The stinger †high, harsh sound used particularly Essays

The stinger – high, harsh sound used particularly Essays The stinger – high, harsh sound used particularly Essay The stinger – high, harsh sound used particularly Essay How and why do music and image influence each other in media that combine ( e.g. music picture, advertizements, movie etc. ) and what effects and affects does this hold on the audience? Introduction The usage of music in concurrence with ocular imagination has a broad scope of maps. Its survey is a comparatively recent phenomenon which appears to hold gained land with the increased drift for multidisciplinary attacks to academic survey, and these are relevant here. Because of the complex nature of music and image interaction, this essay begins by looking at cardinal elements of musicology, sociology and psychological science that relate to analyze of audiovisual texts. This will demo how a scope of influences impact on an individual’s affect and response when exposed to audiovisual media, and gives some indicant of the complexness of this procedure and the troubles in analyzing it. Following this, assorted illustrations of different audiovisual media will be considered to demo how consequence and affect plants in pattern. It should be noted that affect’ is used as a psychological science term, as outlined by Tagg: an affect is felt by a human when his feelings are aroused by an external †¦stimulus. The province in which this human therefore finds himself is an affectional state ( 1979: 33 ) . Effect’ is explored by Branston et Al in a treatment of the effects theoretical account ( 2003: 148-153 ) , and its consideration of whether media power consequences in e.g. force in society. It can be seen as holding a broader application closer to its Oxford English Dictionary definition of result or effect of an action etc. There is some crossing over in significance, but the context and nomenclature should avoid confusion in this essay. Background Theory Musicology The inclusion of musicology in any multidisciplinary survey is complex in itself, as musicology is so extremely specialised that its nomenclature and application remain distant from non-musicians, and are frequently hard to explicate in ballad footings. Furthermore, musicology has strong roots in the survey of Western classical manners, and this frequently presents challenges when nearing other genres of music, allow entirely non-musical subjects. Middleton, for illustration, identifies musicological nomenclature biased towards the parametric quantities prioritised by classical music, reflected in notation ( 1990: 104 ) . Notation itself reflects a musical civilization to a great extent dependant on written/read media instead than an aural tradition, and is therefore suited to the written/read civilization of academic discourse. For aural traditions, which underpin popular manners, there is as yet no universally accepted criterion. Added to the analysis of music in ocular civilizations is the demand to understand the cultural background of musical manners and the manner in which peculiar audiences relate to them. A failure to recognize these nuances can take to inaccurate generalizations. In advertisement, for illustration, Blake suggests that When American popular musics are used, the codifications are less easy to analyze in footings of power and affect than in Cook’s classical examples†¦the ads imply that their merchandises with bestow the imagined freedoms and pleasances of America on the consumer ( 1997: 232 ) . Yet it is arguable whether the usage of Nat King Cole singing There May Be Trouble Ahead’ as the soundtrack to an Allied Dunbar advert ( cited by Blake 1997: 234 in another treatment ) confers this significance. The advert’s cardinal character is a stereotypically white, middle-class British man of affairs, reflecting the demographic at which the advert is targeted, and th e music has been used for its lyrical relevancy. Blake discusses the issues sing a white character lip-synching to a black singer, yet it is likely that many of the advert’s viewing audiences would non be cognizant of who they could hear, nor of his ethnicity. The generalization sing American popular musics is misdirecting in itself: for illustration, Reebok’s advert having US rapper 50 Cent, concentrating on his lasting being changeable nine times, does non propose freedom or pleasance. Cook suggests that music heard as an unaccompanied text i.e. without attach toing visuals, seldom raises clear issues of significance ( Cook 1994: 27 ) . This is possibly instead simplistic, as a figure of musical devices are associated with significance e.g. the usage of a minor key to arouse unhappiness, choler and other negative’ tempers, and these can act upon the reading of a ocular narration ( Vitouch 2001 ) . Cultural issues can add to this phenomenon. InDifferentiations, Bourdieu presented the consequences of an extended study into societal background, gustatory sensations and behavior, placing what he termed cultural capital’ , an acquired cognition of how to act in order to derive praises within society. This included factors such as favorite music, and penchants translate into codes’ which members of the same societal group can read and exhibit. The consequence, Bourdieu says, is that a work of art has significance and involvement merely for person who possesses the cultural competency, that is, the codification, into which it is encoded ( Bourdieu 1984: 2 ) This theory was extended by the work of Sarah Thornton, who undertook extended research of the UK nine scene in the late eightiess and early 1990s, and developed the construct of subcultural capital ( Thornton 