Deconstructing the Soundtrack: A School of Sound Masterclass
Duration: 2 days (weekend)
Times: 9.30am - 5.30pm
Capacity: Approx. 20-25 participants
LFS is proud to collaborate with The School of Sound on this two-day masterclass series. The sessions are aimed at those working in screen-based media, offering three further perspectives on the use of sound and music in filmmaking.
Experts Larry Sider, Annabelle Pangborn and Stephen Deutsch will each deliver a half-day seminar demonstrating the interrelationship between sound, music, image and story. The programme will include a discussion of strategies and concepts for working with sound and music, from pre- to post-production.
With particular relevance for directors, writers and producers as well as sound designers, editors and composers.
PROF. STEPHEN DEUTSCH: Putting Music in its Place
Setting a framework for the use of sound and music with image, Stephen Deutsch offers a new way of hearing music within the unified world of a film's soundtrack. He has had his concert music performed by eminent artists, including the Medici Quartet, David Campbell, The Gaudier Ensemble, Andrew Ball and The London Mozart Players. He has composed over thirty scores for film, theatre, radio and television. His many collaborations with the late playwright Peter Barnes include Jubilee (2001), the Olivier Award winning play, Red Noses (1985) and the feature film Hard Times (1994).
Stephen was educated initially in the United States (initial training - Julliard Preparatory Division; BMus - SMU; MA - San Francisco State University). After settling in Britain he attended the Royal College of Music where he was engaged in electro-acoustic composition under the direction of Tristram Cary. In 1971 he and two partners established Synthesizer Music Services, Ltd., an electro-acoustic studio in London.
His recent activity has been in combining music and sound design for moving images. He has directed and composed music/sound for a documentary, Pictures from Applecross which was released in April 2017.
At Bournemouth University, he is Professor of Post-Production. He has also served as Visiting Tutor in Screen Composition at the National Film & Television School. Within both institutions he has trained over 60 composers, some of whom have since provided music for feature films, theatre, television and computer games.
He is an editor of The New Soundtrack, an academic journal which focuses its attention on all the aural elements which combine with moving images.
LARRY SIDER: Sound Changes the Image
Larry Sider deconstructs the soundtrack, showing how each component of sound expresses character, place and story. He describes how the practical application of these concepts positions the audience in relation to the screen and the narrative.
Larry is a film editor and sound designer who has worked for thirty years in documentary, animation and fiction filmmaking. He is Head of MA Sound Recording and Design at Goldsmiths and has advanced the creative use of sound in screen production as Director of the School of Sound symposium, an international four-day event exploring the use of sound in the arts and media.
Sider’s experience spans work in a wide spectrum of film and television productions including documentary, fiction, animation, shorts and features and educational formats. He has worked extensively with animators the Quay Brothers (Street of Crocodiles, Institute Benjamenta) and documentary filmmaker Patrick Keiller (London, Robinson in Space and Robinson in Ruins.)
He regularly teaches at UK and European schools including the International Film School (Köln), Baltic Film and Media School (Tallinn), ENSATT (Lyon), University College of the Arts, Open City Docs at University College London and the National Film and Television School (Beaconsfield). He was previously Head of Editing, Sound and Music at the NFTS. He is co-editor of The New Soundtrack journal.
ANNABELLE PANGBORN: Giving the Film Back to the Audience
In choosing whether to use music or sound, Annabelle Pangborn analyses how music responds directly to a film’s narrative to create atmosphere, expression and mood. She shows how music connects the audience to a film’s subtext, confronting the audience with the reality of their feelings. Annabelle trained as a musician and composer at the London College of Music and as a filmmaker at the Royal College of Art. She has worked extensively in film and television as a composer and sound designer on award winning drama, documentary, dance film and experimental animation. Collaborations have included work with Penny Woolcock, Sarah Turner, Beeban Kidron, Simon Pummell and most recently Ilya Khrzhanovskiy on his hugely ambitious film and arts project DAU. She has taught throughout Europe and the UK and was formerly Head of Editing, Sound and Music at the National Film & Television School, UK. She is currently Director of the Northern Film School, Leeds.
Case Studies and Q&A
In addition, the three tutors will also touch upon other media such as games, gallery work and dance. Time will be allowed for an in-depth, wide-ranging Q&A session where participants can discuss and get feedback on their own projects. (We will have time for a full Q&A/feedback session at the end of both days.)