{"id":339343,"date":"2024-05-14T15:02:00","date_gmt":"2024-05-14T13:02:00","guid":{"rendered":"https:\/\/www.cined.com\/?p=339343"},"modified":"2024-05-23T10:54:14","modified_gmt":"2024-05-23T08:54:14","slug":"sonic-synergy-film-examples-of-blurring-the-lines-between-music-and-sound-design","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/jp\/sonic-synergy-film-examples-of-blurring-the-lines-between-music-and-sound-design\/","title":{"rendered":"\u30bd\u30cb\u30c3\u30af\u30fb\u30b7\u30ca\u30b8\u30fc – \u97f3\u697d\u3068\u30b5\u30a6\u30f3\u30c9\u30c7\u30b6\u30a4\u30f3\u306e\u5883\u754c\u7dda\u3092\u66d6\u6627\u306b\u3059\u308b\u6620\u753b\u306e\u4f8b"},"content":{"rendered":"\n

What sonic elements belong to the film score, and what belongs to sound design? In the conventional movie-making process, it’s rather a question of dividing responsibilities. However, it can also be a creative choice. Nowadays, more and more films follow this approach. In this article, we take a look at outstanding movie examples, such as \u201cArrival\u201d, \u201cDune\u201d, and \u201cChernobyl\u201d, take a deep dive into their rare score workflows, and explore the poetic topic of blurring the lines between music and sound design. <\/strong><\/p><339343-inline-buylinks\/>\n\n

A custom-composed film score is an immensely powerful tool. Not only does it create a particular atmosphere for your visual world, but it also affects storytelling and alters how we perceive a given scene. For that, of course, it has to be executed mindfully. As the sound guru Mark Edward Lewis<\/a> says in his MZed course \u201cCinema Sound\u201d<\/a>: <\/p>\n\n

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The hard part of film music composing is to be able to get the essence of the emotion of your scene into the music, so that the audience can feel it.<\/p>\n<\/blockquote>\n\n

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Still of Mark Edward Lewis in “Cinema Sound” (MZed course). Image source: MZed<\/figcaption><\/figure>\n\n

That means, that sometimes composers have to leave the conventional path and start inventing new tools and non-existing sounds. This is where the borders begin to blur.<\/p><339343-mzed-course\/>\n\n

Pushing the boundaries of music and sound design<\/strong><\/h2>\n\n

The question of how to approach your film’s music and sound design<\/a> often comes already at the project’s very start. How should your created world feel sonically? Do you have references, or can you already envision it? It\u2019s a huge part of the cinematic universe, after all, even if you don\u2019t attempt to work in fantasy or sci-fi. And if you do \u2013 well, that\u2019s where the ability to challenge traditional ways becomes crucial.\u00a0<\/p>\n\n

Let\u2019s take \u201cArrival<\/a>\u201d as an example. Denis Villeneuve\u2019s science fiction drama offers a slightly different angle on what human encounters with aliens may look like. This almost intimate story is not about already beaten-out intergalactic wars, the power play between species, or killing monsters trying to invade Earth. And that’s precisely why filmmakers had to find different sonic sensations in music: otherworldly, suspenseful, yet quiet. Take a look at the following scene, where the protagonist Louise Banks makes first contact with aliens, and listen carefully to the score, especially in the scenes where they arrive.<\/p>\n\n

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