专业的操纵，内在价值很小的音乐使屏幕阴影的致命苍白变得活泼，使人更加苍白。当任何中性的音乐必须在对话的下方编织时，这是任何电影作曲家都会证明的最困难的事情。4.Buildingasenseofcontinuity.Thepictureeditorknowsbetterthananyonehowserviceablemusiccanbeintyingtogethera