Film music – collaborative world making

Publikation: Konferencebidrag uden forlag/tidsskriftKonferenceabstrakt til konferenceFormidling

Resumé

Film music – Collaborative world making
Magne Kolstad, Department of Learning and Philosophy, Aalborg University. makol@hum.aau.dk

”All we are doing, set aside you are an actor, writer, composer, we try to create worlds.” (Zimmer, 2017). Film and music are forms of art with unique identities, discourses, responsibilities and contexts, and yet, they need to work together in a multimedia production that uses both to support a storyline. This paper will report from an ethnographic study in a danish film high school, exploring film music production as a social learning practice (Kenny, 2016), investigating how creative threads of both artforms are distributed and ”etched” into one representational ”line” (Ingold, 2015).

Departing from new musicology studies, understanding distributed creativity in the context of music production, can foreground knowledge about how creative relationships are configured (Zagorski-Thomas, 2017). Conceptualizing art production as a social learning process, may contribute to break the mould of individualized artmaking, facilitate reinvention of identities (Roberts, 2009), and hopefully empower students of both film making and music production to tell new, and perhaps more responsible, stories about the world (Bruner, 1998).

References:
Becker, H (1982). Art Worlds. University of California Press, Berkeley.
Bruner, J (1998). The culture of education. Harvard university Press, New York.
Kenny, A (2016). Musical communities of practice. Routledge, London.
Ingold, T (2016). Lines. Routledge, London.
Roberts, T. L (2009). Collaboration in Contemporary Artmaking: Practice and Pedagogy. Ph.D dissertation, Ohio State University.
Zagorski-Thomas, S (2016). The musicology of record production. Cambridge University Press, Cambridge.
Zimmer, H (2017). Hans Zimmer Masterclass. www.masterclass.com

OriginalsprogEngelsk
Publikationsdato2019
Antal sider1
StatusAccepteret/In press - 2019
BegivenhedThe ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice - University of Huddersfield, Huddersfield, Storbritannien
Varighed: 3 sep. 20185 sep. 2018
http://www.artofrecordproduction.com/arp-conferences/arp-2018

Konference

KonferenceThe ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice
LokationUniversity of Huddersfield
LandStorbritannien
ByHuddersfield
Periode03/09/201805/09/2018
Internetadresse

Emneord

  • music pedagogy
  • communities of practice
  • identity construction
  • new literacy studies
  • institutional learning

Citer dette

Kolstad, M. (Accepteret/In press). Film music – collaborative world making. 1. Abstract fra The ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice, Huddersfield, Storbritannien.
Kolstad, Magne. / Film music – collaborative world making. Abstract fra The ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice, Huddersfield, Storbritannien.1 s.
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Kolstad, M 2019, 'Film music – collaborative world making', The ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice, Huddersfield, Storbritannien, 03/09/2018 - 05/09/2018 s. 1.

Film music – collaborative world making. / Kolstad, Magne.

2019. 1 Abstract fra The ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice, Huddersfield, Storbritannien.

Publikation: Konferencebidrag uden forlag/tidsskriftKonferenceabstrakt til konferenceFormidling

TY - ABST

T1 - Film music – collaborative world making

AU - Kolstad, Magne

PY - 2019

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N2 - Film music – Collaborative world makingMagne Kolstad, Department of Learning and Philosophy, Aalborg University. makol@hum.aau.dk ”All we are doing, set aside you are an actor, writer, composer, we try to create worlds.” (Zimmer, 2017). Film and music are forms of art with unique identities, discourses, responsibilities and contexts, and yet, they need to work together in a multimedia production that uses both to support a storyline. This paper will report from an ethnographic study in a danish film high school, exploring film music production as a social learning practice (Kenny, 2016), investigating how creative threads of both artforms are distributed and ”etched” into one representational ”line” (Ingold, 2015).Departing from new musicology studies, understanding distributed creativity in the context of music production, can foreground knowledge about how creative relationships are configured (Zagorski-Thomas, 2017). Conceptualizing art production as a social learning process, may contribute to break the mould of individualized artmaking, facilitate reinvention of identities (Roberts, 2009), and hopefully empower students of both film making and music production to tell new, and perhaps more responsible, stories about the world (Bruner, 1998).References:Becker, H (1982). Art Worlds. University of California Press, Berkeley.Bruner, J (1998). The culture of education. Harvard university Press, New York.Kenny, A (2016). Musical communities of practice. Routledge, London.Ingold, T (2016). Lines. Routledge, London.Roberts, T. L (2009). Collaboration in Contemporary Artmaking: Practice and Pedagogy. Ph.D dissertation, Ohio State University.Zagorski-Thomas, S (2016). The musicology of record production. Cambridge University Press, Cambridge.Zimmer, H (2017). Hans Zimmer Masterclass. www.masterclass.com

AB - Film music – Collaborative world makingMagne Kolstad, Department of Learning and Philosophy, Aalborg University. makol@hum.aau.dk ”All we are doing, set aside you are an actor, writer, composer, we try to create worlds.” (Zimmer, 2017). Film and music are forms of art with unique identities, discourses, responsibilities and contexts, and yet, they need to work together in a multimedia production that uses both to support a storyline. This paper will report from an ethnographic study in a danish film high school, exploring film music production as a social learning practice (Kenny, 2016), investigating how creative threads of both artforms are distributed and ”etched” into one representational ”line” (Ingold, 2015).Departing from new musicology studies, understanding distributed creativity in the context of music production, can foreground knowledge about how creative relationships are configured (Zagorski-Thomas, 2017). Conceptualizing art production as a social learning process, may contribute to break the mould of individualized artmaking, facilitate reinvention of identities (Roberts, 2009), and hopefully empower students of both film making and music production to tell new, and perhaps more responsible, stories about the world (Bruner, 1998).References:Becker, H (1982). Art Worlds. University of California Press, Berkeley.Bruner, J (1998). The culture of education. Harvard university Press, New York.Kenny, A (2016). Musical communities of practice. Routledge, London.Ingold, T (2016). Lines. Routledge, London.Roberts, T. L (2009). Collaboration in Contemporary Artmaking: Practice and Pedagogy. Ph.D dissertation, Ohio State University.Zagorski-Thomas, S (2016). The musicology of record production. Cambridge University Press, Cambridge.Zimmer, H (2017). Hans Zimmer Masterclass. www.masterclass.com

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KW - identity construction

KW - new literacy studies

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M3 - Conference abstract for conference

SP - 1

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Kolstad M. Film music – collaborative world making. 2019. Abstract fra The ARP Joint Conference - Crosstown Traffic: Popular Music Theory and Practice, Huddersfield, Storbritannien.