CBS: A concept-based sequencer for soundtrack composition - progress report

By Michael O Jewell
Copyrighted to the author, 2003.07.23
Relevant excerpts only:
A significant amount of research has been carried out into the generation of temporal media, yet little has been done to bind independent media together. In this report I propose a method to compose film soundtracks using a concept-based representation, which acts as an intermediary between the video and audio. This technique incorporates both a novel representation of film and a flexible genetic approach to composition as the foundations of a Concept-Based Sequencer (CBS).
[From main text body:]
Obtaining a composer 'signature' is difficult, but many composers adhere to similar styles throughout their work, with some even reusing themes from previous films in newer ones. It is often straightforward to recognise a Danny Elfman score as he uses augmented intervals (c.f. Batman and Edward Scissorhands), whilst Hans Zimmer typically uses a rich orchestral backing to create expansive soundtracks.
[He then looks at how to pin down a 'signature' in abstract terms of 'Pitch and key meshes', 'Rhythm representation', 'Instrumentation' and 'Psychological foundations'. Nothing Elfman-specific.]