Dept. of Music and Performing Arts Professions
Program in Scoring for Film and Multimedia
COMPOSING for FILM & MULTIMEDIA
Prof. Sergi Casanelles: sc2839@nyu.edu
COURSE DESCRIPTION
Addressing the matrix of directorial vision and the visual, narrative, and dramatic world of a
film, this course will examine a broad range of musical approaches and those requirements
necessary for composing music for film and multimedia. Cultural, cinematic, and musical codes
will be discussed and critiqued through critical analyses of seminal scores, scoring assignments,
and discussions. As Film Music is nowadays highly dependent on technology, the course will
provide an introduction to the use of Computer software and tools to produce music.
COURSE OBJECTIVES
Students should be able to compose stylistically appropriate music for diversity audiovisual
scenes. Utilizing a library of existing clips composers will create through a matrix of filmspecific musical and technical skills. Via lectures that concentrate on the music for contemporary
films, students will assimilate significant aesthetic approaches in their scores that are concurrent
with contemporary aesthetics. By the end of the semester, students are expected to compose and
create electronic mock-ups around fifteen scenes.
During the course, students will concentrate primarily on three areas:
1) Critical Analyses of existing Film Scores
a) Genres, Codes, Moods & Stylistic Expression
i) Definition/Specifics of Musical Syntax: harmonic/melodic usage, instrumentation,
orchestration, use of synthesizers/sampling, etc.
b)Underlying Technical Demands and Processes:
i) Spotting Sessions – Timings – Post-Production Flow
c) Filmic world: narrative, visual, aural, FX, genre, historical/period.
2) Scoring Assignments – preparation for -- and critiques of:
a) Scores for Film Clips
3) Technology and Music Software
a) Understand the aesthetic implications of using software tools
b) Learn to use the software to work effectively
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REQUIREMENTS
In the course of fulfilling assignments, composers are expected to write between 2-4 minutes of
music per week. Submit your work before class, via loading your cues on the MTechMedia
Server to the Film Class Clips Folder into the Student Assignment Folder and then (into the
appropriate assignment folder). This will allow quick access for playback on the computer.
ATTENDANCE
You are allowed 2 unjustified absences. You should e-mail the instructor before the class.
ASSESSMENT
Class Participation/ Comments / Small assignments and questions – 20%
Weekly Projects and Class discussion – 80%
Each assignment will have a set of requirements (including the deadline). You will be graded
mainly on your success of being able to follow the requirements. You will have a significant
degree of aesthetic freedom (more than you would have in a real work environment), so you are
welcome to do some degree of experimentation.
In addition you should be prepared to present your music to the class, explaining and justifying
your process and creative choices.
The weekly assignments are due before the beginning of Tuesday’s class. Late submission will
have the grade lowered.
Software/Hardware
The Music Industry is Mac-based. The primary sequencer is Logic Pro; Notation Software:
Sibelius or Finale; Music Editing/Audio recording: Pro Tools; Viable orchestral sample libraries
include the VSL, EWQL Symphonic Orchestra and Libraries that use the Kontakt platform.
In class, we will work using Logic Pro X.
Recommended Bibliography
Dvorin, David & Brock, Robert. Apple Pro Training Series: Logic Pro 9 and Logic Express 9. Berkeley: Peachpit
Press, 2009.
Gilreath, P. (2010). The Guide to MIDI Orchestration 4e. New York: Focal Press.
Gorbman, Claudia. Unheard Melodies: Narrative Film Music (Chapter IV). Bloomington: Indiana University Press,
1987
Karlin, Fred & Wright, Rayburn. On the Track: A Guide to Contemporary Film Scoring. Revised 2nd Edition, NY,
Routledge, 2004.
Kompanek, Sonny. From Score To Screen: Sequencers, Scores, and Second Thoughts – The New Film Scoring
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Process. NY: Schirmer Books, 2004.
