CineMusic? Constructing the Film Score

Scoring Moth: Beyond the Temp Track (Mera, M. pp 33-50)

This chapter, from CineMusic? Constructing the Film Score, charts some of the decision-making processes involved in the creation of the score for the short film Moth (Amulet Films, 2004). As composer for the film, the author is uniquely able to comment on the practical and creative interactions during the development of the music, thus providing an insight into the soundtrack both artistically and within its production contexts. 

Of particular interest within this collaboration was the decision to avoid using a temp track (pre-existent recordings which, in contemporary filmmaking, are often used during post-production against the image in place of a specifically composed music, but later usually replaced by the composer’s score) as an influence on the development of the music.

The chapter also explores the idea of metamorphosis, a central narrative theme within the film, represented in the score through a series of manipulations of recorded harp materials.

CineMusic? Constructing the Film Score, by David Cooper and Christopher Fox and Ian Sapiro, Cambridge Scholars Publishing (2008)

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Maurice Ravel, Introduction and Allegro, moins lent.

Maurice Ravel, String Quartet in F, 2nd Mvt, Assez vif–Très rythmé.

Carlos Salzedo, Scintillation, bars 96–117

Miguel Mera, Pillars of Society, opening

Miguel Mera, Pillars of Society, The Prodigal

Miguel Mera, Moth, Demo 1

Miguel Mera, Moth, Demo 3

Miguel Mera, Moth, Demo 5

Miguel Mera, Moth, typical harp transformation

Miguel Mera, Moth, textures