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Abstract
There has been a significant interest in Music Supervision due to music’s ability tosonically brand visual media, resulting in a lucrative cross-marketing tool. The musicsupervisor acts as a liaison between the visual media’s creative team and the musicindustry. This influential role of consultant and tastemaker considers more than aestheticsof the scene as to include, legal, administrative, creative, interpersonal, and budgetaryknow-how.Film scholars that specialize in film music primarily focus on the composition of a film’sscore and less on the placement of pre-recorded music and it’s function as a narrativedevice and a marketing tool. The music industry is at a cross-road. Record sales aredeclining and musicians are bypassing the major record labels to self distribute. Musicindustry professionals are looking to license music catalogues as a new marketing tooland new source of revenue.Currently three books have been published on the topic of Music Supervision; two of which approach music supervision from the perspective of the musician. There is yet tobe any visual media that explores the
 
process, politics, and prospect of this art form.
 Music Supervision: a thesis project 
is a video project compiled of interviews withentertainment professionals and artists. This project will provide the film and musiccommunities an understanding of the evolution of the art form and the selection process.
 
Music Supervision: a thesis projectLa Toia Janine BrownThesis submitted to the faculty of Columbia College ChicagoIn partial fulfillment of the requirements forMaster of Arts ManagementArts, Entertainment, and Media ManagementMay 25, 20102
 
Preface
Film has always been a passion, while music has been a hobby. I sought to merge thetwo disciplines, which lead me to launch a production company, Nerdy Media, in 2007where I began producing music videos and music related documentaries. That same yearI began graduate school and became interested in the relationship between the film andmusic industries and the common denominator between the two, music supervision.From September 2009 to December 2009 I had the opportunity to intern with KurtisProductions, a documentary production company and Music Dealers, a music licensingcompany. These experiences allowed me to gain a greater understanding of documentaryfilmmaking and music licensing. They have also inspired this thesis project by allowingme to observe and participate in the licensing and research processes pertaining to musicsupervision.3
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