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| the borrowing of a substantial portion of an existing composition fr use in a film score. |
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| a new setting of a previously composed melody. borrows only te melody and creates a new accompaniment |
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| a type of musical score common in the silent film era, in which most of the music is borrowed from other sources |
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| music that has a local source within the narrative of the film such as a radio dance band or jukebox |
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| music in film that does not emanate from a source seen or implied on the screen. Also known as non-diegetic music |
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| orchestration-the act of assigning instruments or voices to the various musical ideas that have been created. A specialist in this task is called an orchestrator |
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| a german term associated with Richard Wagner that designates a recurring theme linked with some aspect of a drama. the technique cane be found in numerous film scored. Tara (gone with the wind) |
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| a derogatory term for the mimicking of physical action in film music to such an extent as to suggest cartoon music, foot steps |
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| The Kinetoscope is an early motion picture exhibition device. Though not a movie projector—it was designed for films to be viewed individually through the window of a cabinet housing its components—the Kinetoscope introduced the basic approach that would become the standard for all cinematic projection before the advent of video: it creates the illusion of movement by conveying a strip of perforated film bearing sequential images over a light source with a high-speed shutter. First described in conceptual terms by U.S. inventor Thomas Edison in 1888, |
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| The Kinetophone (aka Phonokinetoscope) was an early attempt by Edison and Dickson to create a sound-film system. Reports suggest that in July 1893, a Kinetoscope accompanied by a cylinder phonograph had been presented at the Chicago World's Fair.[41] |
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| Vitascope is an early film projector first demonstrated in 1895 by Charles Francis Jenkins and Thomas Armat. The pair publicly demonstrated an image projection device at the Cotton States Exposition in Atlanta, Georgia which they called the "Phantoscope." This prototype of modern film projectors cast images onto a wall or screen for a moderately large audience. The inventors, heady with the scent of success, became at odds with one another and began fighting over credit for the invention. |
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| A cue sheet is a form or template (paper or electronic) that lists information about cues. |
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| Program music is a type of art music that attempts to render musically an extra-musical narrative. The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music. |
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| A piece of music, most popular in the late 19th century, that is based on an extramusical theme, such as a story or nationalistic ideal, and usually consists of a single extended movement for a symphony orchestra. Also called tone poem. |
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| Thematic transformation (also known as Thematic metamorphosis and Thematic development) is a technique of where a leitmotif, or theme, is developed by changing the theme by using Permutation (Transposition or Modulation, Inversion, and Retrograde), Augmentation, Diminution, and Fragmentation. It was primarily developed by Franz Liszt and his good friend Hector Berlioz. The technique is essentially one of variation. A basic theme is reprised throughout a musical work, but it undergoes constant transformations and disguises and is made to appear in several contrasting roles. However, the transformations of this theme will always serve the purpose of "unity within variety" that was the architectural role of sonata form in the classical symphony. The difference here is that thematic transformation can accommodate the dramatically charged phrases, highly colored melodies and atmospheric harmonies favored by the Romantic composers, whereas sonata form was geared more toward the more objective characteristics of absolute music.[1] Also, while thematic transformation is similar to variation, the effect is usually different since the transformed theme has a life of its own and is no longer a sibling to the original theme.[2] |
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| A click track is a series of audio cues used to synchronize sound recordings, often to a moving image. The click track originated in early sound movies, where marks were made on the film itself to indicate exact timings for musicians to accompany the film. It can be thought of as a recording of a metronome in that it serves a similar purpose. |
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