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(Music Technology) Sound Design for the Moving Image

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Elsewhere we find in the literature that sound design is also much more than the adaptation of sound to existing movies and films that have already been done and finished, as sound design, when done in such classics as the film above and in Star Wars, is also about how sound can fundamentally alter and impact on the making of the movies themselves, in the way the movies are actually filmed and conceptualized. This view of sound design, and the merit of such a view, is said to be borne out by the way films that have been done in this fashion have come to revolutionize the way films are made, for the spectacular and beautiful results of work that view sound design as an integral and creative part of the making of movies (Thom 1999; Thom n.; Katz 1997; Jarrett n.; Buskin n.The short of it is that in movies that incorporate sound in the very conception stage of the movies development and making, rather than considered as being an add-on to the movie experience, the true nature of creative sound design is said to shine through, and the examples of the work of Copolla, Murch and Ben Burtt, the latter in such groundbreaking movies as Star Wars, are testaments to the power of creative sound design done in this fashion, in collaboration with the directors of those films, who understood the power of sound in movies when they are considered in this vital fashion (Thom 1999). Others have come to term this way of conceiving sound design, as being an integral aspect of the creation of the script for instance, and of the conception of the very making of the movie, as “designing a movie for sound” (Jordan 2007; Thom 1999). Such work as Forrest Gump, as an example, benefit from such a view of sound design, according to Thom, who was able to push the idea of sound in some parts of the movie being able to help tell the story, in part because the creative sound designer was able to work with the movie director from the earliest parts of the movie making process (Thom n.Elsewhere in the literature we get the notion of sound effects and sound design, as by necessity a creative and experimental discipline, but not one that does not benefit from the wealth of experience of those who have come before, and have come to instruct, by example, on essential principles of sound design that work, and that create impact. This is true, for instance, as the nature of the visual experience changes and keeps on pressing the cutting edge of what is possible visually. The
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