Skip to main content
×
Home
    • Aa
    • Aa
  • Get access
    Check if you have access via personal or institutional login
  • Cited by 6
  • Cited by
    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Meandri Sanchez, Ilario 2014. Around the Marvelous: Film Music Formulas from an Ethnomusicological Perspective. Music and the Moving Image, Vol. 7, Issue. 2, p. 34.


    Mera, Miguel 2012. Outing the Score. Music, Sound, and the Moving Image, Vol. 6, Issue. 1, p. 93.


    Dubowsky, Jack Curtis 2011. The Evolving 'Temp Score' in Animation. Music, Sound, and the Moving Image, Vol. 5, Issue. 1, p. 1.


    McLean, Rachel and Roberts, Amalie 2010. Discovering the facets of copyright licensing for commercial composers. Management Decision, Vol. 48, Issue. 9, p. 1400.


    Letcher, Christopher 2009. Mbaqanga, Bollywood and Beethoven on the Beachfront: A Composer's Perspective on Representation and Identity in the FilmMy Black Little Heart. Ethnomusicology Forum, Vol. 18, Issue. 1, p. 21.


    Mera, Miguel and Morcom, Anna 2009. Introduction: Screened Music, Trans-contextualisation and Ethnomusicological Approaches. Ethnomusicology Forum, Vol. 18, Issue. 1, p. 3.


    ×

The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films

  • RONALD H. SADOFF (a1)
  • DOI: http://dx.doi.org/10.1017/S0261143006000845
  • Published online: 01 May 2006
Abstract

The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.

Copyright
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Popular Music
  • ISSN: 0261-1430
  • EISSN: 1474-0095
  • URL: /core/journals/popular-music
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×