Nahmani, David. Apple Pro Training Series: Logic Pro 9 and Logic Express 9. Berkeley: Peachpit Press, 2009.
Prendergast, Roy M. Film Music: A Neglected Art, 2nd ed. New York: W.W. Norton, 1992.
Sadoff, R. H. (2006). The role of the music editor and the ‘ temp track’ as blueprint for the score, source music, and
scource1music of films. Popular Music, 25 (2), 165-183.
WEEKLY SYLLABUS
14 weeks @ 2 x 1’15” classes per week
WEEK 1 Jan 29/31 Introduction, Codes and General Terminology
Jan 29
 Syllabus and Workflow
 Musical, Cultural, and Cinematic Codes
Jan 31
 The Post-Production Landscape: Personnel function and process / Industry Terminology
 How it works today? A look at "Remote Control"
MOVIES: The Natural (1984), Saving Private Ryan (1998), Iron Man (2009), Sherlock
Holmes (2010), Life of Pi (2012)
Assignment 1:
a) Write music for a photograph. Select an appropriate set of musical codes that will help to
complement the visual information given by the picture. The picture is ambiguous, so depending
on your musical choices it will be perceived differently.
b) Compose two themes or musical ideas, which can be clearly associated with musical codes.
WEEK 2 Feb 4/6 Working with Logic (I): Introduction
Feb 4
 Basic Computer Knowledge
 MIDI Mockups: Sequencing, Samples, and Synthesis. Sample Rate
 Working with movies
 The Logic Interface
Feb 6
 Creating a Logic Session for film scoring
 Writing with Apple Loops and the Drummer
Assignment 2: Create a logic session using the appropriate Sample Rate (48kHz) and frame rate
and score a clip using diverse Apple Loops.
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WEEK 3 Feb 11/13 Working with Logic (II): Audio. Temp Tracks
Feb 11
 Temp Tracks and the Importance of knowing film music
 Logic Audio Tracks and audio editing
Feb 13
 Destructive and non-destructive processing
 The Mixer and Mixing automation
 Getting sounds from free sound libraries
 Audio Reverse
MOVIES: 2001: A Space Odyssey (1968), Atonement (2007), Inglorious Basterds (2009)
Assignment 3: Create a Temp Track Score for a clip. You should use several audio tracks but
maintaining a coherent soundscape.
WEEK 4 Feb 18/20 Working with Logic (III): Sample Instruments
Feb 18
 Sample libraries in Logic. Other Sample Libraries.
 Create Software Instruments, using preset channel strips.
 Work with the piano roll and the score window
Feb 20
 Quantize, copy, humanization
 Screensets, Track Stacks, Coloring and Regions
Assignment 4: Score a Clip using different Sample Instruments.
WEEK 5 Feb 25/27 Working with Logic (IV): Synthesizers and effects
Feb 25
Feb 27
 Logic Synthesizers. Other Popular Synthesizers
 Usage of Synthesizers in Contemporary Movies: different approaches.
o The case of Trent Reznor in The Social Network
 MIDI FX (arpeggiator)
 Audio FX (delay, filter/EQ, compression)
MOVIES: A Clockwork Orange (1977) The Social Network (2010), Drive (2011), Hanna
(2011), The Girl with the Dragon Tattoo (2011), Tron (2010), Oblivion (2013)
Assignment 5: Create an arrangement for a scene from A Clockwork Orange, from a classical
music theme using electronic instruments and effects. You can get inspired by Wendy Carlos'
versions but you can create your own singular electronic aesthetic.
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WEEK 6 March 4/6 Contemporary Hollywood Harmony
March 4
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Origins: Wagner, Holst, Ravel
Harmonic Gestures from the 80s
The concept of Harmony of color, post modal harmony
Non-functional harmony
March 6
 Chord progression by common notes and the distance by cycle of 5ths
 Leading tones, Substitutions, Harmonic Motion, Suspended chords
Musical / Harmonic examples from : Gladiator (2000), Inception (2010), The Man of Steel
(2013), LOTR, Harry Potter and the Sorcerer’s Stone (2001)
Assignment 6: Write a track to provide a mood for a description using the harmonic approach
described in class. The track should be following the idea of the musical suite that Hans Zimmer
creates at the beginning of their process.
