MUS 310: Screen Music - Analysis of Film and Multimedia in Detail

This essay examines the critical role of music in visual media, specifically focusing on its function in film and multimedia contexts. The introduction establishes the importance of music in shaping the emotional impact and narrative of a scene, discussing diegetic and non-diegetic music, and how music reflects the pace and action on screen. The body of the essay then delves into a detailed analysis of the chosen multimedia examples, including advertising and television, applying concepts like melodic contour, instrumentation, rhythm, dynamics, phrasing, harmony, and texture. The essay highlights how these musical elements contribute to the overall meaning and emotional effect of the chosen scenes, providing a comprehensive understanding of the relationship between music and visual storytelling. The analysis includes discussions on how music enhances visual imagery and creates a multi-dimensional experience for viewers, making it an essential component in the art of filmmaking and multimedia production.

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Introduction
Music plays an important role in giving emotional relationship between the sound and
the audio-visual art in a movie. Through the lens, it shows how each medium works to
convey emotional influence together in a movie context in growing areas of research.
Composers, artists and sound designers work together in creating a cohesive experience
through narrative, movie goals and emotion. Each person involved in making of a movie
must collaborate with each other to create a visual imagery while music plays a major role in
the ability of humans to create vivid and clear mental pictures in sounds produced. This is
primarily done through a compelling and effective sound track and the steps that leads to
music creation (Daynes, 2016). Creating visual imagery with sound and art brings life and
emotions to the movie lines and stories advanced. It gives multi-dimensional experience to
viewers due to emotional engagement and tactile of music, visual art, play and narrative. This
allows an enhanced and deeper connection created in movies.
Examples of Multi-media: Advertising and Sales
Advertising using the two movies given: Hunger games: smoking jay and Façade has been
enhanced through the musical variations in the excerpt. The two competing perspective either
convey elicited emotions and conveyed emotions. Conveyed emotions is the idea of people
knowing the type of emotion from music due to influences such as culture while elicited
emotion is the idea one feels emotionally rather than implied.
The image is enriched also by other elements of musical speech - the Lad harmonic
warehouse of the work, its tempo and dynamic nuances, methods of presentation of musical
thought, the structure of the work itself. Music by the combination of its expressive means

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creates an artistic image that evokes associations with the phenomena of life, with human
experiences. The combination of expressive means in music with a poetic word (for example,
in a song, opera), with a plot (in a program play), with action (in performances) makes the
musical image more concrete, understandable.
The purpose of the article is to consider the means of musical expression as elements
of the artistic and productive side of the movie perfomance. Music is an art of creating an
artistic image by organizing the means of musical expression in time. Among the means of
musical expressiveness (melody, fret, harmony, texture, tempo, meter, rhythm, timbre,
register, dynamics, stroke, reception) four are primary: height, duration, timbre and
dynamics. The remaining derivatives, as they relate either to the field of height, duration,
timbre, dynamics; or represent a synthesis of two or four of the above characteristics of
sound. Musical language recreates artistic images especially in Hunger games and Façade
and causes certain psychological states with the help of specific expressive means. The main
expressive element of the musical language is melody as a unique form of human thinking, an
artistic means of transmitting feelings and emotions. The melody has no analogues and exists
only in the field of musical art.
A characteristic expressive means inherent only in music mode, which is based on the
interconnection of musical sounds, determined and determined by the dependence of unstable
sounds on stable ones. The main frets, as you know, which were formed during the historical
development of musical theory and practice, are the seven-step “major” and “minor” and
their varieties. Each mood has certain expressive capabilities and is used in musical creativity
to convey this or that content, the nature of music, to create the necessary emotional and
sensual atmosphere.
Harmony and Tonality

