Take the opportunity to become an expert in the history of Film Music”

Music is positioned as a fundamental part of any audiovisual production, especially in Film. Since the early days of silent movies, music has been an essential component in the creation of emotions and atmospheres for films. For this reason, it is essential for any musician or film professional to have solid knowledge in this area in order to deepen their productions.

In this sense, the Diploma in Film Music is designed to provide students with a complete and deep vision of how music is used on the big screen. This course covers a wide variety of topics, from the history of Film Music to the current technology used in soundtrack production. Students will also be updated on film-specific music composition, orchestration, the use of music in post-production or common types of listening.

This program is designed to fit into students' lives and schedules. With a 100% online format, students can access the degree's resources at any time and from anywhere. In addition, Relearning's pedagogical methodology is student-centered, allowing students to work at their own pace and adapt academic resources to their individual needs.

You will be a reference in the study of New Symphonism or Classical Symphonism thanks to this Diploma”

This Postgraduate certificate in Film Music contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts in Film Music
• The graphic, schematic, and practical contents with which they are created, provide practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

You will differentiate with criteria the types of Audiovisual Music, distinguishing between Diegetic or Incidental Music, among others”

The program’s teaching staff includes professionals from sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive education programmed to learn in real situations.

The design of this program focuses on Problem-Based Learning, by means of which the professional must try to solve the different professional practice situations that are presented throughout the academic course. For this purpose, the student will be assisted by an innovative interactive video system created by renowned experts.

You will take an exciting journey through the contributions of the most important soundtrack composers in histor”

Register now and benefit from the convenience of an online format with which you will specialize in Film Music from home”

The team of experts in Music and Performing Arts that TECH Global University has assembled has designed the curriculum for this Diploma. It has been developed under a duration of 150 hours of theoretical, practical and additional content, selecting the most rigorous, complete and necessary knowledge for students to acquire a specialized vision of this area. In addition, the program provides various audiovisual material that will allow the graduate to contextualize each topic and delve into those that particularly attract their attention.

Jo Engel, Hans Vogt and Joseph Massole, Der Branstifer. All the great figures of Music in the Cinema are included in the agenda”

Module 1. Film Music

1.1. Audiovisual Communication, Basic Concepts

1.1.1. What is Audiovisual Communication?
1.1.2. Types of Audiovisual Communication
1.1.3. Audiovisual Communication and Social Influence
1.1.4. Elements of Communication

1.2. The History of Film Music

1.2.1. The First Soundtracks
1.2.2. Classical Symphonism
1.2.3. The Main Theme
1.2.4. The New Symphonism

1.3. Types of Audiovisual Music

1.3.1. Diegetic Music
1.3.2. Incidental Music
1.3.3. Pre-Existing Music
1.3.4. Extradiegetic Music

1.4. The Sound in the Cinema

1.4.1. Démeny and Talking Photography
1.4.2. Charles, Phonography and Cinematography
1.4.3. Léon Gaumont and the Sound System of Films
1.4.4. Jo Engel, Hans Vogt and Joseph Massole, Der Branstifer
1.4.5. The Phonofilm: the Synchronization of the Sound in the Films
1.4.6. Vitaphone, the Synchronization between Disc and Image

1.5. Classical Cinema

1.5.1. Beginnings of Classical Cinema
1.5.2. Characteristics of Classic Hollywood Cinema
1.5.3. Themes and Characters
1.5.4. The role of music in Classical Cinema

1.6. The Most Relevant Composers of Soundtracks in History

1.6.1. Camille Saint - Saëns and Mihail Ippolitov
1.6.2. Louis Silvers, Considered the First Composer for the Cinema
1.6.3. Joseph Carl Breil
1.6.4. Max Steiner and King Kong
1.6.5. Bernard Herrmann
1.6.6. Most Outstanding Composers of the Last 30 Years

1.6.6.1. Hans Zimmer
1.6.6.2. Danny Elfman
1.6.6.3. Ennio Morricone
1.6.6.4. John Williams

1.7. The Technical Evolution of the Cinema

1.7.1. August and Louis Lumière, Inventors of the Cinematograph, 1895
1.7.2. Georges Méliès and the Overprinting of Images
1.7.3. The Color: Daniel Comstock and Burton Wescott, 1916
1.7.4. Sound and Television
1.7.5. Animation and Walt Disney
1.7.6. The Pixar Era

1.8. Types of Listening

1.8.1. Causal Listening
1.8.2. Gestural Listening
1.8.3. Reduced Listening
1.8.4. Semantic Listening
1.8.5. Verbal Listening
1.8.6. Spatial Listening
1.8.7. Procedural Listening
1.8.8. Empathic Listening
1.8.9. Taxonomic Listening
1.8.10. Figurative Listening
1.8.11. Inattentive Listening

1.9. Acousmatics

1.9.1. What is Acousmatics?
1.9.2. Origins The Pythagorean School
1.9.3. Style of Acousmatics
1.9.4. Acousmatics in the Cinema

1.10. The Out-of-Field Sound

1.10.1. What are Out-of-Field Sounds?
1.10.2. Encompassed
1.10.3. Narrative Out-of-Field
1.10.4. Michel Chion: Active and Passive Out-of-Field

Access a very complete agenda available 24 hours a day on the Virtual Campus with just a computer or Tablet”