1996 ) . The marks and codifications of this are exhibited in subcultures much as they are in wider society, but frequently subvert conventional hierarchies. Thornton and Bourdieu shed some visible radiation on how different sections of society articulate individuality, but reading is far more complex. There are many illustrations of a deficiency of subcultural capital taking to misidentify decisions: The civilization of rave is the civilization of childhood†¦both male childs and misss have normally been seen sucking conciliators [ silent persons ] says Tomlinson ( 1998: 200 ) , misconstruing their usage to antagonize the consequence on jaw musculuss which is a side consequence of the drug rapture, widely used within the subculture. Blake’s references to American popular music discussed in the debut demo a similar deficiency of subcultural capital. Subcultural codifications evolve over clip, adding to troubles understanding and construing them, but they are frequently of import to analysis of an audiovisual text ; in advertisement, they may be cardinal to appealing to a peculiar mark market. Cultural and subcultural codifications are, to some extent, psychological, reflecting a wish to joint individuality and to belong to a societal group. This may be behind the determination that if classical music is played in wine stores, clients tend to purchase more expensive vinos than if the Top 40 is played ( Areni and Kim 1991, cited in Wilson 2003: 94 ) , and reflects aspirational every bit good as existent individuality. Musical gustatory sensations besides have a bearing on response: topics in an experiment where a assortment of music was played in a university cafeteria rated it more positively when it played music they liked ( North and Hargreaves 1996, cited in ibid ) . While gustatory sensations in musical genres appear to be linked to cultural capital, other facets of gustatory sensation nexus to personality. A study of 3500 persons enabled Rentfrow et Al to show four contrasting personality types, each with a type of music they preferred ( 2003 ) . There was a correlati vity between wishing intense, rebellious music and being unfastened to new experiences, being athletic and verbally able and seeing oneself as intelligent ( ibid: 1249 ) . This may be relevant for advertizers: for illustration, to sell athleticss vesture, genre entreaty to a subcultural group may non be plenty if the music is more appealing to those who are non athletic ( who were found to prefer brooding, complex music: ibid: 1248 ) . The above illustrations show how many procedures are at work in the reading of an audiovisual text, both by its intended mark and by the analyst, and travel some manner to explicating the misreading of texts, even by those considered experts in their field. Ocular Media and Music Music has two chief maps when used in advertisement: stigmatization and helping memorability. The extent to which music makes an advert memorable can be demonstrated by grounds that some advert music retains its associations with a merchandise in the heads of persons for many old ages after the adverts are regularly broadcast ( Brierley 2002: 153 ) – for illustration, the 2nd motion of Dvorak’sNew World Symphonyis strongly associated with Hovis staff of life. There is significant grounds that the music in advertisement is more memorable than the words ( Fowles 1996: 132 ) . In add-on to the music being memorable, it may assist reenforce words in the consumer’s head. The original intent of the advertisement jangle – a short motto or rime associated with a specific merchandise and frequently set to music – was to aid memorability, although jangles were progressively dropped in favor of more sophisticated musical stigmatization from the 1980s. This is apparent in interviews with forces from temper music libraries ( Tagg 1980 ) , where Ron Singer of KPM notes increased penchant among clients for known melodies ( ibid: 8 ) . O Sole Mio, a vocal composed in Naples in the 19Thursdaycentury, is well-known by many British consumers as music from Cornetto advertizements, where the text Just one cornetto’ was substituted. In other fortunes, the original words relate to the merchandise as in, for illustration, Dulux’s usage ofA Whiter Shade of Pale( Brierley 2002: 179 ) for publicizing its scope of white pigment with a intimation of coloring material. The success of advertisement is frequently measured by consumer research into rates of callback, yet there is no established relationship between callback and action ( Brierley 2002: 169 ) , so it is hard to set up the extent to which music such as the Cornetto theme’ really creates gross revenues i.e. it is non clear whether the affect ( acknowledgment, acquaintance ) leads to consequence ( purchase of the merchandise ) . Branding can besides be assisted by music ( Brierley 2002: 169 ) , with different genres implying different trade name values. For illustration, classical music is associated with quality and position ( as demonstrated by the vino store experiment discussed antecedently ) . This was used by Citroen in an advert for the ZX 16v which featured music from the overture from Mozart’sThe Marriage of Figaro: †¦the music imbues the merchandise with prestigiousness that attaches to classical music in general and ( for people who recognise it ) to opera in particular ( Cook 1994: 30 ) Prudential developed an advert with narrative refering a immature adult male desiring to be a stone star, but used a classical soundtrack, even when the ocular image was of a stone set playing ( ibid: 33-5 ) . This suggests that the advertizers intended to make the feeling of a quality merchandise and that the