ASSIGNMENT:

Peoples Response and Reactions when they watch

movies and the kind of music that connect their biology to
movie watching, music imagery and so on

Introduction
As Humans we respond to events of sights and sound in accordance to
our orientation and cultural context.

A European girl or lady that receives a bouquet of roses from a suitor

or friends will display emotional response to this love language in the
context of her psychological development and social
environment.

while this can excite her to a great extent, it cannot be said that it
may be of much impact or effect on a girl from a village in ikorodu, or
mushin in lagos if compared to rather giving her 50kg bag of rice,
vegetable oil, with 100k cash added as a token of love for this
christmas

So whatever we hear and see when we watch movies predominantly

and largely has a connection to our cultural background and social
orientation.

So lets confine our discuss to movie watching, music imagery and our
biology and see how these evoke emotional response through the use
of background music

So therefore, first a little introduction to sound and motion

picture...
Sound and motion picture
Types of Sounds in Film

Dialogue: The spoken words of characters, recorded either on-set or

added in post-production.

Music: Original scores or pre-existing songs used to enhance the

emotional impact and atmosphere.

Sound Effects: Sounds that are added to enhance the realism or

dramatic effect of a scene.

Categories of Sound Effects

Ambient Sound: Background noises that establish the environment,

such as birds chirping, traffic sounds, or wind rustling leaves.
(* Please note: This forms the soundscape of a unique environment)

Foley Sound: Sound effects created in post-production to match the

actions on screen, like footsteps, doors creaking, or clothes rustling.

Special Effects (SFX): Sounds that are added to create dramatic

effects, such as explosions, gunshots, or magical spells.

Film Scoring 101

A sound film is a motion picture with synchronized sound, or sound

technologically coupled to image, as opposed to a silent film.

The first known public exhibition of projected sound films took place in
Paris in 1900, but decades passed before sound motion pictures
became commercially practical.

Before sound-on-film technology became viable, soundtracks for

films were commonly played live with organs or pianos.

The primary steps in the commercialization of sound cinema were

taken in the mid-to-late 1920s.
By the early 1930s, the talkies were a global phenomenon.

In the United States, they helped secure Hollywood's position as

one of the world's most powerful cultural/commercial centers
of influence (see Cinema of the United States).

Note: it promoted the united states culturally and economically

globally
( * so the power of art in human well being in bolstering economical
power pushed the united states ahead globally though this stated in
paris

let me take you back a little…

Imagine, if you will, a time when the magic of moving pictures was
still fresh and new.
A time when every flicker on the screen brought gasps of wonder from
the audience. Now, imagine adding sound to that experience. It was a
revolution in the making, a seismic shift in the way
stories were told and experienced.

Paris, the City of Lights, was the backdrop for this

groundbreaking moment in cinematic history. The year was
1900, and the first known public exhibition of projected sound films
took place.

It utilized the Phono-Cinéma-Théâtre system, where dialogue or songs

were recorded on a phonograph and the speed of the film projector
was adjusted to match the sound. It was, in its own way, a
technological marvel of its time

however The turning point for the entire film industry was in
1927 with The Jazz Singer, a movie that changed the game.
It marked the introduction of sound in films, fondly known as
"talkies" This momentous occasion revolutionized the cinematic
experience forever.
But the journey to pair images with synchronized
sound was not an overnight success. It was a path paved
with trials and tribulations.
One of the early pioneers in this field was none other than
Thomas Edison.

As early as 1893, Edison experimented with using a phonograph

record to synchronize sounds with his kinetoscope films.
Edison’s role in The Dickinson Experimental Sound Film, conducted in
1894, marked a significant milestone in the history of film.

It was the first known attempt to synchronize sound and moving

image, featuring William K.L.
Dickson playing a violin into a recording horn for an
off-camera wax cylinder.

(1)

In film scoring
Different musical instruments are often used to evoke specific
emotions and guide the listener's mental anticipation or
recognition. Here's how some common instruments
contribute to this process:

String Instruments

Violins: Often used to convey emotions like sadness,

romance, or tension. Their expressive range can evoke deep
emotional responses.

