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We have all experienced the effect music can have on our emotions and state of mind. We have felt our spirit lift when a happy song comes on the radio, or a pinging sense of nostalgia when we hear the songs of our childhood. While this link between music and emotion has long been a part of human life, only in recent decades have we had the technology and foundational knowledge to understand music’s effect on our brains in concrete terms. This knowledge has enabled trained professionals to use music therapy to help people with symptoms of depression, addiction, autism, and more.
I recently worked with a group, called Clarity Way, to put together an informative infographic all about modern music therapy and how it works. The infographic shows everything from how the field is growing–over 70 colleges offer a degree in music therapy–to how it can be applied to patients such as children with speech impediments.
While the concept of music therapy may be quite old, new techniques and applications are being discovered and developed all the time. We may even start to see more and more hospitals and medical institutions employ full time music therapists as part of their staff in the next few years. It will be interesting to see just how powerful music can be.
Headline image credit: Baby Bloo taking a dip. Photo by Marcus Quigmire. CC BY 2.0 via Wikimedia Commons.
Ever wondered what goes into scoring film music? Is the music written during filming? Or is it all added after the film is finished? Regular OUPblog contributor Scott Huntington recently spoke with film composer Joe Kraemer about his compositional process, providing an inside look at what it’s like to score music for an independent film.
Scott Huntington: What’s your process of creation like?
Joe Kraemer: Ideally, I see the movie without any temp score, but these days, that is rare. [Director] Chris McQuarrie doesn’t like temp scores, so the two films I’ve done with him (The Way of the Gun, Jack Reacher) we skipped the temp process and I was able to work with a clean slate, so to speak.
I look at a scene, and based either on the cutting, the dialogue, or the rhythm of the scene, I find the spot where I believe music should come in. Then I roll on down until I think music should go out. I don’t use any hard and fast rules. A lot of it is based on feel.
Once I’ve decided where the music will start, I try and find the right tempo for the music, fast or slow. Next I consider the color of the music, light or dark, major or minor, brassy or strings, and so on. I continue on this path of binary decision-making until I reach a solution. If that solution doesn’t work, I work my way back and try something else, such as a faster tempo, a different color or a different instrumentation. Sometimes, I make decisions that don’t really have a logical explanation, but they just feel right. I like to refer to the scene in “Star Wars” where Ben Kenobi is cut down by Darth Vader, and John Williams scores the sequence with a sweeping version of Princess Leia’s Theme, because that theme has great sweep and scope, and Ben’s theme was more somber. His decision seems nonsensical from a logical point of view, but it’s right-on from an emotional point of view.
Scott Huntington: Have you seen changes in technology impact the way you score movies?
Joe Kraemer: Well, the AVID editing system has opened up the audio side of things for film editors completely. As a result, films are built with really well-edited temp scores right from the get-go. In the old days, a Moviola or a flat-bed had one or two tracks of sound, so the temp score was something that was laid in very bluntly, just to create a feeling or atmosphere, without it needing to be a definitive presentation. Now, the ability to edit the temp score to match the picture in minute detail has resulted in everyone accepting it as the baseline standard for the film. The editor cuts the scene to the temp, the director looks at the cut with the temp, right away the temp is now the point of comparison for the rest of the process. Even if the composer never sees the temp, he or she is competing with it. The composer’s music is evaluated as much for whether it matches the temp as whether it works for the scene in the first place.
What you end up with is the picture-editor making a lot of the decisions about the music before the composer even has a shot at bringing something of himself (or herself) to the table. That isn’t inherently bad, picture editors usually have great taste in music, but as a composer it can feel restrictive. Also, you end up with a lot of films sounding the same, because all the editors fall in love with the same piece of music at the same time. Case in point, for about 10 years after “American Beauty” came out, all I heard in temp scores was Tom Newman’s score for that movie. There are only so many ways one can reinvent piano chords over sustained string beds.
As far as the composing work itself, for me the computer-based paradigm has been a life-saver. From adjusting tempos to catch cuts, to mixing electronic sounds with acoustic sounds, computer-based composing has made it possible for me to make a living as a composer, even when films have had skimpy music budgets, because I can do all of the work myself. I don’t use an assistant; I don’t have a team of ghost-writers. I put all my time and effort into making the score as good as possible myself, within the means at my disposal. Technology makes that possible.
Scott Huntington: Describe the process of writing the music for Favor.
Joe Kraemer: The process starts as soon as the movie is over the first time I see it. I immediately begin thinking about different aspects of the score: what will the instrumentation be? What will the mood be? The tone?
Next comes a period of living with the film. If possible, I get a copy and watch it on repeat for a day or two in my studio while I update my software and do busy work, etc. Once I’ve seen the film a dozen times or so, it’s time to start composing in earnest.
At some point between seeing Favor the first time and getting my own copy to work from, I was swimming in the pool and doodling melodies in my head and I came up with a nice little tune I though would sound pretty on the cello. I made a mental note of it and filed it away in my noggin for some later use.
