Sound as Signifier: Communication and Expression Through the Sound of Clothing

Fashion, clothing, and dress have traditionally been evaluated on visual characteristics. This paper focuses on the aural qualities of clothing and on what is being communicated through sound. Semiotic theory, in particular denotation and connotation, discusses the ability of clothing to communicate through sound. Philosophical ideas of expression through music and sound emphasized the significance of feeling and experience in art and fashion. Five garments were designed as sound objects to explore this link between sound and clothing. The garments are featured in a video in which two musicians dance in the pieces. Musician Born Gold created an original film score from the recorded sounds of the pieces. These works attempted to direct the focus of fashion experience towards sound, without disregarding the cultural emphasis on visual aesthetics. The intention is to shift the way individuals relate to their clothing, to a fuller and more cognizant sensory experience.

Sound as Signifier: Communication and Expression Through the Sound of Clothing

Fashion, clothing, and dress have traditionally been evaluated on visual characteristics. This paper focuses on the aural qualities of clothing and on what is being communicated through sound. Semiotic theory, in particular denotation and connotation, discusses the ability of clothing to communicate through sound. Philosophical ideas of expression through music and sound emphasized the significance of feeling and experience in art and fashion. Five garments were designed as sound objects to explore this link between sound and clothing. The garments are featured in a video in which two musicians dance in the pieces. Musician Born Gold created an original film score from the recorded sounds of the pieces. These works attempted to direct the focus of fashion experience towards sound, without disregarding the cultural emphasis on visual aesthetics. The intention is to shift the way individuals relate to their clothing, to a fuller and more cognizant sensory experience.

An Austrian in Hollywood

When interviewed about film music, John Williams is often quick to credit Max Steiner as the originator of the leitmotif technique in film music. Steiner brought with him to the U.S. the compositional techniques he learned as a child prodigy in Europe, including the leitmotif technique. This paper will discuss Steiner’s use of leitmotifs in his Academy Award winning score to the 1942 Warner Bros. film Now, Voyager. Film musicologists disagree on the relevance of themes being heard in different keys throughout a film score and their possible effect on the audience. I intend to demonstrate that, although the significance of these key relationships may only exist on a subconscious level, they do contribute in a meaningful way to the viewing/listening experience. To demonstrate this, I will use examples of “Charlotte’s Theme,” also known as the “Love Theme,” which appears in various keys throughout the film. The key relationships are clearly intentional and well thought out by Steiner. This theme, which is almost always in triple meter, was recorded in 1943 by Allen Miller and his Orchestra as a pop tune, in quadruple meter, with the title “It Can’t Be Wrong.” Steiner plagiarizes himself when this instrumental version is heard as source music in the 1945 Warner Bros. film Mildred Pierce. Vocal versions, including one recorded by Frank Sinatra, include lyrics by Kim Gannon. This version was also sung in the Star Trek: Voyager episode “The Killing Game, Part 1.”

Erik Heine: James Newton Howard’s Signs: A Film Score Guide

Erik Heine: James Newton Howard’s Signs: A Film Score GuideLanham, MD: Rowman & Littlefield, 2016. [228pp. ISBN: 9781442256040. CAD66.89 (Kindle Edition)]. Scarecrow Film Score Guides, no. 17. Musical examples, filmography, bibliography, index.

From Film Score to Art Music and Back

Sergei Prokofiev was one of a few composers who worked equally successfully in the fields of film music and art music. His scores for Alexander Nevsky and Ivan the Terrible are as significant for the history of film music as are his operas and ballets for musical theater. He approached film projects with the same creative rigor as his stage and symphonic works. And so we must think of his film scores not as a separate enterprise but, rather, as one of the various theatrical and dramatic genres at which he tried his hand. While the operatic features of his music for Alexander Nevsky and Ivan the Terrible have become widely recognized, Prokofiev’s other film scores can also be placed in a broader context of the composer’s output. The cross-connections between genres can be traced at different levels, from common themes and literary ideas and similar stylistic evolution, to shared compositional techniques and borrowings of musical material from one work to another.

Peran Musik dalam Film Score

Scores are things that cannot be separated from the film. The score has an important role in the film. Apart from being a communication tool, scores are needed to convey visual messages. The rise of filmmaking lately especially those related to scores requires composers with a variety different disciplines. This paper discusses the score on the film. The method used is observation. The data studied is in the form of journals, books, pictures, videos, which have been described in written form.

Key aspects of interrelation between Kyrgyz cinematography and music

In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.

The Use of Silence in Selected Compositions by Frédéric Devreese: A Musical Analysis of Notated and Acoustic Silences

Frédéric Devreese (b. 1929) is a prominent Belgian classical and film composer who has written over 200 musical compositions, including 22 film scores. In this paper, we approach the analysis of four of his compositions, including one film score cue, by examining the presence and absence of silence. The chosen pieces were personally recommended and selected by the composer himself, as being relevant for their usage of silence. Our subject of study is primarily focused on silences that are represented in the score (i.e. rests, phrase marks, staccati, breath marks, etc.). However, a brief comparison with two selected recordings for each score will be made, as part of a comparative analysis. Two new musicological tools are presented and tested in this study, namely: Barcode of Synchronized Rests (BSR), and Barcode of the Silent Waveform (BSW). Consequently, a better understanding of the analysed compositions is achieved, and an analytical method for studying functions of silence is suggested, opening horizons to future silence-based musicological studies.