Deck 4: Music

Question 1

Pre-score is the session where the composer and director meet to decide where cues will be placed in the film.

Answer 1

False

Question 2

The terms underscore and songs are interchangeable.

Answer 2

False

Question 3

This person is responsible for insuring synchronization of individual cues.

A) Music supervisor
B) Sound editor
C) Music editor
D) Music mixer
E) The composer

Answer 3

Sound editor

Question 4

The opposite of hitting the action is playing through action.

Question 5

The music cues developed for temp tracks do not have to be cleared for copyright unless they become a permanent part of the score.

Question 6

Which of the following is the most efficient means of communicating to a composer the specific music required for a film.

A) Instrumentation
B) Chord progressions
C) Temp music
D) Musical styles and genre
E) All of the above are equally effective

Question 7

The spotting session is the point in the production where the music editor cuts or spots individual cues to picture.

Question 8

The scoring session is a recording session specifically for recording film cues.

Question 9

Which of the following is not a licensing type for production music libraries?

A) Buy-out
B) Blanket
C) Needle drop
D) Fair use

Question 10

It is legal for a student animator to use copy-protected music on their films that screen outside the classroom.

Question 11

Another name for a "work for hire" is a "package deal."

Question 12

One of the best ways to search a production music library is through the use of emotional terms.

Question 13

When dealing with copy-protected music, the synchronization license is the first and most critical license to obtain.

Question 14

A filmmaker can use any recording on their film as long as the music contained is in public domain.

Question 15

This person is responsible for obtaining legal clearance on copy-protected music.

A) Music supervisor
B) Sound editor
C) Music editor
D) Music mixer
E) The composer