Question 1

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

Accepted Answer

Pre-score refers to music that is composed and recorded before the film is shot, often used to guide the mood or pacing during filming, not specifically a meeting for cue placement decisions.

Question 2

The terms underscore and songs are interchangeable.

Accepted Answer

Underscore refers to background music in films, TV shows, or games, enhancing the mood or atmosphere, while songs are musical compositions with lyrics intended to be sung.

Question 3

This person is responsible for insuring synchronization of individual cues.

Accepted Answer

B

Question 4

The opposite of hitting the action is playing through action.

Accepted Answer

The opposite of hitting the action is playing through action. Hitting the action means taking a shot at the ball before it bounces, while playing through action means letting the ball bounce before taking a shot.

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.

Accepted Answer

Temp tracks are used as placeholders during the editing process before the final score is composed. If these tracks are replaced by original music or licensed tracks for the final version, there's no need for copyright clearance for the temp tracks.

Question 6

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

Accepted Answer

Temp music is often used in film production as a direct and effective way to communicate the desired mood, pace, and emotional tone to the composer, providing a concrete example of what the director is looking for.

Question 7

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

Accepted Answer

A spotting session is when the director, composer, and sometimes the music editor meet to decide where music should be placed in a film and discuss the type of music needed for each scene, not the process of cutting or spotting individual cues to picture.

Question 8

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

Accepted Answer

A scoring session is indeed a recording session specifically dedicated to recording the musical cues for a film, where an orchestra or ensemble performs the score live while it is captured for use in the movie's soundtrack.

Question 9

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

Accepted Answer

Fair use is not a licensing type for production music libraries; it is a legal doctrine that permits limited use of copyrighted material without the need to obtain permission from the rights holders, typically for purposes such as criticism, comment, news reporting, teaching, scholarship, or research.

Question 10

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

Accepted Answer

Using copy-protected music without permission or a proper license, even in student films shown outside the classroom, violates copyright laws.

Question 11

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

Accepted Answer

"Work for hire" refers to a legal term in copyright law where the work created by an employee or contractor is automatically owned by the employer or commissioning party, while a "package deal" typically refers to a bundled offering of services or products at a single price, and is not specifically related to copyright ownership.

Question 12

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

Accepted Answer

Using emotional terms to search a production music library can be effective because music is often categorized by the feelings or moods it evokes, making it easier to find tracks that match the desired emotional tone of a project.

Question 13

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

Accepted Answer

The synchronization license is the first and most critical license to obtain when dealing with copy-protected music because it allows the user to synchronize the music with visual content, such as a film or television show.

Question 14

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

Accepted Answer

Even if the music is in public domain, the specific recording of that music may still be protected by copyright, requiring permission or licensing to use it in a film.

Question 15

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

Accepted Answer

The music supervisor is responsible for selecting music tracks for a project, negotiating rights, and obtaining legal clearance for using copy-protected music in a film, television show, or other media project.

Quiz 4: Music