“Sounds Must Stir the Fantasy”

2018 ◽  
pp. 79-102
Author(s):  
Nathan Platte

Chapter 4 discusses the musical underscore in The Wizard of Oz. Contemporary discourse on the musical soundtrack has emphasized its role in underscoring—literally and figuratively—the film’s extraordinary content, often stressing its “special” and “effect”-like qualities. Studio publicists plugged the score’s idiosyncratic length and complexity, and Herbert Stothart also drew connections between music and elaborate illusions: “music and sound must be highly imaginative, unreal while super-realistic. Here sounds must stir the fantasy. . . . The difficulty is to blend music and the special sound effects.” Elsewhere Stothart averred that the striking hues of Technicolor warranted special musical treatment. From studio records, contemporary newspaper accounts, the conductor’s score, and the film itself, musical gestures are identified in the underscore that work as and in tandem with special effects.

2022 ◽  
Vol 12 (1) ◽  
pp. 1-15
Author(s):  
Liu Hsin Lan ◽  
Lin Hao-Chiang Koong ◽  
Liang Yu-Chen ◽  
Zeng Yu-cheng ◽  
Zhan Kai-cheng ◽  
...  

People's motions or behaviors often ensue from these positive or negative emotions. Set off either subconsciously or intentionally, these fragmentary responses also represent people's emotional vacillations at different times, albeit rarely noted or discovered. This system incorporates affective computing into an interactive installation: While a user is performing an operation, the system instantaneously and randomly generates corresponding musical instrument sound effects and special effects. The system is intended to enable users to interact with emotions through the interactive installation to yield a personalized digital artwork as well learning about how emotions affect the causative factors of consciousness and personal behaviors. At the end of the process, this project design renders three questionnaires for users to fill in as a means to enhance the integrity and richness of the system with a survey and to further increase the stability and precision of the system through progressive modifications aligned with user suggestions.


1999 ◽  
Vol 58 (3) ◽  
pp. 170-179 ◽  
Author(s):  
Barbara S. Muller ◽  
Pierre Bovet

Twelve blindfolded subjects localized two different pure tones, randomly played by eight sound sources in the horizontal plane. Either subjects could get information supplied by their pinnae (external ear) and their head movements or not. We found that pinnae, as well as head movements, had a marked influence on auditory localization performance with this type of sound. Effects of pinnae and head movements seemed to be additive; the absence of one or the other factor provoked the same loss of localization accuracy and even much the same error pattern. Head movement analysis showed that subjects turn their face towards the emitting sound source, except for sources exactly in the front or exactly in the rear, which are identified by turning the head to both sides. The head movement amplitude increased smoothly as the sound source moved from the anterior to the posterior quadrant.


Author(s):  
Todd Decker

Hymns for the Fallen listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to stimulate reflection on the experience of combat. Considering landmark movies—such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper—as well as lesser known films, Todd Decker shows how the domain of sound, an experientially rich, culturally resonant aspect of the cinema, not only invokes the realities of war, but also shapes the American audience’s engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound—dialogue, sound effects, music—and considers how expressive and formal choices on the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.


2016 ◽  
Vol 136 (12) ◽  
pp. 1712-1720
Author(s):  
Kahori Okamoto ◽  
Ryosuke Yamanishi ◽  
Mitsunori Matsushita

CFA Magazine ◽  
2007 ◽  
Vol 18 (4) ◽  
pp. 56-57
Author(s):  
Susan Trammell
Keyword(s):  

2019 ◽  
Vol 15 (2) ◽  
pp. 175-185 ◽  
Author(s):  
Momin Khan ◽  
Sehrish Khan ◽  
Amir Ul Mulk ◽  
Anis Ur Rahman ◽  
Abdul Wadood ◽  
...  

Background:Barbituric acid derivatives are a versatile group of compounds which are identified as potential pharmacophores for the treatment of anxiety, epilepsy and other psychiatric disorders. They are also used as anesthetics and have sound effects on the motor and sensory functions. Barbiturates are malonylurea derivatives with a variety of substituents at C-5 position showing resemblance with nitrogen and sulfur containing compounds like thiouracil which exhibited potent anticancer and antiviral activities. Recently, barbituric acid derivatives have also received great interest for applications in nanoscience.Objective:Synthesis of 5-arylidene-N,N-diethylthiobarbiturates, biological evaluation as potential α-glucosidase inhibitors and molecular modeling.Methods:In the present study, N,N-Diethylthiobarbituric acid derivatives were synthesized by refluxing of N,N-diethylthiobarbituric acid and different aromatic aldehydes in distilled water. In a typical reaction; a mixture of N,N-diethylthiobarbituric acid 0.20 g (1 mmol) and 5-bromo-2- hydroxybenzaldehyde 0.199 g (1 mmol) mixed in 10 mL distilled water and reflux for 30 minutes. After completion of the reaction, the corresponding product 1 was filtered and dried and yield calculated. It was crystallized from ethanol. The structures of synthesized compounds 1-25 were carried out by using 1H, 13C NMR, EI spectroscopy and CHN analysis used for the determination of their structures. The α-glucosidase inhibition assay was performed as given by Chapdelaine et al., with slight modifications and optimization.Results:Our newly synthesized compounds showed a varying degree of α-glucosidase inhibition and at least four of them were found as potent inhibitors. Compounds 6, 5, 17, 11 exhibited IC50 values (Mean±SEM) of 0.0006 ± 0.0002, 18.91 ± 0.005, 19.18 ± 0.002, 36.91 ± 0.003 µM, respectively, as compared to standard acarbose (IC50, 38.25 ± 0.12 µM).Conclusion:Our present study has shown that compounds 6, 5, 17, 11 exhibited IC50 values of 0.0006 ± 0.0002, 18.91 ± 0.005, 19.18 ± 0.002, 36.91 ± 0.003 µM, respectively. The studies were supported by in silico data analysis.


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