Collective Conceptualization: A Methodology for Film Score Composers - Love, Martyn
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This work documents the intellectual process called Collective Conceptualization. The process constitutes an organization of operations that facilitate applied theory and is a holistic framework that interlinks the many creative procedures involved in screen composition and production. It can be thought of as the physical, theoretical and spiritual embodiment of the sum total of knowledge of the art of film score composition. The research shows that the Collective Conceptualization process is, in itself, a coherent compositional methodology (for real-time/virtual or hybrid composers) because…mehr

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Produktbeschreibung
This work documents the intellectual process called Collective Conceptualization. The process constitutes an organization of operations that facilitate applied theory and is a holistic framework that interlinks the many creative procedures involved in screen composition and production. It can be thought of as the physical, theoretical and spiritual embodiment of the sum total of knowledge of the art of film score composition. The research shows that the Collective Conceptualization process is, in itself, a coherent compositional methodology (for real-time/virtual or hybrid composers) because it provides a simplified framework within which the composer can work. The portfolio comprises an original film score for the 1926 French avant-garde silent film Ménilmontant. The score features music for acoustic and virtual instruments, deployed in settings ranging from small ensemble to orchestra. The film score integrates traditional and digital methodologies and applications that demonstrate the range of real-time or conceptual/hybrid approaches studied, and documents the changing nature of the workspace used by contemporary film score composers.
Autorenporträt
Martyn is a musician and composer whose music reflects the broad spectrum of styles studied throughout his career - classical, jazz, blues, rock and electronica all feature in his work. Martyn has a PhD and a Master's Degree in Music and for this publication, he was awarded the Dean's Prize from Adelaide's Elder Conservatorium of Music.