자료유형  

 학위논문

Control Number  

0017160566

International Standard Book Number  

9798382767741

Dewey Decimal Classification Number  

781

Main Entry-Personal Name  

Kmet, Nicholas.

Publication, Distribution, etc. (Imprint  

[S.l.] : New York University., 2024

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2024

Physical Description  

248 p.

General Note  

Source: Dissertations Abstracts International, Volume: 85-11, Section: A.

General Note  

Advisor: Sadoff, Ronald H.

Dissertation Note  

Thesis (Ph.D.)--New York University, 2024.

Summary, Etc.  

요약Music editors occupy a central position in the music department during post-production, often exercising considerable influence over a film's music. They fulfill a wide variety of responsibilities, shepherding a film score from its inception through the film mix and final delivery while simultaneously serving as the communication conduit between the composer, director, and editor. Additionally, as the adoption of digital technologies and workflows has permeated the film industry's post-production ecosystem, music editors have seen the amount of work they are tasked with increase dramatically, consequently increasing their overall material impact on film scores. Yet, academic researchers have largely overlooked music editors in their discussion of film scores. A significant obstacle to recognition is that the work of music editors is-in practically all cases-meant to be invisible. Combined with a scarcity of primary sources, this can make it extremely difficult to quantify or even detect the impact of a music editor without access to their personal files or interviewing those involved in a specific film's post-production. The outcome of these obstacles has been that analyses of film scores often rely on incomplete understandings of the scoring process, resulting in the creation of narratives that lack important context. This affects both aesthetic critiques, whereby the composer is criticized or applauded for decisions beyond their control, as well as the more common syntactical analyses that examine surface features of the music-features that may indeed be heavily impacted by the decisions made by a member of the music department other than the composer.Through interviews with working music editors, an examination of historical practice and the impact of technology on their evolving role in post-production, and comprehensive analyses of excerpts from three disparate film scores-Aliens (1986), Star Wars: Episode I - The Phantom Menace (1999), and Casanova (2005)-this dissertation provides a comprehensive overview of the role and responsibilities of the music editor in contemporary post-production, and offers future researchers the necessary tools for examining their impact on individual scores.

Subject Added Entry-Topical Term  

Musical composition.

Subject Added Entry-Topical Term  

Film studies.

Subject Added Entry-Topical Term  

Music.

Index Term-Uncontrolled  

Film music

Index Term-Uncontrolled  

Film scores

Index Term-Uncontrolled  

Music editors

Index Term-Uncontrolled  

Composer

Added Entry-Corporate Name  

New York University Music and Performing Arts Professions

Host Item Entry  

Dissertations Abstracts International. 85-11A.

Electronic Location and Access  

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Control Number  

joongbu:653706