ABSTRACT
Consumers use the term sound track to describe CDs and tapes associated with film music; however, the film industry uses the same term to denote the completed audio mix that includes the dialog, SFX, and music stems. The music stem is also referred to as the score. A score is composed, and a sound track is constructed. Every score consists of a series of cues (musical selections), each corresponding to a specific scene or action. Cues are categorized as underscore or source. Underscore is provided exclusively for the audience, and the characters within the story do not perceive or respond to it. Underscore contributes to the fantasy and requires a willing suspension of disbelief on the part of the audience. It is also an effective means of developing the subtext of the narrative and is often felt (ambient) more than heard. Both the characters and the audience perceive and respond to source music. Source music can be either on-screen (such as a band playing) or off-screen (such as elevator music). Source music commonly utilizes songs selected for their narrative lyric. Some sound tracks are comprised entirely of songs. These song scores are differentiated as original song scores (containing five or more original songs) and adaptation scores (utilizing preexisting music). Animated musicals such as The Little Mermaid and Beauty and the Beast are examples of original song scores. Lilo and Stitch and Jimmy Neutron are examples
of adaptation scores. All songs that are integrated with on-screen visuals must be prescored, providing essential timings for the animation of dance sequences and singing. Disney’s Silly Symphonies utilized a prescore for narrative development and for visual timings, as well.
