Answer all of the following questions.

(Where the question seems irrelevant write "NA".
You should also reference your answers to cues identified in your log.)

1 GENERAL INFORMATION

A. Title
B. Date of film/work
C. Director
D. Composer(s)
E. Orchestrator
F. Conductor
G. Music editor
H. Other music-related personnel
I. Plot summary (500 words)
J. Names of the important main characters (in terms of the score)

2 ORIGINS OF THE SCORE

A. Was this score composed originally for the film?
B. Was the score taken from previously composed music?
C. Is it a combination of previous and original music?

3 THE FUNCTION OF THE MUSIC IN THE FILM/PROJECT

A. If possible identify the music genre(s) chosen for the film (i.e. jazz, classical-romantic, hip-hop, classical-contemporary, etc.)
B. What is the relationship between film genre and the musical genre
C. Would another style/genre have been as successful/more appropriate?
D. What is the relationship between the era & the music
E. What is the relationship between the setting and the music
F. What is the relationship between the country where the film was made and the music
G. If the music was previously composed then what is the relationship between the music and the story/setting, era, country, etc.
H. What is the style used within the particular genre? (i.e. jazz – specifically 50’s bebop)
I. What is the relationship between the film and the musical style?
J. What elements of the score are stressed and how does this relate to the film?

i. Melody
ii. Short motifs
iii. Rhythm
iv. Instrumental colour
v. Abstract texture
vi. etc.

4 THE USE OF MUSIC (STRUCTURAL ELEMENTS) IN THE FILM

A. Leitmotif technique: Do the same characters and/or narrative elements tend to get the same themes or motifs?
B. Do recurring musical themes and motifs seem to have a more general, mood -producing function?
C. Is the score mono-thematic?
D. Is the music used mostly when there is no dialogue (or narration) or mostly when there is dialogue (narration)?
E. Mickey-mousing: Does the music at times relate to or imitate specific action in the film?
F. Not quite Mickey-mousing: Is there a close coordination between the musical climaxes/accents and the action of the film (stings)?
G. Is the use of music predictable or unpredictable? (i.e. clichéd use in love scenes, etc.)
H. Length of musical cues is generally:

Long
Brief
Both
Wide ranging

I. Volume of music is generally:

Soft
Loud
Wide ranging dynamic

J. Music volume is generally:

Effective
Overwhelming
Both of the above.

5 THE NON-USE OF MUSIC IN THE FILM

A. The “non use” of music in this film functions in this film:

In expository passages
To de-emphasize drama
To emphasize drama
To heighten realism
Other reasons:

B. How music cues are introduced into the film (generally):

i. Introduced as non-diegetic (pit music)

Traditional use (explain)
Innovative use (explain)

ii. Introduced as diegetic (screen or source music)

Phony source (appears to be coming from a source but is not)
Real source

C. Could the source music be described as narrative music? (source music that plays an active role in the narrative)
D. Discuss relationship of music to editing, or other non-narrative elements.

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6 RESEARCH

• additional material about the composer,
• descriptions of his or her process,
• the relationship between the director and the composer,
• the significance of this film project,
• material about how the director works with composers, thinks about music,
• material about how this composer works with other directors,
• etc.

  Research hints: The bibliography lists books which have some writing about older composers and films made in the 30s - late 90s. If you are interested in more recent work or younger composers or films outside the Hollywood tradition, the best source of information is the Internet or writing about the director or the film itself. Magazines, trade journals (Hollywood Reporter, Variety), etc. rarely have articles about film music but articles about a particular director or film may reference the sound track. For example, if you are interested in writing about Zbigniew Preisner, you should try looking up articles on the director Krzysztof Kieslowski as well as the specific film that Preisner has scored (such as Blue or Red, for example).