Master Class – Documentary Soundtracks

DOCUMENTARY SONDTRACKS: THEN AND NOW – MASTER CLASS WITH JORGE MAGAZ

 

In the universe of the Documentary, it may be common to consider music as a mere image order. However, both in the genre of fiction and non-fiction, music and sound production are complex tools that build and modulate meanings, a constructional matrix within the most essential narrative processes.

With Jorge Magaz, in this Master Class “Documentary Soundtracks: Then and Now”, we are going to discover how to tell a story through music as well as the resources and processes to creat a soundtrack. At the end of the session, we will hold a discussion with composers and other sector professionals, who will share with us their different perspectives on this fascinating topic.

 

DOCUMENTARY SONDTRACKS: THEN AND NOW

 

 

TELLING A STORY WITH MUSIC

  • Introduction: what is the music’s meaning when used in a synchronised soundtrack?
  • General features of a soundtrack: intrinsic attributes of the music-image relationship in any form of common audiovisual narration (fiction or non-fiction).
  • Historic tradition of music in audiovisual narratives. Presentation of the importance of musical implications in the narrative tradition.
  • Peculiarities of the soundtrack in non-fiction genres.
  • Symbolic methods of correspondence.
  • Music as an ideological stance and manipulation.
  • Intertextuality and the deictic phenomenon.
  • Analysis of the audiovisual text.

 

RESOURCES & PROCESSES IN THE CREATION OF AN ORIGINAL SOUNDTRACK.

  • Criteria when setting music to non-fiction audiovisual narratives.
  • Rhythmic resources of the soundtrack and the documentary genre.
  • Music and its relationship to dialogue.
  • The importance of sound in soundtrack production.
  • Original composition and use of pre-existing music in non-fiction genres.
  • The soundtrack and formal consistency.
  • Relevant figures involved in the production of an Original Soundtrack.
  • Processes and stages followed to create a successful and effective soundtrack.
  • Conclusions and current trends in the use of music in non-fiction genres.

 

DISCUSSION WITH SECTOR PROFESSIONALS.

Isabel Fernández, Amanda Sans y Laura Tomás.

 

WHERE AND WHEN

Tuesday 21st of May from 10.00h to 13.00h. CCCB Auditorium.

Free acces, pre-booking required through the online form.

The language of the master class will be Spanish.

 

Jorge Magaz 

Audiovisual communication graduate and teacher. Award-winning composer, experienced arranger and expert in composition, orchestration, modern harmony and jazz. His notable soundtracks include Extraterrestre (2011) and Open Windows (2014) by Nacho Vigalondo, as well as the documentary La mirada de Ouka Leele (2009) by Rafael Gordon. He was a member of composer Alberto Iglesias’s team on El Argentino (2008) and Guerrilla (2008) by Steven Soderbergh, and also The Kite Runner (2007) by Marc Forster.

 

 

PARTICIPANTS AL COL·LOQUI DINS DE LA MASTER CLASS

 

Isabel Fernández

Isabel Fernández is a director and independent producer of documentaries and she is founder of the production company, Al Pati, who focuses on exploring digital narratives and interactive audiovisuals, with the aim of producing projects with the potential for making a social impact.

She directed documentaries broadcast on TV3, NTR (Netherlands), VTR (Belgium), SVT (Sweden), YLE (Finland) and RTP (Portugal), among others. In the year 2010 she directed and produced “El fill de son pare”, which earned a Special Mention by the Jury at the Prix Europa 2010 in Berlin.

In 2014 she directed “Corredors de Fons”, winning Best Director at the Aljazeera International Documentary Film Festival, Best Script at Europe-Orient du Filme Documentaire in Asilah and official selection at Bagdad International Film Festival 2015. She directed the interactive documentary “Orgull de Baix”, a coproduction with TV3.

 

Amanda Sans

Amanda Sans is a director, scriptwriter, journalist and producer, with a 20-year old career in the journalist world and in the direction and scriptwriting of documentaries and other audiovisual projects.

She has just finished the documentary “Last Street”, which has premiered at the Miami International Film Festival. She is now starting a new documentary, “Albums de postguerra”. This project is supported by MEDIA, ICEC, ARTE and TV3. Among others, this documentary is based on the photographs of the Sarajevo siege.

She usually works as a scriptwriter or script editor and researcher for other documentaries and documentary series, such as Netflix’s recent “Examination of Conscience”.

She has a degree in Journalism from the UPF, a Diploma in History from the UAB and a master’s degree in Documentary Creation from the UPF. She has worked in more than 80 countries.

 

Laura Tomás 

Laura Tomás is a sound designer and poet from Barcelona. She has worked in film, television and documentary post production. Some of her projects are: “Pet” (2016), “100metros” (2016), “Apolo. La juventud baila” (2018), “Félix” (2018), “All por nothing: Manchester City” (2018) or “Examen de consciencia” (2019).

In the group The Sisters of Disorder explores the fusion of sound design, scenic poetry and music to give rise to a multidisciplinary genre that has coined Electric Poetry. Her latest work La Musa Suicida has been published by Petit Editor.

 

 

 

 

IN COLABORATION WITH:

 


Master Class – Documentary Soundtracks