Instruments of Emotion: Exploring the Use of Musical Parameters in Film Scoring
(2024)
author(s): Malcolm Eric Lagger Caldwell
published in: Codarts
Music has always been a crucial element in films. In fact, a scene can have absolutely different meanings depending on the music. In this research project I tried to investigate to what extent these differences rely on the use of musical parameters such as instrumentation/timbre, melody, harmony, rhythm and tempo among others. I focused on 4 different emotions: Tension, Sadness, Rejoice and Nostalgia. The goal was to find out how these parameters can be used in order to maximise the depiction of the specific emotion being portrayed in each scene. The main source of information was the analysis of cues from various movies portraying different emotions in combination with interviews with film composers, some of them being the authors of the analysed films. All this led to the composition of new cues putting into practice
what I learned.
As a result, there are findings that suggest that to maximise the depiction of these different emotions the most important musical parameters to manipulate are tempo, harmony and instrumentation. As a research outcome, I composed music for cues for films such as Blood Diamond (2006), Luna de Avellaneda (2004) and Big Fish (2003).
Engaging the Audience: a Matter beyond Music?
(2024)
author(s): Gustavo Abela Cruz
published in: KC Research Portal
Despite knowing that music and emotions have a lot to do with each other, sometimes it is hard to articulate which relationship they have. Since the emotional impact seems to be one of the biggest appeals for an audience, do we, the musicians (specifically the performers), pay and draw enough attention to it? After reviewing the relevant literature about the processing of emotions, I came across the philosophical approaches of emotions in and through music by Peter Kivy, Jerrold Levinson, and Stephen Davies, proposals that could serve as inspirations for an audience and for performers.
Then, I decided to carry out a series of experimental sessions to test the impact of these three approaches, as well as the performer's role, and components that could also affect a performance, such as set-ups, musical manipulations, or what I have called 'extramusical' items or elements. In addition to my research question “How can a performer affect or manipulate the emotional engagement of an audience?”, I sought to explore another inquiry. Is engaging more with the public nowadays strictly a musical matter?
Mapa das Emoções
(last edited: 2021)
author(s): MAAR
This exposition is in progress and its share status is: visible to all.
Nesta proposta, estamos interessadas em observar quais são as emoções convocadas no contexto da pandemia de COVID-19. Buscamos articular poéticas digitais ao campo da pesquisa (auto)biográfica de forma a criar um Mapa das Emoções numa plataforma digital para visualização artística de dados , de forma interativa, com livre acesso, em que as pessoas poderão compartilhar relatos e imagens associados a emoções específicas. Para isso, partimos das emoções que figuram na Roda das Emoções proposta pelo psicólogo Robert Plutchik (2001).