demographic of the mark market was different to that of the person depicted in the advert. This usage of music is described as non-diegetic: it does non emanate from a ocular beginning. . The Prudential advert ends with a harmonic patterned advance towards a resolution meter which accompanies the visual aspect of the Prudential logo, described by Cook as pass oning that Prudential is the ( rhenium ) solution of all your problems ( ibid: 35 ) : he notes that musical linguistic communication can non be censored, but that the equivalent, if verbalised, would neglect to acquire past the Ad Standards Authority ( ibid ) . The genre and harmonic construction of the music used by Prudential is, in this instance, more of import than its specific individuality. Levi’s adverts having music by Babylon Zoo and Stiltskin in the 1990s show another attack: the usage of unknown music, with lower costs, to bring forth extra involvement among consumers. The vocals, played on wireless and Television out of context of the advert, still created psychological affect of Levi’s intension, deriving extra exposure for the trade name while besides assisting establish the callings of the soundtrack artists. The consequence was increased gross revenues for both parties. In other fortunes, a well-known vocal may be appropriate to run intoing an advertisement’s aims. In Labour’s recent advertizement, Dave the Chameleon is codification for the inconsistent positions of David Cameron, the Conservative leader. The usage of Culture Club’sKarma Chameleonnon merely refers to the ocular chameleon image, but is besides a well-known piece of music among people in their mid-thirtiess and mid-fortiess to whom Labour peculiarly want to appeal. The Guinness surfer’ advertizement uses much more extended intertextuality ; merely that refering the music is discussed below. The white Equus caballuss symbolise a metaphor ( white horses’ is sometimes used to mention to surf ) visually, while the membranophones represent it aurally, with intensions of thumping hooves. Simultaneously, the spoken text refers to the fat drummer’ , once more linking with the membranophone path and the hooves. The extent to which the membranophones have trade name intensions is problematic: they are taken from the Leftfield path Phat Planet’ , and possibly transport some of the praise of the creative persons, considered to be peculiarly advanced within the dance genre, but the path was non widely known before its usage in the advert. This may make the affect of elevated image for Guinness through its presentation of consciousness of this music: the advert, in consequence, has its ain subcultural capital. The music picture became a cardinal constituent in popular music in the late seventiess as portion of a heightened consciousness of the potency for blending media for commercial advantage: The rise of the video-clip encouraged †¦ blurring of the traditional stone distrinction between doing music and selling a trade good †¦the consequence of video-pop was to switch the balance between pop’s aural and ocular elements ( Frith 1990: 176 ) Music videos expose a scope of codifications associating to genre, proposing support of musical individuality instead than creative activity of it. For illustration, heavier stone manners are more likely to have footage of set public presentations. Authoritative FM Television shows a peculiar set of conventions: the performing artist ( s ) are typically filmed presenting a public presentation of the work and the context often features classical architecture, non needfully that of a concert hall, underscoring a sense of high culture’ . Much of the featured music uses elements of simple crossing over, for illustration, utilizing a stone or dad membranophone form behind an orchestral agreement, and this commixture of genres may be reflected in the styling of the performing artists. The vocalist Marina Laslo’s Caruso’ picture features her in a computer-generated opera house, have oning a formal eventide frock, but with heavy oculus makeup and windswept loose hair mor e in maintaining with a stone picture. Guns and Roses’ picture forSweet Child of Minedemonstrates how a conventional public presentation stone picture can be combined with another narrative through diegetic and non-diegetic devices. Clear, color images of the band’s public presentation, fiting the audio path ( i.e. diegetic ) , are juxtaposed with non-diegetic farinaceous images of set members off from the public presentation, fans and technicians doing the picture, supplying a narrative about the picture production every bit good as making a conventional picture. The multiple texts on occasion interact more vividly: for illustration, the word eyes’ in the words is underscored by farinaceous ocular footage of a fan’s eyes. The picture therefore maintains the intensions of genuineness through ocular portraiture of a conventional public presentation, while at the same time portraying an offstage’ , with the deduction once more of world and genuineness, supplying a farther aspect to the ban d’s image and a more interesting ocular experience. A cardinal inquiry sing music picture is the extent to which it is influenced by subculture and the influence it has on subculture. Research in the US suggests that the latter is the instance sing hiphop picture, which have developed a peculiar manner often pulling on overtly sexual dance by adult females for the benefit of male dad creative persons. A survey of 522 misss found a direct correlativity between the hours of such pictures seen over the class of a twelvemonth and degrees of drug and intoxicant usage, incidence of multiple sexual spouses and happening of