MUSIVISUAL COMPOSITION, a guide to audiovisual music creation (2022)
This book is an excellent guide to all the aspects surrounding the profession of the composer of music applied to the audiovisual sector. It aims to complete and expand the theoretical space of the most important fields of knowledge that are necessary to develop a professional musical activity in film and also to serve as an aid to initiate the development of the facets or aspects not usually mastered by novice composers.
The novelty that can be found in Composición Musivisual is that it has a large amount of new material and documentation that was not available a few decades ago, due to the technological changes implemented recently. In addition, it deals with a large part of the most important audiovisual genres, with specific sections devoted to fiction films, documentaries, advertising, animation, television music, music for theatre, video art, video dance and video games.
To complete the range of perspectives from which to study audiovisual music, this last volume, Composición Musivisual, puts its feet on the ground to bring the composer closer to the world of music applied to film based on its techniques, technologies, procedures, genres and styles from the legacy left by composers who are part of the History of Cinema.
It includes 104 figures, 20 explanatory tables, 355 films cited and 377 personalities mentioned (composers, directors, artists, etc.), making it a reference for studies of composition for audiovisual media in conservatories and universities, as well as a manual for self-taught composers, professionals who wish to recycle or complete their knowledge, and even for filmmakers who wish to know some of the work processes of the musicians they work with in their films.
MUSIVISUAL ANALYSIS, a listening and study guide to film music (2017)
This text is a didactic and informative “guide” that clearly reviews the main musical and cinematographic theories, and systematises the different methodologies to tackle the analysis of film music by studying how music and image interact according to the possible associations of the musical with the plastic, the spatial, the chromatic or the dramatic.
With a precise language and a solid structure, “Análisis Musivisual” is a manual organised in two parts, one theoretical, in which the bases on which the music-image interaction is based are explained, and the other practical, in which a good number of cinematographic musical blocks are analysed through a proposal of cards and scores related to their corresponding frames.
Whether the reader is a student of audiovisual music composition, a critic or filmmaker who needs to sharpen his or her analytical tools, or an amateur who wants to understand the instruments that come into play when constructing this “musivisual” phenomenon.
It is to be hoped that, thanks to works as thorough as this one, composers will reflect on how it operates in conjunction with an image or a narrative; that critics will be able to base their arguments on a more solid foundation; and that anyone who perceives an audiovisual experience will have a clearer awareness of why they enjoy it.
THE MUSIVISUAL LANGUAGE, Semiotics and Aesthetics of Film Music (2008)
Is music a language? If so, is there a language unique to film music?
In this work, Alejandro Román proposes to provide content and justification for the presence of this no longer so new musical language, which he has aptly named “Lenguaje Musivisual”, in a total integration of the sonorous elements with the specifically visual ones.
The book explores the semiotics and aspects of signification of this language in relation to the elements present in the image, in order to develop later, from this semiotic approach, the existence also of an original aesthetic of film music which, with its virtues and defects, must always pose new challenges in the creation of new forms of aesthetic expression, abandoning stereotypes in favour of greater musical originality, but without ever losing the justification in the image itself. To this end, the author includes a multitude of graphs, synoptic tables, images, scores and examples that make the approach to this complex and difficult subject more attractive and direct.
Through the analysis of four film music scores (“The Others” by Alejandro Amenábar, “Vertigo” by Alfred Hitchcock, “The Bridges of Madison” by Clint Eastwood and “The Draughtsman’s Contract” by Peter Greenaway), the aspects dealt with are exemplified, bringing the composer, scholar and film music fan closer to this exciting subject.
C.I.N.E.M.A., COMPOSITION AND RESEARCH IN AUDIOVISUAL MUSIC (2014)
This book bears witness to the research work of a group of young composers with a complete theoretical, technical and musical training that culminated a formative process of many years of intense study. For the preparation of each of the articles, the authors have selected the most relevant aspects of each of their final year research projects within the scope of their studies in “Composition for Audiovisual Media” at the Real Conservatorio Superior de Música de Madrid, directed by the composer and professor Alejandro Román.
The nine essays presented in this volume deal with different aspects of music applied to cinema, from psychological, instrumental and technical points of view, as well as the different uses depending on the film genres, whether they are thrillers, science fiction or mystical cinema, and even the use of pre-existing cultured music that contributes new meanings by becoming part of the film.
The text, therefore, constitutes a good example of the excellence of the new generations of musicians, which goes beyond the musical practice, both in its interpretative and compositional facet, in which thought through research will contribute, in this case to cinematographic music theory, new points of view from the musical practice itself, new perspectives that will delve into the intricate dungeons of the understanding of music from the music itself, understood and explained by the musicians themselves.
INDETERMINACY AND MINIMALISM, POP AND AVANT-GARDES (2008)
Aestheticisation is a phenomenon present in much of contemporary art and thought that can be traced in the writings of philosophers from the Enlightenment to the present day. When the artistic experience is such that aesthetic components dominate or replace artistic components, aestheticisation occurs.
The 20th century shows a great variety of artistic currents that sought new modes of expression, among them the negative avant-garde, which found previously unexplored paths, leading art to a “disarticulation” where artistic capacity was crushed by the aesthetics of thought. This fact also occurred in music, from the Italian Futurists to the works of John Cage or the Minimalists, who were a reference for a multitude of pop music artists.
This book analyses the origin of these musical currents and the influence they have had on musical aesthetics and thought in the second half of the 20th century.
MANUEL DE FALLA AND SPANISH PHILOSOPHY (2008)
Manuel de Falla, the most international composer of Spanish music, lived through a period of splendour of Hispanic culture, the Silver Age. Falla’s intellectual patron was Adolfo Salazar, a friend of the greatest Spanish philosopher of the time, Ortega y Gasset, and despite the circumstances surrounding the two, Falla and Ortega never met.
This book presents two essays that aim to bring the figure of Falla closer to that of Ortega, and to that of one of his most distinguished disciples, the philosopher José Gaos, through their works. In the first one, we look for relations between “Meditaciones del Quijote”, Ortega’s first book, where he lays the foundations of his philosophy, and Falla’s work “El Retablo de Maese Pedro”. The second essay deals with the thoughts of José Gaos in his “Confesiones profesionales” on the concepts of confession, vocation, biography and creation, comparing them with the experience of a composer, in this case, Manuel de Falla.
In this book, Music and Philosophy are united by the same bond.