Virtual orchestration: a film composer's creative practice

The advent of digital technologies has led to a major change in the process of film music composition; consequent developments in music technology have forced film composers to adapt to this change. Technological innovations such as digital audio workstations (DAWs) and virtual musical instruments have made possible the creation of virtual orchestras that are technologically capable of simulating the sound and behaviour of a traditional acoustic orchestra. This has had an effect on film music production and on the creative process of the professional film composer in a way that today, creating orchestral simulations or 'mock-ups' that imitate live orchestras (or smaller ensembles) has become a requirement in the film industry and thus an essential part of the film-scoring process. In the context of contemporary film music production, this thesis investigates how orchestral simulations are composed and created using computer music technology and virtual sample-based instruments. In asking 'how', the focus is on the film composer's activities and thought processes during this creative cycle, along with the nature of the interactive relationship between composer and music materials. This study aims to show the complexity of the film composer's creative practice and to advance understanding of how the use of computer music technology and orchestral sample libraries is influencing the compositional process and compositional outcome. To address these questions, a qualitative multiple case study methodology approach was chosen that included examination of the practice of seven professional film composers working in the field of feature film as the primary valid source of data. The exploration involved semi-structured interviews with composers, observations and analysis of their studio practice and inspection of their compositional tools. Taken as a whole, the evidence provided by this study is that the process of creating orchestral simulations is a process of film music composition during which professional film composers are creating orchestral sounds through the use of computers, digital sequencing, samplers and sample-based virtual acoustic instruments for the realisation of musical works. It is a process of using and manipulating recorded samples of real acoustic instruments to generate an expressive and convincing musical performance through sample-based orchestral simulation. A characteristic of this compositional practice is that it is a continuous process that proceeds in stages over time where all procedures can be applied repeatedly between stages. The process of creating orchestral simulations for the purpose of the film score is a multifaceted compositional activity involving a complex set of relationships among different compositional states of mind and compositional activities in which film composers experience music and interact with musical materials and media in various ways. This creative activity is a process involving a single person and a mixture of various compositional tools, the composer's skills and abilities brought into existence through a creative process that requires a thorough blend of art and craft to be demonstrated at all times

Acoustic instrument simulation in film music contexts

Theoretical thesis.Bibliography: pages 130-135.Chapter 1. Introduction -- Chapter 2. Literature and context review -- Chapter 3. Methodology -- Chapter 4. Composer perspective -- Chapter 5. Discussion -- Chapter 6. Conclusion.The purpose of this study is to investigate virtual acoustic instrument simulation in a film music context and to identify critical factors that impact the believability of music composed for the purposes of film scoring. The research aims to uncover what factors may influence the sudience's recognition of real or virtual instruments, in order to call attention to methods that may be required for improving the believability of virtual instruments in digital film scoring in the future. The study implemented a mixed method approach consisting of practice-led research, aimed at gathering data on the use of composition production resources in the creation phase, and qualitative research methods, aimed at gathering data from listeners and viewers. Based on collected data and the broad range of possible variables tested, the study showed a number of elements that affected the perception of believability. As the music making process continues to shift and change, morphing into a continuous stream of activities that are enhanced by computer technology, this research will contribute to the diverse community of educators, researchers and practitioners who are working closely with new technologies in the fields of music and music technology education, music composition and the film industry.Mode of access: World wide web1 online resource (135 pages) music, table