Syllabus
This course explores music in film, animation, and dance through the lens of cognitive psychology. The focus is on the interpretation of film music relative to a model of musical meaning. Therefore, the course has little emphasis on experimental psychology content and technique, and should be considered a special category of music literature course based on the field of systematic musicology. This is not a history of film or history of music course, and examples are not presented in chronological order. However, the context, including era, composer, and relationships among examples, is important. A main objective of this course is to develop in the student a sharply-honed critical listening/viewing capability. Student Background: No formal experience with music theory or musicology is presumed. Text: The optional (but recommended) text is: Hickman, Roger. Reel Music: Exploring 100 Years of Film Music. New York: W. W. Norton, 2006. Reading assignments will be given in this text. They are required, but not extensive enough to warrant purchase. In addition, selections of films for analysis in the two papers (see below) must be cited in this volume--unless an exception is arranged. A copy of the text will be available in the Music Library on reserve.
Grading: The main graded items will be two analytical papers, one on Monday of Week 6, the other during finals week. There is no in-class exam during finals week. Policy on Late Work: Professor Kendall will judge late submissions on a case-by-case basis. However, as a general rule, if no valid (emergency) reason is given, at least a half-grade will be deducted if the paper is not submitted by midnight of the specified due date. Exceptionally Important Note: The prose part of the paper should exhibit good grammar and spelling and use a consistent style. When you are citing information, appropriate citation format should be used within the text, such as, in APA style, ( Rózsa, 1967, p. 27), and also included in a References section with bibliographic format at the end of the paper. Note that quoted or incorporated electronic information (web, TV, DVD commentaries, etc) must be given full credit with citation just as printed material would. Any paper that is provided without good format will be downgraded. The paper *MUST* follow the guidelines of either the MLA or APA or any other manual of style. See the TA or ask for help. Papers are *expected* to have full and detailed citations for all information provided.
Paper 1 – Midterm (25%): A paper of a minimum of 3.5 double-spaced prose pages. Page counts do not include the time-line (see below. The film chosen must be mentioned in the optional text (see above). All information required must come from outside the Hickman text. The paper will contain the following parts, with part 4 being the most important:
You will be provided an analytical structure for producing a ‘time-line’ detailing music/film interactions in the film. This time-line is not included in the prose page count, but is included as an appendix. It should be noted that many students tend to focus on parts 1, 2, and 3. Avoid this. The focus should be on point 4 in relation to the other parts.
Paper 2 – Final (45%): A paper of a minimum of 8-10 prose pages not including the time-line. This paper will analyze the film/music relationship in two films with music by the same composer or connected by genre (comedy, horror, etc). The paper will contain the elements of paper 1 for the films, followed by a comparative analysis of the similarities and differences in the use of music between the films. This comparative analysis is extremely important, and most of the prose should be devoted to this. Students will provide the name of the film music composer they will study to the teaching assistant in the 8th week of class. If you want to use a film presented in class, check with the instructor or TA. Films dealt with extensively in class are not accepted for either paper.
Academic Integrity: These are not group projects, and similarity of content among students is not expected. Issues of academic integrity are taken very seriously.. Incorporating verbatim text from the internet or copying papers produced for this course in previous terms will result in action being taken according to university guidelines. Attendance – 10% Attendance is mandatory. One (1) absence is given ‘free’ without excuse. Each unexcused absence costs 5% (half a grade) each. Almost all of the content of this course is presented in class. Quizzes (20% total): There are two short (ca. 10-15 question) quizzes on basic terminology and listening skills, each worth 10%. I will announce the quiz one class period before it is given. Please note that the film music composer’s names and the films they worked on may be included on a quiz.
Summary: Attendance 10% Midterm Paper 25% Final Paper 45% Quizzes 20% Extra Credit: 3% Extra Credit (3%): There are two ways to obtain extra credit (only one extra credit may be submitted):
Resources: UCLA Film and TV Archive
For information on library hours, services, etc., check the library's web site at: http://www.library.ucla.edu *****On-Line Resources:
Reviews and synopses of films: Movie Review Query Engine on the web: *****A very important online resource is the Internet Movie Database. It is strongly suggested that the student become very familiar with the search engine on this site. Please note that information from the web included in your work must be given credit by citation.: http://www.imdb.com/ ============================================================================ Topics and General Chronology
Psychology as the Science of Behavior – A brief historical overview Basic Musical Elements Pitch Perception/Circularity..Psychological nature of Scales and Modes..Major vs. Minor Time Perception/meter/beat/rhythm Music and Cognitive Semiotics Associative Meanings in Film Music Instrumentation Iconic Meanings Physiognomic Perceptions Syntactical Structures How Local and Global Features interact in Structural Relationship Leitmotif and Idee Fixe:
Ben Hur Monothematic Laura Bithematic Spellbound Theme and Variation Casablanca Interactions of Hollywood with Other Domains El Norte
Perception of the Composers Intent Putting It All Together: Spellbound Bibliographic Resources: Supplementary text: Hickman, Roger. Reel Music. New York: W. W. Norton, 2006. On reserve in the music library. Brown, Royal S. Overtones and Undertones. Los Angeles, University of California Press, 1994. Karlin, Fred. Listening to the Movies. New York, Schirmer, 1994. Kendall, R. & Carterette, E. Music perception and cognition. In Cognitive Ecology, Mort Friedman, Ed. Orlando, Academic Press, 1996. Prendergast, R. Film Music: A Neglected Art. 2ndEd. New York, Norton, 1992. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956. Dowling, W. J. and Harwood, D. L. Music Cognition. Orlando, Academic Press, 1986. Kalinak, K Settling the Score: Music and the Classical Hollywood Film. Madison: University of Wisconsin Press, 1992. Kendall, R. A. Empirical approaches to musical meaning. In R. A. Kendall & R. W. H. Savage (Eds.). Selected Reports in Systematic Musicology, 12, 2005. On reserve in the music library. Palmer, Christopher. The Composer in Hollywood. London and New York: Marion Boyars, 1990.
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