STDs. This correlativity held when other facets such as societal background were taken into history ( Amber 2005 ) . It could be argued that as the stars in the pictures are admired for their musical prowess, the msuic confers acceptibility on and even condones the behavior seen in the ocular images. The inquiry of writing comes into drama with music picture, as constructs and way may be the duty of an person who is non involved with the musical composing: for illustration, Steve Barron was credited with the advanced attack to video for a-ha’sTake On Me, which combined conventional movie and life, with a narrative that provided a context for the wordss and gave them extra significance: the words became text Sung by the male character in the picture ( played by the band’s singer, Morten Harket ) to the female character as portion of the video’s story’ . TheTake On Mepicture is credited with establishing a-ha’s calling ( the vocal had been released twice antecedently, with a different picture ) : this may be due to frequent exposure through the media because of its ocular entreaty, conveying the vocal to the attending of those who might non otherwise have heard it. Alternatively, it may hold provided an extra dimension to the musical text and its sensed significance that made it more attractive to consumers, doing the affect critical in taking to the consequence of purchase. The creative person may still hold a grade of control through their public presentation, and may besides be to a great extent involved with the creative activity of the picture construct for their vocal: In a music picture the performing artist s frock, gestures, diction, and manner all become marks apt to interpretation†¦ Performers like Queen Latifah plan their ain pictures and work with their manufacturers and co-workers to make an image ( Roberts 1994 ) . Therefore music picture non merely straddles ocular and audio look, but besides the spheres of look and advertisement. It could be argued that adverts such as the Guinness surfer’ advertizement discussed earlier attack artistic look from a commercial sphere, with the state of affairs reversed for music picture. It has been argued that the whole point of a soundtrack mark is that it should be experienced and non heard ; that if we can actively hear the music, it is non working ( Blake 1997: 226 ) Surely there is some grounds that non all movie audiences actively register that music is attach toing the ocular and verbal elements of a movie ( Vitouch 2001: 71 ) . Howard Goodall, chiefly known for his Television subjects, emphasises a prioritising of ocular elements: Accept that if you are composing for Television or movie you are composing in a ocular medium and you are figure two ( Kingston 2000 ) . Film music ranges from the brief, unresolved pang of the stinger’ chord, a device widely used to underscore a sudden development in the action, peculiarly in horror movies, to the soundtrack vocal that becomes bound up in intending with the film’s narrative. In between is an extended repertory of music written specifically for movies, frequently composed so that musical devices coincide with specific frames. Less specificity is possible where preexistent pieces of music are used, but these may hold intensions of import to the narration: InWitness, the barn scene between Harrison Ford and Kelly McGillis sparked by Sam Cooke’s ( What a ) Wonderful World’requiresa vocal that will arouse a comparatively guiltless and unsophisticated cultural yesteryear ( the early sixtiess ) every bit good as supplying a clear coevals designation and a carefreeness for Ford’s character that is otherwise missing ( Stilwell 2002: 44 ) For bespoke movie music, the relationship between the movie manager and the composer may be more challenging. An nameless movie music composer describes the job of the director who doesn’t understand anything about music and is scared at the reference of a soprano clef or a crotchet – it’s about every bit near as he’ll get to music – but he knows what he wants in his mind†¦but he can’t pass on it to the composer ( Tagg 1980: 50 ) . Here there are illations of music picture in contrary: the movie is the primary text and the music secondary, while in music picture the music is the primary text. In both instances, the primary text is conceived prior to the secondary. Yet Marks argues that movie music is precisely that: a combination of movie and music and one can non be considered without the other ( Marks 1979: 283 ) . In ideal fortunes, the music creates synergism with the movie. This is the state of affairs with Isaac Hayes’ mark forShaft, which established musical codifications for portraiture of the urban landscape populated by the immature black mark audience: chattering, metallic wah-wah guitar†¦.opposition of funk beating against exuberant flutes and strings†¦ mapped a noirish vision of metropolis life, a mobile chase of sensualness through dirt, emphasis and elating speed ( Eshun 1995: 78 ) . These codifications were farther established in Curtis Mayfield’sSuperflymark every bit good as Television subject melodies such asKojak( Tagg 1979 ) . They were nevertheless, later appropriated by Hong Kong soldierly humanistic disciplines movies, and blaxploitation soundtracks looked to hiphop alternatively ( Eshun 1995: 78 ) . This shows the importance of positioning such movies through the associatory power of subcultural codifications. As codifications evolve, so excessivel y might impact and consequence within mark audiences. Yet many movies use the musical devices of Romanticism to back up a film’s narration. TheStar Warsmovies, for illustration, deploy leitmotif, peculiarly associated with