Cellos: Provide a rich, warm sound that can evoke feelings of

melancholy, nostalgia, or grandeur.
Harp: Adds a sense of ethereal beauty and can be used to
create magical or dreamlike atmospheres.

Brass Instruments

Trumpets: Typically used to signify heroism, triumph, or

excitement. Their bold, bright sound can create a sense of
urgency or celebration.

French Horns: Offer a warm, mellow tone that can evoke

feelings of nostalgia, romance, or pastoral scenes.

Trombones: Provide a robust, powerful sound that can be

used for dramatic or ominous moments.

Woodwind Instruments

Flute: Often used to create a sense of lightness, innocence,

or mystery. Its delicate sound can evoke a range of emotions
from joy to sorrow.

Clarinet: Versatile instrument that can convey a wide range

of emotions, from playful and whimsical to somber and
reflective.

Oboe: Has a distinctive, penetrating sound that can evoke

feelings of longing, melancholy, or intensity.

By carefully selecting and combining these instruments,

composers can guide the listener's emotional journey and
enhance the storytelling in films.
The choice of instruments and how they are used can
significantly impact the viewer's mental anticipation and
recognition of the narrative.
To begin to address our study let us start this
with a little from Psychoacoustics...

This is the scientific study of the perception of sound,

focusing on our humans experience and interpret
various auditory stimuli. It combines principles from
psychology, acoustics, and neuroscience.

For example, In music, timbre also known as tone color or tone quality
from psychoacoustics view is described as the perceived sound
quality of a musical note, sound or tone.

Timbre distinguishes different types of sound production, such as choir

voices and musical instruments, such as string instruments, wind
instruments, and percussion instruments.
It also enables listeners to distinguish different instruments in the
same category

Psychoacoustic evidence

its proven, that listeners can identify an instrument, even at different

pitches and loudness, in different environments, and with different
players. In the case of the clarinet for example, acoustic analysis
shows waveforms irregular enough to suggest three instruments
rather than one.

David Luce (1963 ) suggests that this implies that certain strong
regularities in the acoustic waveform of the above instruments must
exist which are invariant with respect to the above variables.

However, Robert Erickson argues that there are few regularities and
they do not explain our
"Powers of recognition and identification." He suggests
borrowing the concept of subjective constancy from studies of
vision and visual perception (Erickson
1975, 11).

Adaptive Resonance Theory (ART)

is a fascinating concept in music psychology that helps explain how
music resonates with listeners. Here's a brief overview:

Adaptive Resonance Theory (ART)

is a cognitive and neural theory that describes how the brain learns to
recognize and predict patterns in a changing environment. It suggests
that music "clicks" or resonates with listeners when it aligns with
their existing mental representations and
expectations
Key Concepts of ART in Music Psychology

Resonance: When music aligns with a listener's expectations and

mental representations, it creates a resonant state, leading to a sense
of familiarity and pleasure.

Learning and Prediction: ART explains how the brain learns to

categorize and recognize musical patterns, allowing listeners to
predict and anticipate musical sequences.

Top-Down and Bottom-Up Processing: ART involves both top-down

(expectations and predictions) and bottom-up (sensory input)
processes, creating a dynamic interaction that enhances musical
experience.

Emotional Impact: The resonant states predicted by ART can evoke

strong emotional responses, as music that aligns with listeners'
mental representations can be particularly moving and satisfying.

Applications of ART in Music

ART has been applied to various areas in music psychology, including

understanding how listeners perceive and enjoy music

Indigenous African musical instruments are rich in cultural

significance and are often used to evoke specific emotions and guide
listeners' mental anticipation or recognition. Here are some examples:

String Instruments

Kora: A 21-string harp-lute from West Africa, particularly the Gambia

and Senegal. It's often used in storytelling and evokes a sense of
elegance and tradition.

Krar: A lyre from Ethiopia and Eritrea, known for its soothing and
melancholic sound, often used in traditional ceremonies.

