Music is such an important element when incorporated with moving image, as it sets a scene, emphasises a plot development, or incite a given emotion from the viewer. “Because audio is such an enriching part of the human experience, the phenomenon of convergence, wherein diverse media eventually combine to create a new experience, leads again and again to the inclusion of music and sound effects within various media.” (Ramsay Adams, David Hnatiuk, David Weiss, 2005).
“Media for the eyes and ears, ranging from television to movies and video games, rely on a seamless relationship between sights and sounds to communicate thoughts, feelings and artistic vision[…] There are many scenarios that have a multitude of sonic elements, many of which stem from music. Even in the absence of human speech, music and sound are everywhere around us. Wind makes sound when it passes through trees, and birds make sound when they communicate with one another. Man has long been influenced by these bird songs, wind textures, and all natural sonic elements, and they have often become part of the blueprint for musical works. (RA DH DW)”.
The person in charge of ensuring that the right music is allocated with moving image is called a Music Supervisor. The official definition used by the US Guild of Music Supervisors is very comprehensive: ‘A Music Supervisor is a qualified professional who oversees all music related aspects of film, television, advertising, video games and any other existing or emerging visual media platforms as required. The Music Supervisor provides professional quality service that combines creative, technical and management expertise with relevant proven experience. This specialised combination of diversified knowledge and unique skills is integrated into all stages of development, pre-production, production, post-production, delivery and strategic marketing of the project with regard to all music related elements, combines creative, technical and management expertise and all with relevant proven experience.’ (Ruth Simmons, 2017)
“Everyone in advertising and film understands that your contacts are everything, and music supervision is no exception. Being plugged in to activity from all record labels, publishers, managers, promoters and taste-makers is essential – from major players to indie upstarts – getting hold of the latest and greatest music before anyone else is a key trait for this role. Hunting out those new music gems comes with the territory, and knowing who to get them from is essential. It takes years to build close, trusting relationships with top level music industry contacts, to get insider knowledge before anyone else and ultimately to negotiate the best deals. Another feather to the bow is knowing when and how to look beyond personal taste. Thinking ‘brand’ is key to a successful use of music in an advertising campaign, and it takes true research to dig into what’s right for a particular film and the brand’s demographic. Does this artist’s public image match your brand tone of voice and long-term campaign message? Does their upcoming activity align with campaign timings? Are you maximising audience reach by working with an artist who’s social media impact and existing fanbase attract your target demographic? These and more questions will be asked by a pro music supervisor, and they’ll know where to find the answers.” (Leland, 2016)
Music Supervisors are increasing with importance more and more as time goes, as music is an essential tool in many scenarios, the request for it is always growing. Within the University, there are many potential collaborations between the music course and other courses, but unfortunately not many realise that. That is why I felt that with my major project I wanted to prove how easy it can be and how many possible collaborations can happen. As literally in the same building we have advertising students, film students, fashion students, photography students etc… and so much can be done. Music just elevates the standard of the events put on by these students, and the response I’ve gotten from my requests of working together have always been positive, and I enjoy doing it, because not only it works at the time but you build relationships which can last for years and can be passed on the years below. It is all about creating a community between the different courses at the University and using the resources which are available to us right now to then prepare ourselves for the future, outside of these walls.
The people I worked with were mainly students who were putting on events, and that is my target in terms of clients. I was open to work with anyone as I liked the challenge of sourcing music for unusual events. I wouldn’t really have a target audience as I wasn’t personally organising the events, but I would make sure the music used would be adequate to the scene, and type of people present.
BIBLIOGRAPHY
- Ramsay A., Hnatiuk D., Weiss A., (2005), “Music Supervision”.
- Ed, (April 2016), “Music Supervisors: Who Needs Em?” Leland Music https://www.lelandmusic.co.uk/blog/musicsupervisors
- Simmons, R. 2017 “What is a music supervisor?” Guild of music supervisors https://www.guildofmusicsupervisors.co.uk/blog/6/what-is-a-music-supervisor
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