Wagnerian opera. Indeed Evenson ( 2004 ) identifies a figure of similarities between theStar Warshexology and Wagner’sRingingrhythm non merely in secret plan and construct, but in similarities between leitmotif of characters with similar functions. For the classical composer, there are clearly analogues between the opera and the film-with-music genres, and the leitmotif provides an chance to underscore the personality and function of a character. The temper of the music non merely helps make an feeling of character, but besides builds context in a manner that visuals entirely may non be able to. This was demonstrated in a survey where groups of topics were shown the same piece of movie, with the original, upbeat/neutral Rozsa mark for one half of the sample and Barber’s more melancholyAdagio for Stringsfor the other half. The topics were so asked what was go oning in the scene and where the secret plan would take, and the consequences showed a doubling of negative affect when the Barber version was shown ( Vitouch 2001 ) . This does, nevertheless, depend on certain musical conventions, such as the association of a minor key with a negative temper. In civilizations where such conventions are less established, it is likely that the consequences would be different. The soundtrack vocal can get extra significance in a similar manner to music picture. The picture for Celine Dion’s My Heart Will Go On characteristics merely really brief infusions from the movie but the music alludes to the movie narrative, with an Irish ( uillean ) pipe consequence implying the male hero’s Irish individuality. For those familiar with the movie, the extra intension of tragic narrative and the hero’s decease may rise affect. Television has appropriated musical devices common to movie and advertisement e.g. the horror movie stinger’ used inHow Clean is Your Houseto mean bacteriums or insect infestations. Certain tendencies are noteworthy across a scope of programmes: for illustration, a alteration of topic in a light amusement programme such asCash in the Atticor60 Minute Makeoveris marked by a brief jangle or motive, with a musical backup to a non-diegetic verbal commentary which is cut for any diegetic address. Music is used to make involvement when there is small go oning verbally in many programmes ; a long-standing illustration is the half infinitesimal piece attach toing each mystifier onCountdown, which builds through lifting keys to make tenseness, culminating with a syncopated ostentation. Music is besides used for stigmatization: Channel Four has a four-note motive. BBC1, meanwhile, has a two-phrase melodious subject used for fluctuations in at least 10 different musical manners, with sympathetic dance-routines and an accent on the colors ruddy, white and black in the dancers’ outfits to reenforce stigmatization. It is noteworthy that, although these tableaus are played instantly anterior to programmes, the manner of music and any subcultural deductions appear to be random instead than matched to the mark audience of the undermentioned programme. Programs, TV’s products’ , are branded by theme melodies: these have the double intent of a call to action ( if heard from another room, the spectator will frequently recognize the subject melody of a programme they want to watch and be able to come to a sing country ) and coding for the type of programme. Thus assortment and peak clip confab shows typically have large set music, a lively manner without narrow subcultural intensions, therefore underscoring comprehensiveness of mark audience. Musical fragments may besides get their ain significance: the membranophone round motive at the terminal of each episode ofEastendershas become a musical codification to denote a cliffhanger’ . Although Television and film are the chief established audiovisual media, more recent engineering has extended its range. The cyberspace and computing machine games are progressively deploying more sophisticated background music, and display many of the techniques described in the old subdivisions. The stigmatization of games, for illustration, has of import subcultural elements, as observed by David Pokress, planetary trade name director for Activision Inc. : It’s non merely about the games, it’s about the life styles that accompany them ( Satzman 2001 ) . The illustrations above shows the broad scope of applications of music combined with ocular image, from adding significance, impacting reading of ocular elements, confabulating value onto a merchandise and assisting make an individuality, whether for a auto in an advert or for a character in a movie. The ocular narration, meanwhile, can reciprocate by adding significance to music e.g. through the ocular narration of a music picture. The affect and consequence depend to a great extent on the audience’s acquaintance with a scope of cultural and subcultural codifications, and the analysis of the creator’s purpose may be different to an analysis of response: A text is made of multiple Hagiographas, drawn from many civilizations and come ining into common dealingss of duologue, lampoon, controversy, but there is one topographic point were this multiplicity is focused and that topographic point is the reader, non, as was hitherto said, the author ( Barthes 1977: 148 ) . The many illustrations of music and ocular image interacting show the importance of reading every bit good as creative activity, and demo the broad scope of possible that music and image have to make significance, affect and consequence through their interaction – and the importance of understanding this for all those working in assorted media. 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