Studying the Study of Television Music and Sound

Deaville, James

doi:10.5406/americanmusic.37.4.0400

Cited by 3 publications

(2 citation statements)

References 50 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Our perception of the world around us is freighted by cultural values acquired through a lifetime of mediated interpretations (Kassabian, 2013 ). As Deaville's previous research has established, news music and sound tap into those affective predispositions that are exploited by the media (Deaville, 2006 , 2012 , 2019 ). The global news coverage of the pandemic cannot escape the meanings assigned to its soundtracks, which have been produced and consumed within a politics of affect, of “pre-subjective forces and intensities” (Spinks, 2001 , 24)—they have corresponded to culturally determined and politically driven biases (Demirtaş-Madran, 2020 ).…”

Section: The Sounds Of Pandemic Newsmentioning

confidence: 97%

Latent Cultural Bias in Soundtracks of Western News Coverage From Early COVID-19 Epicenters

Deaville

Lemire²

2021

Front. Psychol.

Self Cite

View full text Add to dashboard Cite

Section: The Sounds Of Pandemic Newsmentioning

confidence: 97%

Latent Cultural Bias in Soundtracks of Western News Coverage From Early COVID-19 Epicenters

Deaville

Lemire²

2021

Front. Psychol.

Self Cite

View full text Add to dashboard Cite

“…Library music (also known as stock or production music) refers to pre-existing pieces composed for future use in all kinds of audiovisual content, from reality television and advertising to trailers and online videos (Deaville, 2006; Durand, 2020; Huelin, 2022). Today, it is mostly accessed online, in websites where library tracks are categorised by mood, emotion, instrumentation and genre, among other possibilities.…”

mentioning

confidence: 99%

Library music as a matter of time

Durand

2024

Time & Society

View full text Add to dashboard Cite

The industry of library music (pre-existing pieces that can be licensed for use in media) has grown considerably in the past two decades with its transition to a digital medium. A rising number of composers rely on this music as a source of income, along with audiovisual creators who increasingly use it in their productions. This expansion has accentuated a fundamental aspect of library music: the creation of large quantities of tracks at breakneck speed. Parallel to this, the video editors and videographers who form library music's main client base experience tight production deadlines where the choice of music is often left as an afterthought. This article explores the implications of the sped-up creation and use of library music in the current online media landscape. Although the interactions of composers and videographers with this music are often fraught with concerns of limited time, their attitudes towards this acceleration vary considerably: for instance, composers describe their fast-paced work in widely different ways, viewing it as a constraint, or, on the contrary, as a positive and freeing aspect. That being said, the sense of urgency shared by these agents has wide-ranging impacts on every step of the ‘life’ of a library track, from its composition and presentation to its selection and synchronisation with images. As composers attempt to appeal to hurried videographers browsing libraries, these, in turn, resort to this music as an invaluable strategy to retain their audience's attention. Furthermore, sonic stereotypes that are prevalent in library music are valued as communication shortcuts in audiovisuals where messages must be conveyed through instantly recognisable musical formulas. In addition to broader impacts on the workings of library music, this widespread perception of ‘lacking time’ is also a vital factor that shapes its sonic characteristics themselves, making library music truly a matter of time.

show abstract

Ruptura narrativa y discurso musical en Rick y Morty. Una aproximación a la música en la animación para adultos

Íscar

Pérez-Borrajo

2022

invesmusic

View full text Add to dashboard Cite

Rick y Morty es una serie de animación para adultos emitida por primera vez en Adult Swim en 2013. La trama se centra en las aventuras de un científico, Rick Sanchez, quien viaja por el tiempo y el espacio acompañado de su nieto Morty. Su originalidad radica en los continuos juegos narrativos basados en teorías filosóficas y científicas a las que los protagonistas aluden constantemente, mezclándolas con elementos de la cultura pop. En este artículo partimos de la siguiente pregunta: ¿Cómo afectan las novedades impuestas en el desarrollo de la historia al discurso musical? Tras una contextualización histórica de la serie de animación, realizamos un análisis de la música preexistente del que se extraen dos conclusiones principales: su inclusión en la trama es fundamental para la evolución narrativa, y la canción preexistente se utiliza como leitmotiv. En este sentido, Rick y Morty aporta nuevas visiones para la creación de series de animación, estableciéndose como un referente dentro de la actual edad de oro de la ficción seriada.

show abstract

Studying the Study of Television Music and Sound

Cited by 3 publications

References 50 publications

Latent Cultural Bias in Soundtracks of Western News Coverage From Early COVID-19 Epicenters

Latent Cultural Bias in Soundtracks of Western News Coverage From Early COVID-19 Epicenters

Library music as a matter of time

Ruptura narrativa y discurso musical en Rick y Morty. Una aproximación a la música en la animación para adultos

Contact Info

Product

Resources

About