Brass Instruments

Algerian Horn: A type of natural horn used in North Africa, producing

bold and resonant sounds, often associated with celebrations and
ceremonies.

Shekere: Though primarily a percussion instrument, the shekere (a

gourd covered with beads) can produce rhythmic patterns that evoke
excitement and joy.

Woodwind Instruments
Flute: Various types of flutes, such as the Ugandan endongo or the
Ethiopian washint, are used to create hauntingly beautiful melodies
that can evoke a range of emotions from joy to sorrow.

Hosho: A small, handheld shaker from Zimbabwe, often used in

traditional music to create intricate rhythms that guide the listener's
anticipation.

Percussion Instruments

Djembe: A goblet-shaped drum from West Africa, known for its

powerful and versatile sound, often used to convey emotions ranging
from joy to sorrow.

Balafon: A wooden xylophone from Mali, used to create melodic and

rhythmic patterns that evoke a sense of community and celebration.

These instruments, with their unique sounds and cultural

contexts, play a significant role in guiding listeners' emotional
responses and mental recognition in traditional African music.

Nigerian cultures have a rich musical heritage with various

instruments that evoke specific emotions and guide listeners' mental
anticipation or recognition. Here are some examples:

Flutes
Oja: An Igbo flute used in various ceremonies and dances. Its melodic
tunes can evoke joy, sorrow, and other emotions, often accompanying
storytelling and traditional rituals.

-Agogo: A Yoruba bell instrument used to keep time in music and

dance. Its rhythmic patterns can create excitement and guide the
listener's anticipation, often used in festivals and celebrations.

Drums
Djembe: A goblet-shaped drum from West Africa, known for its
powerful and versatile sound. It can convey a wide range of emotions,
from joy to sorrow, and is often used in communal gatherings.

Gangan: Also known as the "talking drum," this Yoruba instrument

can mimic the tones and inflections of human speech, communicating
messages through its playing.

Bata Drum: Used in religious ceremonies and celebrations, this

Yoruba drum adds a rhythmic backbone to the music, enhancing the
emotional impact.

Voice
(e.g Texted MUSIC voice)
Traditional Chants and Songs: Vocal music in Nigerian cultures
often involves traditional chants and songs that convey stories,
history, and emotions. The use of vocal techniques, such as call-and-
response, adds depth and engagement to the music.

These instruments and vocal styles play a significant role in guiding

listeners' emotional responses and mental recognition, enriching the
cultural and musical experience.
Nigerian cultures have traditional string instruments that play
an important role in their musical heritage. Here are a few examples:

String Instruments
Goje: This is a traditional string instrument similar to a violin used by
the Hausa people in northern Nigeria. It has a resonant sound and is
often used in traditional music and storytelling.

Kontigi: Also known as the konting, this stringed lute is played by

the Fulani and Hausa people. It is used in various ceremonies and can
evoke a wide range of emotions through its melodic lines.

Kora: While more commonly associated with the Mandinka people of

West Africa, the kora is also found in Nigeria. It's a 21-string harp-
lute known for its intricate and melodic playing, often used in
storytelling and ceremonial music.

These string instruments, along with the flutes, agogo, drums, and
vocal styles we discussed earlier, contribute to the rich tapestry of
Nigerian music and soundscape typical to our cultural and social
context as black africans, guiding emotional responses and
enhancing cultural expression that are common to our unique
biology.

Integration in Film Scoring

Combining these traditional string instruments with
modern orchestration can create a unique and
compelling soundtrack. Here are a few ways to achieve this:
Layering: Use the string instruments as a primary layer, and support
them with subtle orchestral elements to enhance the emotional
impact.

Themes and Motifs: Create recurring musical themes or motifs using

these instruments to represent characters, places, or significant
events in the film.
Cultural Fusion: Blend traditional Nigerian instruments with
contemporary sounds to create a soundtrack that resonates both
culturally and universally.

This approach not only enriches the film's emotional palette but
also honors the cultural heritage, creating a deeply immersive
experience for the african audience.

