Sound and Music for the Theatre, Third Edition: The Art & by Deena C. Kaye

Sound and Music for the Theatre, Third Edition: The Art & by Deena C. Kaye

By Deena C. Kaye

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Extra resources for Sound and Music for the Theatre, Third Edition: The Art & Technique of Design

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This would indicate, by character association, where the next scene would be: Portia dwells primarily in Belmont, Shylock in Venice. By identifying the location with music, the audience has an early clue as to locale and to which subplot will be taking place. To make each scene complete, since so much Shakespeare is in French-scene format (whereby scene divisions are marked by character entrances and exits), a theme of one character can be used to begin the scene, and a theme of another can be used to end it, signaling what will follow.

They know there are birds singing in the garden—they don’t need the continuous sound of the birds once that has been established. Depending on the type of ambiance being used, you can either fade out the sound gradually or take it out quickly. Gradually fading out a sound will be less obtrusive than popping it out. The previous example of the rain is a case where it’s better to fade the sound gradually. Since the rain is a rather dense background, if it went out quickly the sudden lack of ambiance would be noticeable.

But in the case of The Private Ear, the timings and actions were worked out by the playwright to this specific composition. THE FOUNDATION OF SOUND DESIGN 28 Spot effects are specific sounds such as thunderclaps, dog barks, and explosions. In a loosely adapted production of the melodrama The Tavern, the director and sound designer set up a convention that every time someone came in the front door, a crack of thunder sounded and a wind-and-rain track bumped on. When the door closed, the wind and rain stopped and what was left of the thunder rapidly faded.

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