This thesis presents an original piece of music designed to be performed concurrently with Alfred Hitchcock’s Rope (1948). The film provides a canvas upon which a musically dominant multimedia experience is built. An accompanying analysis explains the variety of compositional techniques used, explaining their significance and how each deviates from a traditional film score. The objective of this work is to challenge the existing relationship between music and film, and add to the growing body of repertoire of live works featuring synchronized video, modeling example methods of live multimedia performance. In this exploration, the goal was not to be anti-cinematic, but to be extra-cinematic; that is, to go beyond the traditional practices while still employing them when desired.
","abstract_html":"<p>This thesis presents an original piece of music designed to be performed concurrently with Alfred Hitchcock’s Rope (1948). The film provides a canvas upon which a musically dominant multimedia experience is built. An accompanying analysis explains the variety of compositional techniques used, explaining their significance and how each deviates from a traditional film score. The objective of this work is to challenge the existing relationship between music and film, and add to the growing body of repertoire of live works featuring synchronized video, modeling example methods of live multimedia performance. In this exploration, the goal was not to be anti-cinematic, but to be extra-cinematic; that is, to go beyond the traditional practices while still employing them when desired.</p>","abstract_has_math":false,"creators":["Espie, Douglas William-Solomon"],"institution":null,"degree_name":"Master of Music","degree_level":"Thesis","degree_discipline":"School of Music","degree_department":null,"school":null,"contributors":["Stephen Lias","Samantha Inman","Scott LaGraff"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2020,"date_issued":"2020-05-01T07:00:00Z","date_published":"2020-05-01T07:00:00Z","updated_at":"2026-07-24T04:30:30Z","subjects":["hitchcock","film score","string orchestra","audiovisual","multimedia","music","Composition"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.sfasu.edu/etds/304","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Stephen Lias","Samantha Inman","Scott LaGraff"]},{"key":"dc:creator","label":"Author","values":["Espie, Douglas William-Solomon"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2020-05-08T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["hitchcock","film score","string orchestra","audiovisual","multimedia","music","Composition"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.sfasu.edu/etds/304"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis presents an original piece of music designed to be performed concurrently with Alfred Hitchcock’s Rope (1948). The film provides a canvas upon which a musically dominant multimedia experience is built. An accompanying analysis explains the variety of compositional techniques used, explaining their significance and how each deviates from a traditional film score. The objective of this work is to challenge the existing relationship between music and film, and add to the growing body of repertoire of live works featuring synchronized video, modeling example methods of live multimedia performance. In this exploration, the goal was not to be anti-cinematic, but to be extra-cinematic; that is, to go beyond the traditional practices while still employing them when desired.
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