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O elefante na sala de pós-produção: a utilização de library music em criações audiovisuais
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Orientador(es)
Resumo(s)
A chamada library music, uma designação internacional, é atualmente
utilizada em inúmeros conteúdos audiovisuais, constituindo um recurso musical
essencial para produtores, uma indústria musical com uma importante presença
online, e uma fonte de rendimentos com uma crescente relevância para compositores.
Apesar da utilização desta música pré-existente ser cada vez mais significativa e
diversificada nos seus destinos (desde documentários e telejornais a vídeos de youtube
e pornografia), esta produção musical é ainda pouco investigada, sem que haja um
questionamento aprofundado dos aspetos que levam à sua depreciação e reputação de
música estereotipada e “enlatada”.
A classificação de library music segundo emoções, instrumentação ou géneros
de produção, entre outros, é uma prática transversal aos sites nos quais é
comercializada. Partindo desses processos de categorização como principal objeto de
estudo, exploro o papel de relevo que assumem as categorias, títulos, palavras-chave e
descrições que acompanham estas faixas musicais, nomeadamente: qual o seu peso
aquando da composição de library music e da aplicação desta em filmes de todo o
tipo; até que ponto são esses textos um reflexo e, simultaneamente, um reforço de
convenções musicais e narrativas presentes em produções cinematográficas e
televisivas, constatáveis já no contexto do cinema mudo; e de que modo contribui a
sua classificação padronizada para os juízos de valor negativos de que esta produção
musical é alvo, ao destacar a sua organização estrutural em torno de categorias
tipificadas, bem como a sua relação incontornável com clichés musicais recorrentes
em produtos audiovisuais. Focando a categorização desta música nas plataformas
online Audio Network e Cézame, companhias de alcance internacional, circunscrevome
ao momento de produção de library music e às interações entre os consultores
musicais e os compositores dos sites. Realizei para tal entrevistas a estes
intervenientes, uma análise dos textos dos sites e das faixas musicais, e utilizei um
enquadramento teórico informado pela sociologia da música e pela produção
bibliográfica sobre a música no audiovisual. A observação dos processos de
categorização efetuados pelas duas companhias visadas, com especial enfoque nas
categorias relativas a locais, emoções e narrativas, revela o quão a produção e difusão
de library music se encontra estreitamente ligada à procura das indústrias
audiovisuais. Permite, também, demonstrar o grau de estandardização e cristalização
destas categorias entre diferente sites, independentemente da localização geográfica
dos seus consultores musicais, compositores e utilizadores, posicionando-se assim
como um reflexo de um imaginário audiovisual cada vez mais global.
Library music, as internationally designated, is currently used in countless audiovisual contents, thus becoming an essential musical resource for media producers, a music industry with a growing online presence, and an increasingly relevant source of revenue for composers. Although the use of this pre-existing music is rapidly gaining more significance and more varied uses (from documentaries and television news to pornography and Youtube videos), this musical production is still under-researched, lacking an in-depth questioning of the aspects that lead to its devaluation and reputation as stereotyped and “canned” music. Library music’s categorization according to emotions, instrumentation or production genres, among other possibilities, is a practice common to every site in which it is currently commercialized. Taking these classification processes as main object of study, I explore the relevant role played by the categories, titles, keywords and descriptions of library music tracks, namely: their importance during the composition and use of this music in any kind of films; to what extent those texts are a reflection and, simultaneously, a reinforcement of widespread narrative and musical conventions in cinema and television productions, already present in the context of silent movies; and in what ways these systematic classifications contribute to the negative value judgments aimed at library music, by highlighting how fundamentally it is organized around standardized categories and recurrent musical clichés in audiovisual products. Focusing on this music’s categorization in the sites of Audio Network and Cézame, two companies with an international reach, I specifically address the moment of production of library music and the interactions between the music consultants and the composers working for these companies. For that purpose, I conducted interviews, analysed the sites’ texts and music tracks, and used a theoretical framework based on the academic literature of music sociology and of music in audiovisual productions. The observation of the classification processes carried out by these two companies (with a special focus on the categories relating to places, moods and narratives) reveals how closely the production and dissemination of library music is tied to the demands of audiovisual industries. It also demonstrates the degree of standardization of these categories between different sites, independently of the geographic location of their music consultants, composers and users, thus positioning library music as a reflection of increasingly global audiovisual imaginaries.
Library music, as internationally designated, is currently used in countless audiovisual contents, thus becoming an essential musical resource for media producers, a music industry with a growing online presence, and an increasingly relevant source of revenue for composers. Although the use of this pre-existing music is rapidly gaining more significance and more varied uses (from documentaries and television news to pornography and Youtube videos), this musical production is still under-researched, lacking an in-depth questioning of the aspects that lead to its devaluation and reputation as stereotyped and “canned” music. Library music’s categorization according to emotions, instrumentation or production genres, among other possibilities, is a practice common to every site in which it is currently commercialized. Taking these classification processes as main object of study, I explore the relevant role played by the categories, titles, keywords and descriptions of library music tracks, namely: their importance during the composition and use of this music in any kind of films; to what extent those texts are a reflection and, simultaneously, a reinforcement of widespread narrative and musical conventions in cinema and television productions, already present in the context of silent movies; and in what ways these systematic classifications contribute to the negative value judgments aimed at library music, by highlighting how fundamentally it is organized around standardized categories and recurrent musical clichés in audiovisual products. Focusing on this music’s categorization in the sites of Audio Network and Cézame, two companies with an international reach, I specifically address the moment of production of library music and the interactions between the music consultants and the composers working for these companies. For that purpose, I conducted interviews, analysed the sites’ texts and music tracks, and used a theoretical framework based on the academic literature of music sociology and of music in audiovisual productions. The observation of the classification processes carried out by these two companies (with a special focus on the categories relating to places, moods and narratives) reveals how closely the production and dissemination of library music is tied to the demands of audiovisual industries. It also demonstrates the degree of standardization of these categories between different sites, independently of the geographic location of their music consultants, composers and users, thus positioning library music as a reflection of increasingly global audiovisual imaginaries.
Descrição
Palavras-chave
Library music Production music Stock music Audiovisual Música na internet Indústrias musicais Música na televisão Sociologia da música Música Cinema music in the internet Music industries Music in television Music sociology Music