Influence of Music and Soundtracks in Science Fiction Movies: Annotated Bibliography

Futurism Staff. 2015. Best Sci-Fi Movie Soundtracks. Available at https://futurism.media/best-sci-fi-movie-soundtracks

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This article has tried to elucidate how different types of science fiction movies have used various musicals to enrich their performance and create the movie world that is required. The authors say that the predecessor of music as a soundtrack to acting is opera. While the methods of conveying visual information have changed since opera ruled the film world, there is no much advancement concerning music wants. The best composers for sci-fi soundtracks have since solved these challenges in different ways with some deciding to use the general atmosphere while others fall on giving specific actors distinct themes. For example, the sound effects for Tron: Legacy created by Daft Punk relied on the music tracks from the original Tron. The sound effects used Blade Runner utilize a wider spectrum of styles such as synti, new age, and unfussiness.

Use of synthesizers creates a desirable taste of impending era into the atmosphere of the film and enduring musical compositions. The repeated elements are attributed to minimalism. This results in the unusual arrangement and a sensation of total engagement in the story. The sound effects produced in "Star Wars" is the most popular in a sci-fi movie. Music is the leading carrier of action in Star Wars as in opera. Every single actor is assigned his/her theme, that at time showcases itself in association with other actors' theme.

The article is useful to researchers in that it can describe what type of soundtracks and music to include wherein the different scenes of the movie. It explains how to manipulate the observers' mind to shift between suspense, anxiety, happiness, and sadness. This ability to manage the memory of the observer is what makes movies more attractive in the public domain.

Lee Patrick. Dec 14, 2012. The Most Influential Sci-Fi Movies. Or Are They? Available at https://www.syfy.com/syfywire/the_most_influential_sci_

Lee's (2012) view of the influence of soundtracks and music in sci-fi movies is clearly highlighted. In this article, Lee starts by addressing the listing of the most influential film soundtracks in sci-fi by Turner Classic Movies. TCM host Robert Osborne is captured saying that it is not possible to think of particular movies without recalling their music scores. Osborne adds that TCM's list appreciates the highly memorable soundtracks which took the art of film music to a higher level and created the most durable impression to the movie globe.

In the article, a chart-topping rock artiste Thomas Rob is quoted saying, "Music contributes to film by developing the scene. There is a certain beauty in laying a musical bed and how it builds itself into the scene creating a lasting moment." From Thomas' viewpoint, music in sci-fi introduces the audience to certain scenes and dictates the activities to dramatize.

Lee (2012) further asserts that music has had a bigger role in movies compared to the last days of silent films. Lee states that music was able to be incorporated in the films by 1920 beginning with a synced score in Don Juan in 1926 and then Max Steiner in 1933. From the 1930's and 1940's movies were dominated with a compilation of songs from musicals and lush orchestral scores for performances. The writer compares the movies that were acted before the incorporation of music and those after. From his view, modern music incorporation has made movies more attractive.

TCM listing is believed to have based on a number of factors to rank the most influential film soundtracks including the impact of the sounds on how music is used to draw a storyline and on the methods for selecting music. Additionally, their effect is described by the influence they have on pop songs.

Though the article does not give exhaustive information on the influence music and soundtracks have in movies, it has to a great extent explained how music defines a scene. Moreover, the article has described how good choice of music impacts on the durability of the movie in peoples' minds. The article is useful for determining the aspects people base on when deciding the kind of movie to watch.

Ottinger III John. Jun 29,2009. What Music Reminds You of Science Fiction or Fantasy? Available at https://www.tor.com/2009/06/29/what-music-reminds-you-of-science-fiction-or-fantasy/

Ottinger (2009) says that he loves music and believes that music affects an individual to some extent at a specific time and place. The writer also believes that music has irrefutable authority which humans cannot evade. Everybody listens to music at particular times. The music one listens to depends on the activity he/she is engaged in.

Ottinger (2009) writes that in the recent past he has been of music that contains scientific themes. He gives an example of Joni Mitchell's Big Yellow Taxi which has a theme on climatic changes and also involves an apocalyptic prospect in its lyrics. From the author's point of view, music is ascribed for determining the theme to be addressed in a certain scene. Any time a specific song is played in a film, it signifies the introduction of a different theme.

Ottinger (2009) writes that anytime he hears this song, it draws him back to the movie. From this thought of being drawn back to a movie by a song, it is clear that music integrated into a movie will create some sort of remembrance. Music boosts the ability of the viewers to recall the scene and themes built by a particular movie. For instance, the writer says that the lyrics from Dido's Hunter builds a theme on love and each time the song is repeated then it reminds him of the movie he watched.