Some time later, as I sat down to begin writing the cues for Favor, I remembered that melody and found that on a piano, it had a cold sound that contrasted nicely with the beauty of the tune. This seemed to be appropriate for my needs, as I was writing a theme for a character that, rarely seen, hangs over the film like a specter. This contrast of cold and beauty felt right.
Next, I decided I needed some kind of musical “sound effect” to help with certain story elements I wanted the score to reinforce. This was the impetus behind what [director] Paul [Osborne] and I began to call the “Abby Stab”. It’s a sound of a hammer hitting an anvil that has been tweaked with a bunch of plugins. I used it whenever I wanted to audience to think of Abby, to be reminded of her fate, to keep her present in a scene even when she wasn’t there.
After that, it was mostly a task of assembling the music to match what Paul laid out in his temp score. Paul cuts his own films and I know from working with him the past that he is very particular about the way his temp interacts with the editing of the film, so I worked very hard to stay faithful to the way he would crescendo to a cut. That being said, there were major sequences where Paul had no temp score, but I added music because I thought it was an effective spot.
Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Read his previous blog posts and follow him on Twitter at @SMHuntington.
Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.
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You’d probably be lying if you said that you didn’t spend at least a moderate amount of time during your childhood banging on various and sundry items that happened to be within reach. If we’re being honest, this particular sort of self-expression doesn’t seem to lessen with age; thankfully, our methods tend to get more sophisticated over time.
However, sometimes it’s fitting to go back to the primal days of beating anything that will make noise. Making your own percussion instruments can be a great way fully to understand sound, timbre, and tone. If you have music students or teach a drumline, having your students build their own drums can be a fantastic learning experience for everyone involved.
Before we get into the specifics about how to perfect your own DIY percussion instruments, let’s get some inspiration from some of the big names in homemade instruments.
Learn from the professionals
Most of us have some experience appropriating household items in our music-making endeavors, but the people behind the show STOMP have turned this pastime into an art form. This unique live show has a 20th anniversary quickly approaching, with tickets for the celebration show in New York City selling fast.
Using everything from trash-can lids to their own bodies, this is as good as it gets when it comes to DIY instruments.
If you’re looking for another great source of inspiration, look no further than Recycled Percussion – a “quintessentially Vegas” experience that boasts of having performed more than 4,000 shows worldwide. Quite a few of the band’s instruments will look quite familiar; they’re no strangers to homemade instruments made from pots, pans, scrap metal and even automobile parts.
Use What’s Around You
Tuning a steel drum with a Peterson strobe electronic tuner. Photo by Andrew Hitchcock. CC BY 2.0 via Wikimedia Commons.
Steel drums, or pans, has its roots in Western Africa, and its sound remains intrinsically linked with the spirit of the Caribbean. It really is a singular sound, and even the most basic steel pans – those made of recycled 55-gallon drums – are capable of producing utterly captivating sounds.
Building and tuning your own steelpan is time-intensive, but certainly not impossible, as this video from SmartyPansMusic demonstrates. Even if you don’t have the time or any spare oil drums lying around, there’s a good chance that you can find some suitable materials not far from where you live. Here are some ideas.
PVC Pipes: Whoever it was that first looked at a PVC pipe and said “I can make music with that” was clearly a visionary. PVC pipes are fairly inexpensive, as far as building materials go, and can produce an almost shocking range of sounds.
To get a sense of what’s possible with PVC pipes, check out this wonderful video from a guy who played some recognizable tunes including “In the Hall of the Mountain King” and “Viva la Vida.” The interesting thing about this type of instrument is that the sounds it produces is less about the sound of two objects colliding and more about the manipulation of the air within the pipes. The major variables you’ll be playing with are the lengths and widths of the pipes.
Scrap Metal: If you want to create your own STOMP experience at home, it may be time to “rescue” some scrap metal to create your own percussion instruments. Companies like McElroy Metal have sites in many states throughout the U.S., and offer a variety of materials to choose from, in different sizes and shapes.
Scrap metal / offcuts at Toruń Centre for Astronomy, Toruń, Poland. Photograph by Mike Peel. CC BY-SA 4.0 via Wikimedia Commons.
Slum Drummers is a group of Kenyan-born musicians who have brilliantly combined scrap-metal instruments with public outreach; their mission is to spread not only a love of music, but also an awareness of cultural issues such as drug use. From humble beginnings in scrap yards, these musicians and their castaway pieces of metal have gone on to inspire audiences across the world.
Buckets: It really is amazing what can be accomplished with some ordinary household items. If you’re working with a somewhat tighter budget, or a trip to a scrap yard simply isn’t in the cards for you, buckets might just be the way to go.
You can experiment with different materials, such as plastic and metal, as well as with different thicknesses. Buckets are some of the simplest and most utilitarian household items at our disposal, but they can produce a wide array of sounds. You’ll also want to try different methods of striking the buckets; traditional drumsticks are great, but you could try differently sized pieces of wood or even metal to really get the perfect tone.