(2)

Biology and nature

because infants can process sounds at the early developments stages
through:

Early Recognition of Sound

Prenatal Perception: it a proven fact that Fetuses can recognize and
respond to sounds, including music, while in the womb.

Pitch Discrimination: Infants can differentiate between different

pitches and tones.

Cognitive and Emotional Development

Imitative Audio-Vocal Behavior: Children mimic sounds and rhythms,

developing vocal and auditory skills.

Musical Memory: Infants recognize familiar melodies and

rhythms, aiding cognitive development.

Note: african music is rhythimic centered, so this early

development begins to disguish our preferences at an early
stage in live before adulthood

Emotional Responses: Music evokes strong emotional responses,

helping develop emotional regulation and empathy.
Therefore as people born to black parents, growing up and
living in the African or Nigerian environments, we have
developed specific and unique Preconceptions of:
love language, aesthetics, conflict, politics, etc developed
from childhood from to our Social and cultural environments
this has resulted largely in two broad ways:

This translates to the following emotional and cognitive

capacities:

(a)Long-Term Impact

Lifelong Benefits:
Early exposure to music has enhanced language acquisition,
spatial-temporal reasoning, and social bonding.

(b)Emotional Resonance and Memory

Cultural Familiarity: Creates a sense of belonging and is linked to

significant life events.

Nostalgia and Comfort: Evokes memories of childhood and home,

reinforcing identity and continuity.

While there aren't specific musical sounds or tones unique to

certain demographics or races, cultural context and exposure
play a significant role in how people respond emotionally to
music.
Different cultures have unique musical traditions and
instruments that evoke specific emotions and memories for
people within those cultures.

For example:

Westerners might have a strong emotional response to classical

music or pop music, which are prevalent in their culture.

Black Africans might have a deep connection to traditional rhythms

and instruments like the djembe or kora, which are integral to their
cultural heritage.
Nollywood Background music

According to a well known schoolar Silvanus emaeyak Peters,

amongst many things common to Nollywood background music is
PREFIGURING and Texted Music

Sylvanus, Emaeyak Peteris currently completing his PhD in Film Music

at the City University, London. He is a composer-musicologist who
combines theory, research, and practice within the context of
indigenous and contemporary creative/cultural industries. He received
both his BA (with first class) and MA in Musicology from the University
of Nigeria, Nsukka. He joined the academic staff of the Department in
2005 specializing in Composition, Orchestration, and Performance.
The decision to further his study abroad and in a unique area
culminated in an MA in Film Music and Multimedia Studies from City
University, London

The Nigerian film industry (Nollywood) embraces both motion

picture and television approaches; yet it cannot be called one
or the other in its entirety. This ‘both and neither’ nature has
forced scholars such as Kenneth Harrow to ask:
‘how are we to read their films?’
and, by virtue of this article, their film music. I argue that the capacity
to do so subsists in a thorough understanding of the industry’s
organisation and long-held divergent creative process.

My ethnographic study reveals that Nollywood’s structure of film

music production differs significantly from some other known cinema
traditions of the world.

One such striking observation is that Nollywood film music projects

and production (recording, editing, spotting, etc.) are entirely carried
out without the involvement of film directors. And this unique process
and structure strongly influences its film music approaches and
aesthetics.
Prefiguring
entails the use of music to predict dialogue and scenes in film.
It is prevalent in the cinematic productions of both the ethnic-based
film industries in Nigeria and mainstream Nollywood.

Theoretically, prefiguring is a function of indigenous storytelling

practices, the appropriation of which conjures up layers of meaning for
the local practice, practitioners, and audiences. Relying on in-depth
textual analyses, composers’ accounts, and relevant literature,

I argue that prefiguring is a concept of major theoretical

importance to the study of music in Nigerian cinema, not least
because its existence and efficacy strongly support notions of
a localized film music practice

TEXTED MUSIC: BACKGROUND MUSIC SUNG WITH WORDS

Stanley Okorie music producer

Kolade morakinyo sound designer
tunde kelani cinematographer