The writer of this article also states that these music lyrics creates a scheme of fantasy or falsehood. He says that some music used in movies may not even relate to science but gives an intent of science fiction or fantasy. From his implications, we able to deduce that music has the charm of bringing out the sense of fiction in a movie. Once some music is played in correspondence of activities, a keen viewer will be able to detect falsehood in some parts of the scene.

This article has some weaknesses which include its inability to clearly depict how these different songs are selected and attached to various scenes that correspond to them to show their intended themes. However, the article is able to show the impact music plays in creating themes in the film. The article also draws evidence on how music used in films makes them memorable. Additionally, the article derives the way in which music is used to create the aspect of fantasy.

Sweet Matthew. 3, Dec 2014. Space-age symphonies: The Music of Science Fiction Film. Available at www.bbc.co.uk/programmes/articles/2TRbG3vh0CzwzpVXbMcFNDF/space-age-symphonies-the-music-of-science-fiction-film

Sweet (2014) discusses the different uses of musical instrumentation in different situations and how it has managed to shape the movie industry. He starts by saying that nobody can hear someone making noise in space. This is because space is a vacuum and thus there is no air to longitudinally transit sound waves. He also states that nature in itself loathes a vacuum and movies too. This gives the producer the obligation of filling it.

Sweet (2014) says that:" The aliens, as they watch crackly TV broadcasts of 20th century science fiction films, are probably wondering why, for decades, their arrival was always heralded by the wail of the Therein- that odd electric instrument that's played by doing jazz hands at a pair of metal antennae." A Russian Physicist Lev Termen is known to have designed the expedient in 1919 and then appropriated it to the USA in 1927. Universal was impressed by the music which triggered them to reuse it in Flash Gordon Conquers the Universe (1940).

Matthew (2014) acknowledges Bernard Herrmann to having founded a prior form of multi-track footage on The Day the Earth Stood Still (1951) and Louis and Bebe for generating the realm's original all-electronic flick score for Forbidden Planet (1958). Due to the technological advancement, Theremin remains fit only for comedy. Modern science fictions are not aimed at creating the fun but transforms organic sounds to unearthly sounds. Matthew (2014) uses examples of Zimmer's sound effects for Interstellar which uses strings, pianos, and strong refrain sounds and Mica Levi's mesmerizing harmony for Under the Skin (2013) that uses a slithering and pitching viola as a lone apparatus.

This article addresses the origin of the musical soundtracks and why they were opted to be included in the movie world. It also states that music is magical in film production since it determines to what degree the film is watched in the different regions of the world and how they manage to remain in people's memories. Well-constructed and placed music and soundtracks make a movie enjoyable to watch.

Fiona Kelleghan. 1996. Sound Effects in Science Fiction and Horror Films. Available at filmsound.org/articles/horrorsound/horrorsound.htm

This article evaluates the application of music and soundtracks in science fiction movies and in horror movies and how effective they are in constructing the desired impacts to the viewers worldwide. The article gives the autonomy of music and soundtracks in movies as well as the selection criteria of music to be embedded in different scenes of the movie. From the article we are able to comprehend that music in a film will only be effective is matched with the anticipated actions. Basically, Fiona (1996) tries to evaluate the whole scope of using music in horror movies and science fiction.

The writer starts by referring to composer David Raksin saying that Alfred Hitchcock did not want music in the 1944 film Lifeboat since the characters were in the open ocean. The author says that John Carpenter, who writes and performs music for almost all his films, accepts that soundtracks must be couched. The writer stipulates that at times what the composer wants you to know is the skill he/she uses.

The music selected should mickey mouse the action being done. For instance, at the point, King Kong climbs the Empire State building, the sound effects upsurges and falls correspondingly according to his steps. The sound effects produced usually provides the viewers with what to expect. For example, a heavy brass chord usually announces danger, while a low unrelenting tone generates clandestine. These soundtracks are made in a way that on hearing them, the viewer can predict what is to follow. Sometimes the composers may bring in unpredictable soundtracks to film to blind the viewers from what to expect. In many cases, this blinding has helped to enable the movies to grab more concentration from the audience.

The current spectators have grown with complexities sufficient to be mindful of these musical clues. In comedy films, musicians have the liberty to use contrapuntal music which plays directly against the documented leitmotif. The author refers to when Stanley Kubrick presents the music "Try a Little Tenderness" to complement the two aircraft refilling in midair at the start of Dr. Strangelove, he creates an anecdote that contradicts with the dark and fatal insinuations of the rest of the movie. The creators acquire their ideas from different musical instruments and uproars generate different emotional impacts. The writer implicates that music has the strength to affect pictorial arena and the fancy. Synthesizers are mostly used in SF and horror movies since they yield wraithlike sounds. Alternatively, horns are utilized if straightforward emotions are to be generated. They are usually connected with soldierly and hunters and thus a symbol for bravery, e.g., in Star...