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The same unique attributive and expressive element of the musical language is
harmony, which in the general sense is understood as the logical combination of tones into
consonance and the connection of consonances in their consistent movement. In a musical
work, harmony performs important functions in the temporal process of musical
development, the transfer of musical content and form, the most complete identification of
artistic imagery, stylistic and genre characteristics of sound, enriches and deepens the sound
by thematic, harmonizes the polyphony, making up the elements of texture, concretizes the
relationship between large and small parts of the work, melody elements and individual
sounds.
Important logical, structural and artistic expressive functions are performed by such
elements and means of the musical language as rhythm, tempo, dynamics, timbre, articulation
and intonation. Moss is often considered non-specific, that is, characteristic not only of
music. They are quite widely used in other activities, including in various types of arts.
Nevertheless, in the musical art in movie scenes these means receive a new specific quality,
new expressive properties and become the immanent means of musical expression, a purely
musical phenomenon.
Television
In the movies, Hunger games and Façade, the television role plays an important role.
Intonation as a specific component of the artistically-productive side of the performing
process was interpreted by researchers from different points of view. So, it’s worth noting
that intonation is: raising and lowering the tone of the voice during pronunciation (linguistic
intonation).In musicology, “intonation” is broadly defined as “the real sound embodiment of
a musical work, which is characterized by a combination of various sound means and their
correlation within the syntactic scale level.

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In the domestic musicology, the issues of articulation and pronunciation were dealt
with in the middle of the 20th century by the famous musician and scientist. He created the
concept, choosing the motive structure of the linear layers of musical fabric as a theoretical
basis. The performer’s clear auditory perception of the correlation of strong and weak time in
motives (iamba, chorea, amphibrachia) and the ways of their execution (connected
separately) were the essence of the teachings. In the book, pronunciation (articulation) acts as
a force that can endow music with meaning or deprive it of meaning. The most intimate, it
would seem elusive, is analyzed, due to which we hear and perceive music as speech.
Methods of musical syntax, logical system.
Dynamics and Phrasing
The range of articulation techniques is rich, rich in gradations. It seems that only
mathematically accurate thinking is able to dissolve what is, in essence, a moment in the
development of the process and which can be reproduced only by the artist’s sensitive
intuition. In the work of I. Braudo, the intuitive becomes clearly meaningful, and at the same
time, articulation appears in such a striking multiplicity that only the lively sound of music
gives us. Behind the finest observations, imaginative analyzes, one can hear the character of
the work, the style of the composer, the performing tradition, the musical era.
Instrumentation and tone colour
Each instrument makes its own tone colour. An example a guitar and a clarinet when
played have the same pitch, however, the tone colour is different making it possible to
differentiate the between the sounds one is hearing. Each of the researchers of the influence
of articulation on performing practice is faced with the fact that in modern performance
musical means of expression are so enriched both in new ways and in the variability of using

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old methods in interpreting a work, that the approach to understanding articulation only from
the point of view of separation and connecting functions does not seem appropriate . And the
study of articulation itself goes beyond the framework of a highly specialized systematization
of individual expressive techniques.
In general terms, various definitions of articulation can be presented in the following-
articulation as a synonym for the concept of “pronunciation”; articulation as a system of
playing techniques ; articulation as a process of intonation; articulation as the art of playing
music with one degree or another of dissection or coherence ; articulation as an element of
the system of means of musical language and speech; articulation is the result of purposeful
psychophysical activity of the performer (Liu, Gu, Zhang,. and Liu, 2016).
Rhythm and tempo
Unlike other means of musical expression, rhythm belongs not only to music. All
temporary art forms exhibit rhythmic properties, demonstrating various forms of artificially
organized time. In this sense, the musical rhythm is an organized sequence of durations of
musical sounds, and the rhythm in choreography is an organized sequence of durations of
dance divisions.
The most important of the special qualities of the musical rhythm, the rhythm of
sounds and intonations is the ability to manifest their properties with the help of all means of
music, including purely musical ones. “Musical rhytm is a temporary and accent side of
melody, harmony, texture, thematism and all other elements of a musical language. Music
has its own special language - the language of sounds. And she also has her own expressive
means: register, melody, rhythm, size, tempo, fret, dynamics, timbre, texture and meter.
Different elements of the musical language (pitch, longitude, volume, coloring of sounds,

