ABSTRACT
The music stem or score is perhaps the most difficult component of the soundtrack to describe in words. Ironically, score rather than SFX often drive films that lack dialogue. Each musical entrance in a soundtrack is called a cue. A cue can underscore a scene or represent a source such as a radio or phonograph. In addition to source and underscore, many films use music for title, montage, and end credit sequences. The labeling convention for a cue is 1M1, the first number representing the reel and the last number representing the order in which it occurs. Cues are often given titles representative of the scenes they accompany. The blueprint for the score is created at the spotting session that occurs immediately after picture lock (no further picture editing). Film composers begin scoring immediately after the spotting session and are expected to compose two to five minutes of music each day. If copy-protected music is being considered, a music supervisor is brought in at the earliest stage to pursue legal clearance. The music editor has responsibilities for developing cue sheets, creating temp tracks, editing, synchronization, and preparing the score for the re-recording mixer. There are many additional roles related to the development of the score such as orchestrators, musicians, music contractors, and recording engineers. Elements in the Music Stem https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780240825007/e72035e5-5229-46ce-aac5-05112ab2f039/content/fig4_1_C.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/>
People sing when they are too emotional to talk anymore.
Lynn Ahrens (Anastasia)