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Music Design For Film > Quiz 1 > Flashcards

Quiz 1 Flashcards

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1
Q

NAMM

A

National Association of Music Merchants

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2
Q

MIDI

A

Musical Instrument Digital Interface

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3
Q

MIDI Bytes per second

A

3.125Kbauds or 3,125 bytes per second

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4
Q

MIDI Through

A

Is a direct copy of MIDI in

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5
Q

MIDI Timepiece

A

MIDI through with a synchronization clock. Uses either MIDI or SMPTE time code.

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6
Q

MIDI Interface

A

Used to send multiple midi channel messages to a variety of devices

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7
Q

Mapped Instruments

A

A virtual instruments that used a different sound for each note.

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8
Q

MIDI Cables

A

Originally are 5 pin DIN shielded. Can now be sent through usb or Bluetooth

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9
Q

MIDI transmission

A

Serial transmission of one byte at a time

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10
Q

MIDI Bytes

A

There are 8(10) Bytes used in midi for a combination of 256 possibilities. Data bytes are represented by 0-127, status bytes are represented by 128-255. Data bytes follow status bytes.

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11
Q

Midi lag

A

The anomalies that occurs when data is sent though several microprocessors

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12
Q

Midi channels

A

There are 16 possible assigned midi channels

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13
Q

MIDI Modes

A

There are four midi modes: Omni On Poly, Omni OFF Poly, Omni On Mono, and Omni ON Mono. Omni means receive on all channels while off means receive on the selected one.

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14
Q

Daisy chain

A

Standard midi connection for multiple midi devices

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15
Q

System messages

A

Real time and common such as tempo, programs, time signatures, start and stop.

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16
Q

Channel Messages

A

Mode, local control, events particular to the assigned channel.

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17
Q

Local control

A

On or off if you want to hear the keyboard or controller sound

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18
Q

Multi timbrel

A

More than one color

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19
Q

Polyphonic

A

More than one pitch

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20
Q

Advanced integrated

A

AM, FM, VCS, Oscillators, Envelopes, noise generators…

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21
Q

System exclusive messages

A

Messages particular to a manufacturer

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22
Q

Mise-en-scène

A

A theatrical term that refers to the visual elements of film. Encompasses lighting, costumes, decor, the relationship of these elements to each other; and how they are photographed.

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23
Q

Wall-to-wall music

A

When music plays almost continually throughout the film

24
Q

Auteur

A

A director who melds all aspects of filmmaking into a unified and distinctive artistic style

25
Q

Cut

A

The connection between two shots. Narrative cut: Vision is focused on different objects or people in a continuous scene. Flashback cut/joining places. Crosscut: Moves back and forth between different events

26
Q

Post production

A

The film is given its final shape through the editing process and the addition of sound effects and music

27
Q

Temp track

A

Existing music the director uses as a model

28
Q

Dailies

A

Scene shots from the day before

29
Q

SMPTE

A

Society of Motion Puctures and Television engineers. It is a 24-hr sync clock created by NASA

30
Q

Producer

A

Role is to develop and nurture a project from beginning to end. Often responsible for raising money or selling the project to a studio

31
Q

Director

A

Responsible for envisioning and or approving all creative decisions. Relegates duties to specialists of each area.

32
Q

Film editor

A

In charge of editing the film and may be given authority to supervise dubbing.

33
Q

Music editor

A

Provides spotting and timing notes for each cue when requested by the composer. Prepares videotape or digital video with visual aids such as punches and streamers. Attends the final audio mix on the dubbing stage

34
Q

Source music (diagetic)

A

Music that has a logical source within the narrative of the film. (Radio)

35
Q

Underscoring (non-diagetic)

A

Music in film that does not emanate from a source seen on screen

36
Q

Motif

A

Small melodic unit that is treated as a theme or used to build a larger melodic idea.

37
Q

Cue

A

Passage of underscoring from entrance to the cues end.

38
Q

Theme

A

A recognizable melodic idea that recurs, thereby lending shape to a musical composition.

39
Q

Sting

A

A sudden impact, such as a slap in the face or an object hitting the ground, can be accompanied by an accent in the orchestra, often referred to as a stinger.

40
Q

Mickey-Mousing

A

A derogatory term for the mimicking of physical action in film music

41
Q

Running counter to the action

A

The effect when the mood of the music contradicts the mood of the image or the plot

42
Q

Take downs

A

Ghostwriters or arrangers. Typically used because of time restraints

43
Q

Arrangement

A

A new setting of a previously composed melody.

44
Q

Orchestration

A

The art of assigning instruments or voices to the various musical ideas.

45
Q

Timbre

A

The elements of music dealing with the colors or tone qualities produced.

46
Q

Eclectic score

A

A musical score that contains a wide range of musical styles

47
Q

Adaptation

A

Borrowing a complete passage from another source, includes melody and accompaniment

48
Q

Adapted score

A

Film music that is substantially borrowed

49
Q

Mag strip/Full coat

A

35mm film tape that has been coated with the same coating as audiotape

50
Q

Streamers

A

3 to 5 foot line drawn by the musical editor. Sweeps across the screen and marks the end of cues

51
Q

Punches

A

Punches are paper hole punches in two to three consecutive frames that create a flash on the screen

52
Q

Newman system

A

Flash on screen so that the conductor wouldn’t have to look at the screen.

53
Q

Sweep second clock

A

A large sweep-second click is a clock mounted on the end of the conductors stand, which ensures that the conductor ends the music at the right time

54
Q

Dubbing

A

Recording and synchronization of dialogue, music, and sound effects in post production

55
Q

Scoring stage

A

A recording studio that contains video projection capability and typically large enough to hold 30 musicians

56
Q

Scoring/underscoring

A

Putting music into the film after the film is shot

57
Q

Prerecording/prescoring/playback recording

A

When music is recorded prior to the picture being shot.

Music Design For Film (1 decks)

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