Street Drummer, by Nicholas Erwin. CC BY-NC-ND 2.0 via nickerwin Flickr.
Don’t Be Afraid to Experiment
No matter what materials you end up choosing, some experimentation will be in order before you get the sound you’re looking for. Modern drum kits work the way they do because of resonant heads and strategically placed air holes. Some trial and error is necessary to see what works best for the materials you’ve chosen.
Experimenting with different types of materials can be a really instructive experience for music students. It’s one thing to have a measure of skill as a musician, but quite another to understand precisely how it is that our favorite instruments create their sound. To that end, homemade drums are a great place to start.
Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.
Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.
Subscribe to the OUPblog via email or RSS.
Subscribe to only music articles on the OUPblog via email or RSS.
Many music students have difficulty finding new venues in which to perform. A lot of the time it’s because we let our school schedule our performances for us. We’ll start the semester and circle the dates on the calendars that include our concerts and recitals, and that will be it. That’s fine, and can keep you pretty busy, but I’m here to tell you to get out there and plan on your own. You’ll become much more confident and even perform better at your concerts once you get a few smaller gigs under your belt. Here’s a few tips to help you along the way:
Don’t let nerves get in the way of gigging
You’ve likely heard this from countless professors, teachers, friends, and family members, but everyone experiences nervousness. It’s the result of our animal instincts, our fight or flight response, and it’s natural. The solution is simply to gain experience. Think of each instance of nervousness as a new chance to conquer and control the sensation. After enough repetitions, nervousness will no longer seem like such a big deal, just an expected and regular part of performance. Nerves will probably never go completely away, but by the time you get to a huge concert you’ll be getting used to it.
Develop your personal brand
Whether you like it or not, self-advertising, or creating your own brand, has become more and more doable thanks to the Internet. Read up on creating a web presence. Unless you’re famous, you’re going to need to market your talents. Sites like BandCamp and SoundCloud tend to be synonymous with popular music, but this trend is slowly changing. In fact, many classical musicians are uploading recordings of their gigs to SoundCloud.
On top of the benefits of a clean, easy to navigate repository of gig recordings, having a SoundCloud is like having a deluxe portfolio. What do I mean by “deluxe”? Well, it’s like having a resume with a built in audience of employers ready to look at it 24/7. And SoundCloud isn’t just a social network; it’s a social network of people who actively create and/or listen to music.
Think outside the box when looking for gigs
But where can you look for gigs? At first glance you’re at a slight disadvantage from all the rock bands that can play cover shows at bars or parties. Somehow playing solo clarinet music at the local bar just isn’t going to go over well. So, here are a few places you may not have thought of:
1. University events
Keep tabs on ongoing events at your university. Many students and faculty would love to have their events spiced up with some “sophisticated” music. There are plenty of fundraisers and galas that are always looking for entertainment. It even gives them a bragging point to have a student performing and could lead to more donations for the school.
2. Elementary schools
Music education is an important aspect of many children’s lives, and choosing an instrument to pick up can be quite a meaningful decision, even if it may seem superfluous to us at the time. Check with local elementary schools to find out when they start their students off in band and orchestra programs. They may very well be looking for people to come in and explain and play their instruments to students. You never know when you could be the one to inspire the next great performer.
Children from Kaneohe Elementary School clap to the beat of one of the many jazzy songs the US Marine Corps Forces Pacific Party Band played during their performance as part of the Music in the Schools program. Photo in the public domain via Wikimedia Commons.
3. Retirement communities
Playing at a retirement community may not be very glamorous, but it will leave you with experience and the feeling that you’ve done a good service. One of the most rewarding times of my musical career was playing at a nursing home. A deaf woman rolled her wheelchair up to my marimba and put her hand on the side to feel the vibrations. Seeing her smile is something I will never forget. To me, this small gig was right up there with playing in Orchestra Hall in Chicago.
4. Play for small businesses and company functions
A gig at a barber shop didn’t give me a huge audience, but it’s not always the size that matters. Through it I was able to meet some people from a mattress store called Dr. Snooze, and eventually led to me getting to play at one of their open houses. I met several more people through it that led to even more performance opportunities, including corporate retreats and even a wedding. I can also use them as a reference when telling others about my music. It’s amazing how one “little” gig can turn into so much more.
5. Play on the street
Now you should look into the legality of this strategy before pursuing it, but playing in the street (even for no money) can be an incredible source of publicity. Who knows who might be looking? It also helps to strategically pick your location so that people who might be more likely to need musicians may listen. Another idea you could try would be to upload recordings of your performances to YouTube to be able to show them to others.
Finnish bluegrass buskers in Helsinki, Finland. June 2006. Photo by Cory Doctorow from London, UK. Creative Commons License via Wikimedia Commons.
All of these ideas will give you some great experience and help you become a better musician. And when you come to the bigger events, you’ll be well prepared.
Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.
Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.
Subscribe to the OUPblog via email or RSS.
Subscribe to only music articles on the OUPblog via email or RSS.
Scott Huntington: Describe the process of writing the music for 
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