Collective conceptualization: a methodology for contemporary film score composers: a portfolio of compositions (disposed as a film score) and exegesis.
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Date
2013
Authors
Love, Martyn
Editors
Advisors
Carroll, Mark Stephen
Koehne, Graeme John
Whittington, Stephen Charles
Coaldrake, Kimi
Koehne, Graeme John
Whittington, Stephen Charles
Coaldrake, Kimi
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Thesis
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Abstract
This study documents the intellectual process called Collective Conceptualization. The process constitutes an organization of operations that facilitate applied theory and is a holistic framework that interlinks the many creative procedures involved in screen composition and production. It can be thought of as the physical, theoretical and spiritual embodiment of the sum total of knowledge of the art of film score composition. The research shows that the Collective Conceptualization process is, in itself, a coherent compositional methodology (for real-time/virtual or hybrid composers) because it provides a simplified framework within which the composer can work. This portfolio comprises an original film score for the 1926 French avant-garde silent film Ménilmontant. The score features music for acoustic and virtual instruments, deployed in settings ranging from small ensemble to orchestra. The film score integrates methodologies and applications that demonstrate the range of real-time or conceptual/hybrid approaches studied, and documents the changing nature of the workspace used by contemporary film score composers. The dissertation comprises a film score and an exegesis that provides the rational grounding for the approach taken.
School/Discipline
Elder Conservatorium of Music
Dissertation Note
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2013
Provenance
Copyright material removed from digital thesis. See print copy in University of Adelaide Library for full text.