Main Subject Composition for Film Online 2
Number of course weeks
One 50-minute lesson per week
Total contact hours
Form / content / level
Admitted to the ArtEZ Composition for Film year 2.
Acquiring a broad understanding of the musical/technical and artistic side of composing and arranging for film and theater.
Relation to other modules
The module Harmony at the Piano for Composing 2 teaches students how to effectively use the piano as a tool for composing and analyzing pieces.
The module Ear Training 2 is intended to further develop the student's musical hearing.
The module Music Theory for Composing/Arranging Jazz & Pop is taught by a teacher in classical music theory and addresses key aspects of musical theory, including but not limited to: musical analysis, counterpoint, theory of musical form, and twentieth-century music.
The module Theater and Film History examines the main subject in a wider historic context.
Specific brass and woodwind techniques in larger jazz and classical music ensembles.
Vocal music, a capella and accompanied, by ensembles from Singers Unlimited to Take 6.
Wind instruments in pop and funk.
String quartets such as Zapp String Quartet, Chronos Quartet.
Other types of bands and crossover, e.g., Meridian Arts Ensemble.
Techniques from classical music: Wagner, Mahler, Tchaikovsky.
Techniques from contemporary serious music, e.g., Strawinsky, Ives, Alban Berg, Messiaen.
Film composers: Newton, Zimmer, Morricone, Herman, Williams.
COMPOSITION/ARRANGEMENT TECHNIQUE FOR FILM AND THEATER:
Programming drums (quantization, micro-time), effects, crossover e.g., Hans Zimmer (classical music with grooves etc.).
Chronological approach: from gospel to house as viewed within a broader stylistic context, by means of a range of audio examples for the analysis of harmony, rhythm, sound and sound technology.
Instrumentation theory continued, including woodwinds, brass, and percussion.
Detailed analysis of selected pieces from the literature list: e.g., Stravinsky's Ragtime; Mussorgsky's Pictures at an Exhibition; compositions by the instructor. Audio & motion: relation between dramaturgy - music (where when why). Communication skills continued (further developing a personal repertoire of expressive possibilities). Interaction between the various audio components and the video. Scene transitions.
SOUND ENGINEERING/MUSIC PRODUCTION:
Production of stylistically aligned music with recorded instrumentalists and library produced music.
Hybrid production with library produced music and live recorded orchestra.
Mixing and mastering of hybrid production.
5.1 Surround Sound mixing with own compositions.
AUDIO AND MOTION:
Broad understanding of the R. Plutchik’s psychoevolutionary theory of emotion
Music Analysis under the aspect of the underlying emotion.
Composition and production of music under the aspect of R.Plutchik’s theories
Writing effective film scores with hybrid production of orchestra/sound libraries.
Continuation of working with Logic, Pro Tools, etc. (perhaps standardization: Apple with Pro Tools, M-Box, Contact 2.2, EastWest Library).
Continuation of working with sample libraries (VSL, Quantumleap Gold), when to use which tools (sampling or recording).
Golden Ears (ear training with respect to sound: frequencies, echo, etc.).
Mixing and mastering (Dolby surround etc.).
Recording pieces with a greater number of instruments.
Adapting/realizing aspects of stylistic theory/analysis with sample libraries/DAW, which tools do you use?
Scores with specific instrumentation (woodwinds for a short comedy film, brass for historical/ancient world features and Rambo).
Scoring standard scenes (car chase, love, goodbye, travelling)
Scoring specific film genres: horror, action, trailer, documentary.
At least some of the music should include the use of actual instruments.
Film history: classic films and their scores
Mode(s) of instruction
Virtual classroom video conference with audio where max four students in four different locations and one instructor in another location, communicate by seeing each other, talking and listening to each other equally. The Instructor has access to a whiteboard, application sharing, desktop sharing and document sharing and may hand this privileges to any participants of the conference.
Apart from the video conference a high quality stereo audio stream is open at the same time via source connect. That way students and instructor can listen to music from any source of the group and talk about it simultaneously. Individual lessons where deemed necessary by the instructor.
To support the lessons video tutorial about the core information of the topics might be provided.
Due to more complex theoretical topics larger video conferences with more than four students will be provided. These classes have lecture character. All lectures are recorded and though available for students later on.
Study material depending on the student's current progress and the characteristics of his own compositions.
Organizing performances; studying and recording compositions by the student.
Attending a wide and diverse range of concerts.
Building a network of fellow students and students from other disciplines, which should always include music theater and BK film students.
Collaboration with students of FH Aachen for animated film on a project base.
AIB Düsseldorf Akademie für Internationale Bildung: on a project basis, American students produce films and ArtEZ students compose and produce the score.
DEKRA Medienakademie: composing and producing music on a project basis in collaboration with directors from the Medienakademie Berlin.
ArtEZ collaborations: students of visual art who make use of video; dance projects with the theater faculty.
Presenting and discussing self-written pieces with fellow students of composition/arranging.
Examination and assessment
Mode(s) of assessment
Assessment by the main subject instructor at the end of each semester.
Consistency, efficiency, economy of means, practicality, richness, intrinsic persuasiveness, richness, balance, intelligence, motivation, inventiveness, stylistic awareness, imagination, reflection (analysis, presentation), timing, authenticity and diversity.
The student has completed this module if he is awarded a minimum grade of 5.5 at the end of the second semester.
At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson. Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.
The modules Composition for Film and Theater Jazz & Pop (2 and 3) are intended to teach students to compose and arrange in different styles/idioms for a range of instrument combinations and to further expand their artistic development. In addition, students learn to navigate in the various domains of applied music and the world of digital media.