Screen Music: Why? What? How? - An Introduction
  A three day course presented by Martin Armiger

What does film music do? The orchestra plays a triumphant anthem. James Brown screams on the soundtrack. A low ominous pulse is heard…
Yes, but what is the music doing? To the narrative, to the on-screen moment, to the audience experience? Trying to answer this question (of course) leads to more questions: what is filmed narrative itself ‘doing’? what does an audience want from cinematic storytelling? why do we want music in films? when do we not  want music? 

This intensive three-day course will provide an introduction to the craft and the art of music for the screen. Questions will be asked and the participants will be invited to find answers each in their own way, and, in practical terms, each in their own voice. At a basic level we will enquire:
when does the music start?
when does the music stop?
what is it doing while it's there?
The three days will give an introductory grounding in the uses of music in all forms of filmmaking: documentary, feature film, short film, TV series, branching narrative and non-linear, using the techniques of contemporary scoring: sampling, sequencing, DAWs and electro-acoustic music. 
    
More details on request. Course dates and costs to be announced.  Enquiries go to the Contact page.

Screen Music: The Specifics
   Three short courses this summer presented by Martin Armiger

  1. Screen Music Styles, Structures and Functions
    Screen Music Styles, Structures and Functions
  2. Chasing and Fighting and Film Music
    Chasing and Fighting and Film Music
  3. Love and Death and Film Music
    Love and Death and Film Music
Screen Music Styles, Structures and Functions is an introduction to what music does for film, and how it does it.     
Looking at the ever-changing relationships between sound design and score and pre-existing music in screen production practice, and how the structures of music interact with the structures of narrative . Functions of music from earliest times, structures of story, and structures of music, the crucial ​​matter of style. Why does a film have music? What does it do now when sound design does so much?
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The course is presented over three days.


More details for these courses on request.
Chasing and Fighting and Screen Music looks at action sequences and the ever-changing roles of sound and music in their construction.   

Many films have a chase scene, most films have a fight scene, some films are nothing but chasing and fighting – but nearly all films deal with conflict and pursuit of some kind. The seminar investigates elements underlying audience reponses to scenes of action, the philosophies and psychologies in play, the techniques of construction that filmmakers use, music's contribution to mood, expectation, and excitement.

The course is presented over three days
 

Love and Death and Screen Music gets up close with the central events in life – asks about matters that our filmed stories assume, what they tell us about these matters, and the part music plays in the telling. 

 What is this thing called love anyway? How does film treat with it and what is the music of love as far as filmmakers and audiences are concerned? Is death on screen an awkward moment or an open secret? Love/death examined as concepts and actualities, through history, society, literature, art, personal life, and on screen from Romeo and Juliet to Melancholia.

The course is presented over three days

 
These workshops will offer students an idea of how to apply music (of all styles) to screen narratives. We'll do this by examining how music works with images, plot, editing, dialogue and the other elements on the screen and the soundtrack to create meaning and to affect the audience. 

The courses will be delivered in a combination of discussion,analysis of repertoire, and practical exercises. The repertoire of film and television programs will reveal what filmmakers and composers have done in the past (and how and why they have done it) and what they are doing now (and how and why they do it) taking note of shifting styles in music scoring, music editing, and overall sound design. 
Courses last three days: seminar presentation in mornings, with screenings, analysis, discussion and set tasks.  Work review in afternoons.

Suitable for musicians, film practitioners, anyone interested in how film and its music represent the realities of life. Bring your own laptop with your favoured software.​​



Limited accommodation on site in self-contained gîte @ €60 per night (sleeps two.) 
More accomodation is close by at Le 7  : €200 for three nights with breakfast. 
If sharing then it's €40 per person per night which is €120 each for the 3 nights
Full board of lunch and dinner at Le 7 for extra €25 a day.

 Romance: a short history
 Representations of romantic love from first appearances to now.
 Martin Armiger

Two days looking at how romance is written, imagined and screened.

The kiss, Gustav Klimt, 1908-9 
What is love to you? And how does loving compare to the imagining of it? And how does the whole messy excitement that you actually go through compare to representations of love in books and films? 

Every one experiences love each in their own way. And there are as many versions of love as there are lovers.  But if we look at the subject that preoccupies writers and filmmakers – as well as readers and audiences – love is, shall we say, the emotion, the passion, the feeling-state, that attracts one person to another. Love can begin with a spark or can creep into consciousness, but however it appears, it utterly overwhelms the person experiencing it. Love passes, or it can pass, let’s admit that up front. But the love that lasts can develop into the adult relationship between two people that makes possible or even defines an achieved life. Or so we're told.   

This two-day course will look at ideas and images of romantic love in the western world, from earliest writings, through the courtly loves of the troubadours and Chaucer's Tristan and Iseult, to the development of the novel (and the new audience that the novel created) and on to the approach of filmmakers and contemporary storytellers on television, Brigid Jones Diary and Bridesmaids and Married at First Sight. Not to mention ​L'Amour.

Romance novels, the madcap comedies of the 1930s and 40s and the romantic comedies of today share one narrative aim: the 'creation of the couple.' We will look at how that works, and at critiques of its manoeuvres. In its varying shapes and forms love became for many years a kind of religion. To this extent: love provides us with a ‘spiritual’ satisfaction, while at the same time satisfying the desire for physical pleasure. What an invention!
    
Two days of reading, watching extracts from films and TV shows, looking at love's commentators, and examining approaches to this ticklish subject. Suitable for those interested in writing about it, in any medium, and for anyone who wants to explore the imagined worlds of romantic love that are offered us on all sides.

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Limited accommodation on site in self-contained gîte @ 60€ per night (sleeps two). 
More accomodation is close by at Le 7  : 200€ for three nights with breakfast. 
If sharing then it's 40€ per person per night which is 120€ each for the 3 nights
Full board of lunch and dinner at Le 7 for an extra 25€ a day.