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etc.) help composers to express different moods, create different musical images. These
elements of the musical language are also called means of musical expression. Let's consider
them in more detail.
Melody contour
This is the basis of any musical work, thoughts and soul. Without a melody, music is
unthinkable. The melody can be different - smooth and jerky, funny and sad.
Register
A register is part of a range, a specific pitch of a voice or musical instrument.
Rhythm
In any music, in any song except the melody, rhythm is very important. Everything in
the world has a rhythm. Our heart is a heartbeat; there are brain rhythms, there is a daily
rhythm - morning, day, evening and night. The change of seasons is the rhythm of the
planet.The rhythm translated from Greek means “dimensionality” - it is a uniform alternation,
repetition of short and long sounds (Goyal, Kumar, Guha, and Narayanan, 2016). The rhythm
in different dances is well understood.
Music without rhythm is perceived as a set of sounds, not a melody. It affects one or
another character of music. The smooth rhythm gives the musical composition lyricism.
Intermittent rhythm creates a feeling of anxiety, emotion.Thus, a rhythm is a sequence of
sounds of the same or different duration. Sounds of different durations are combined into
rhythmic groups, which form the rhythmic pattern of the work (Orlandi, et al, 2018).
Types of rhythmic patterns

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The repetition of the same durations in works of slow or moderate pace creates a calm,
balanced image.In works of fast pace - sketches, toccats, preludes - the repetition of the same
durations (sixteenth durations are often found) gives the music an energetic, active character.
More often rhythmic groups are united by notes of different durations. They form a variety of
rhythmic patterns. The following rhythmic figures are less common:
Pace
This is the speed of a piece of music. The pace is fast, slow and moderate. Italian words are
used to signify the pace and are understood by all musicians in the world. For example, fast
pace - allegro, presto; moderate pace - andante; slow - adagio. Some musical genres have
their own constant, certain sizes, and therefore they are easily recognizable by ear: the waltz
has three quarters, the fast march has two quarters.
Fret
In music, there are two contrasting frets - major and minor. Major music is perceived by
listeners as bright, clear, joyful, and minor - as sad and dreamy.
Timbre
This is the coloring of the sound. Each human voice has its own coloring, its own timbre;
Each musical instrument has its own timbre. Thanks to the timbre, we can distinguish the
voice of a person or a musical instrument without seeing it, but only hearing.
Conclusion
Movie directors have talked about the role of music in cinema even during silent
cinema. Various aspects of the interaction of music and cinema were considered by both

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practical directors and later film critics. The movie image is enriched by other elements of
musical speech - the Lad harmonic warehouse of the work, its tempo and dynamic nuances,
methods of presentation of musical thought, the structure of the work itself. Music by the
combination of its expressive means creates an artistic image that evokes associations with
the phenomena of life, with human experiences. The combination of expressive means in
music with a poetic word (for example, in a song, opera), with a plot (in a program play),
with action (in performances) makes the musical image more concrete, understandable.

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References
Daynes, S., 2016. Time and memory in reggae music: The politics of hope.
Goyal, A., Kumar, N., Guha, T. and Narayanan, S.S., 2016, March. A multimodal mixture-
of-experts model for dynamic emotion prediction in movies. In 2016 IEEE International
Conference on Acoustics, Speech and Signal Processing (ICASSP) (pp. 2822-2826). IEEE.
Liu, Y., Gu, Z., Zhang, Y. and Liu, Y., 2016. Mining Emotional Features of Movies.
In MediaEval.
Orlandi, F., Debattista, J., Hassan, I.A., Conran, C., Latifi, M., Nicholson, M., Salim, F.A.,
Turner, D., Conlan, O., O'sullivan, D. and Tang, J., 2018, November. Leveraging Knowledge
Graphs of Movies and Their Content for Web-Scale Analysis. In 2018 14th International
Conference on Signal-Image Technology & Internet-Based Systems (SITIS) (pp. 609-616).
IEEE.

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