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The Final is a take-home essay asking you to compare and contrast the lives and music of three film composers covered in the second half of the class. General Education Learning Goals to be Assessed...

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The Final is a take-home essay asking you to compare and contrast the lives and music of three film composers covered in the second half of the class.

General Education Learning Goals to be Assessed

  • 1. Gain visual and performance literacy through the scholarly observation of culturally and historically significant art with an emphasis on the endeavor of the artist/creator.
  • 4. Understand the broad, unifying themes in the arts from a wide array of perspectives.
  • 5. Deepen previously acquired artistic appreciation and understanding through participation either in making or performing of art forms or through the experience of such a process by direct observation

Guidelines

  • Choose three composers discussed in class. For the Final Essay (see Film Music Notes Part 2).
  • For each composer, briefly summarize their biography and the discuss at least two specific cues from selected film scores. For each film discussed, briefly discuss the background of the score. For each composer, at least one of the selected cues must be from a film discussed in class. Cues may be selected from the same film or different films. (3 composers x 2 cues each = 6 cues total).
  • For each composer, include at least one footnote citation from a source such as the textbook, Oxford Music Online, an official website (but not Wikipedia), Interview from a source such asScore: The Podcast(Links to an external site.), or academic books and journal articles from ProQuest, See the tutorial video “How to Cite Articles from Oxford Music Online and Proquest(Links to an external site.)” in the Zoom Lecture Recordings folder. Format footnotes and bibliography according to theChicago Manual of Style(Links to an external site.). See the Sample Attribution, Footnote Citation and Bibliography below
  • For each selected cue, discuss elements such as the instrumentation, harmony, texture, tempo, and function of the music in the scene. Avoid clichés such as “upbeat” and “heavy.” A strong essay will demonstrate knowledge of material discussed in class and include some original observations.
  • Composer names must be capitalized (First and Last), cue titles must be placed in quotations, and film titles must be Italicized and include the year of release. For example: Howard Shore, “A Knife in the Dark” fromThe Lord of the Rings: The Fellowship of the Ring XXXXXXXXXXRefer to composers by last name when using abbreviations. For example: In the second film, Shore brings back the Shire theme.
  • The conclusion should compare and contrast similarities and differences in the musical approach, training, style, instrumentation, and techniques of your three selected composers as demonstrated in your selected film scores.
  • The essay must be single spaced in a 12-point font and least 2 pages in length. Include the following section headings in bold, replacing the template information with the names of your chosen composers, films, and cues. See theEssay Templatefor an example of the correct format. Essays must be submitted as a word document file (.docx) to the link on the course website by the date indicated in the syllabus.

Composer 1

Film 1(Year)

“Cue 1”

“Cue 2”

Composer 2

Film 2(Year)

“Cue 1”

“Cue 2”

Composer 3

Film 3(Year)

“Cue 1”

“Cue 2”

Conclusion

Bibliography

Sample Attribution, Footnote Citation and Bibliography

According to Palmer and Marks, John Williams freely acknowledges his debt to 20thcentury concert composers.[1]

Sample Bibliography

Palmer, Christopher, and Martin Marks. "Williams, John."Grove Music Online.31 Jan. 2020; Accessed 30 Apr. 2020.https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/ XXXXXXXXXX0001/omo XXXXXXXXXXe XXXXXXXXXXLinks to an external site.)

Timm, Larry.Film Music: The Soul of Cinema.Pearson, 2014.

[1]Christopher Palmer and Martin Marks, "Williams, John,"Grove Music Online,31 Jan. 2020; Accessed 30 Apr. 2020,https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/ XXXXXXXXXX0001/omo XXXXXXXXXXe XXXXXXXXXXLinks to an external site.)

Grading

The essay is worth 100 points distributed according to the rubric below.

A – Complete and correct information about composers, films and cues, examples selected from films discussed in class as well as films not discussed in class, thoughtful and original analysis, appropriate use of terminology,

B – Complete information about composers, films and cues, examples selected from films discussed in class, detailed analysis, appropriate use of terminology, some inaccuracies in format and or detail

C – Incomplete information about composers, films and cues, examples selected from films not discussed in class, insufficient analysis, frequent inaccuracies in format and or detail or misuse of terminology.

D – Incomplete information about composers, films and cues, examples selected from films not discussed in class, incomplete and poorly worded analysis, gross inaccuracies, lack of relevant terminology.

F – Essay includes plagiarized information.

Answered Same Day Jun 22, 2021

Solution

Somudranil answered on Jun 24 2021
133 Votes
FILM COMPOSERS
Hans Zimme
Hans Florian Zimmer happens to be a legendary German music and film score composer and record producer. He was born on 12 September 1957, at Frankfurt am Main, in West Germany. Zimmer is noted for his extraordinary genius in understanding and expressing the mood, tone and setting of a movie sequence. His creations are noted for the integration and incorporation of electronically produced music within the traditional set of a
angements for an orchestra. He has been around in the industry since the 1980s and has produced the film scores of several classic and cult films, with the number of his total movies worked in marked at over 150.
In 1995, Hans Florian Zimmer won the Academy Award for Best Original Score for The Lion King. He has also worked in other popular and crowd favourite movies, such as, the Pirates of the Cari
ean Series, Interstellar, Gladiator, Crimson Tide, Inception, Dunkirk and the Dark Knight Trilogy. He has won an a
ay of awards including four Grammy Awards, three Classical BRIT Awards, two Golden Globes, and an Academy Award. The Daily Telegraph had published a list of the Top 100 Living Geniuses, in which, Hans Zimmer’s name appeared in the middle and a prestigious position. 
Hans Florian Zimmer lived through the starting phase of his music composing career in the United Kingdom, before he travelled to the United States of America. At the DreamWorks Studio, Hollywood, United States of America, he works as the head of film music division along with other music composers, with the channelization of his own company, which he founded in the United States, named Remote Control Productions. Remote Control Productions was previously known as Media Ventures. He possesses an enviable range of cutting edge versions of computer equipment and keyboards, at his studio in Santa Monica, California, where the technology allows him to make demo versions of film scores to be made in no time. 
Hans Zimmer has worked and collaborated on many films with noted and revered film directors, such as Ridley Scott, Ron Howard, Gore Ve
inski, Michael Bay, and Christopher Nolan. 
Interstellar (2014)
“Dreaming Of The Crash"
Interstellar opens with this cue by Hans Zimmer. This cue is also the first of the standard edits in the soundtrack of the film. This cue comes at a distinct point in the film where a critical crisis point is reached and the story looks to go nowhere. The sense of the inevitable is down on the heads on the heads of the audience.
Zimmer produces this score using a special emphasis and excessive usage of pipe organ and occasional notes of the piano. The texture of the score is thin enough, that is, it does not show many layers of instruments. The harmony and melodic of the music is smooth, yet simple. The tempo of the score is slow, which produces an eerie effect of indeterminateness in the specific scene of the...
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