WEEK 7 March 11/13 Synchronization
March 11
 Narration vs. Narrative
 Synchronization Aesthetics: From Mickey-moussing to music without hit points
 The concept of a hit point
 Markers, tempo change, time signature change, Using Beat Mapping
March 13
 Visual analysis of a cue
 Musical strategies to maintain the musical discourse
MOVIES: Indiana Jones and the Last Crusade (1989), Harry Potter and the Sorcerer’s Stone
(2001), How to train your dragon (2010)
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Assignment 7: Write music for a comedy clip from the movie Bruce Almighty. Find several
synch points and sync it with the music using tempo and measure changes. Try to use the Beat
Mapping in order to help you with the tempo modifications.
SPRING BREAK March 18/20
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WEEK 8 March 25/27 Music as a Narrative
March 25
 Narrative Scoring: Music themes and motifs
 Musical Structure of a movie: different strategies
 Shaping a scene narratively
o Working with the ambiguities
o Defining characters
o Adding meaning
March 27
 Continuity
 Contrapuntal use of music
MOVIES: Star Wars (1977- ), The Avengers (2012), Anna Karenina (2012),
Assignment 8: Write music for a clip and concentrate on the narrative. Use the music to help to
better tell the story, the characters or the situation.
WEEK 9 April 1/3 Genre: Horror and Fantasy/Sci-Fi
April 1
 Writing music with Generic Codes
 Genre in the contemporary films
 Generic musical elements of the horror
April 3
 Generic musical elements of the Fantasy and Science Fiction
MOVIES: Aliens (1979), Black Swan (2010), Harry Potter ... (2001-2011)
Assignment 9: Score a clip of a Horror Scene and for a Science Fiction scene. Use an
appropriate set of generic specific musical codes that help to identify the scene within the genre.
WEEK 10 April 8/10 Action Scenes. Contemporary Percussion / Drum Writing
April 8
 The Action scenes: aesthetic considerations of the hit points
 Enhancing a part of the action
April 10
 Writing for drums and percussion as a bed for an action scene
 Analysis of relevant examples: complexity / layers / style
MOVIES: Bourne trilogy (2002-), The Dark Knight (2008), The Dark Knight Rises (2011)
Assignment 10: Write music for a Chase Scene using a complex drum structure. In addition, use
mainly string and brass gestures.
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WEEK 11 April 15/17 Geographical Location. Using World Instruments
April 15
 Instruments as signifiers of location
April 17
 Overview of the most used World Instruments
MOVIES: Life of Pi (2012), Memoirs of a Geisha (2005), Lord of the Rings (2001-2003),
Avatar (2009)
Assignment 11: Write music using "world" instruments to signify the geographical location.
WEEK 12 April 22/24 Writing for animation
 Animation and scoring the animated narrative:
 Designing musical structure: thematic material, phrasing, hit points
 MOVIES: How to train your dragon (2010), Up! (2009), Ratatouille (2007), Despicable
Me (2010)
Assignment 12: Write music for a scene from the movie How to Train your Dragon. Decide
how the music should complement the animation and the degree of mickey-moussing necessary.
WEEK 13 April 29 / May 1 Hybrid Scores, Orchestrating, Music Prep and Recording (I)
 The Hybrid Score
 The Hyper Orchestra
 Writing the score
Assignment 13: Write music for a scene from the movie How to Train your Dragon. Decide
how the music should complement the animation and the degree of mickey-moussing necessary.
WEEK 14 May 6/8 Hybrid Scores, Orchestrating, Music Prep and Recording (II)
 Organizing the work and the process
 The music studio and the recording session
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