Chapter 1Chapter 1The Evolution of Sound DesignThe Evolution of Sound Design

Sound and Music for the TheatreSound and Music for the TheatreDeena Kaye & James LeBrechtDeena Kaye & James LeBrecht

““We exist in a universe of sound.”We exist in a universe of sound.”

““The trouble with life is that, unlike movies, The trouble with life is that, unlike movies, it doesn’t have background music. We it doesn’t have background music. We never know how we’re supposed to feel” never know how we’re supposed to feel” --Lewis Gardner, 1985Lewis Gardner, 1985

BERNARDOBERNARDO 'Tis now struck twelve; get thee to bed, 'Tis now struck twelve; get thee to bed,

Francisco.Francisco.

FRANCISCOFRANCISCO For this relief much thanks: 'tis bitter For this relief much thanks: 'tis bitter

cold,cold,And I am sick at heart.And I am sick at heart.

In a play, not a single word is arbitrary.In a play, not a single word is arbitrary.Sound design works the same way.Sound design works the same way.The silences - as well as the dog barks or The silences - as well as the dog barks or

musical underscoring - are determined by musical underscoring - are determined by specific aesthetic decisions.specific aesthetic decisions.

Meaning and purpose are attached to Meaning and purpose are attached to everything you do as a sound designer.everything you do as a sound designer.

Sound Design - definedSound Design - defined

Sound design is the creative and technical Sound design is the creative and technical process resulting in the complete aural process resulting in the complete aural environment for live theatreenvironment for live theatre

Development of Sound DesignDevelopment of Sound Design

Since the beginning of recorded time ritual has Since the beginning of recorded time ritual has been accompanied by musicbeen accompanied by music

The ancient theatre of India and China The ancient theatre of India and China depended little on scenery and props, but was depended little on scenery and props, but was always underscored by music.always underscored by music.

Medieval drama, developed nearly four centuries Medieval drama, developed nearly four centuries ago, served as a proving ground for many of the ago, served as a proving ground for many of the theatrical conventions commonplace in the theatrical conventions commonplace in the Italian and English renaissance.Italian and English renaissance.

Commedia dell’arte employed abundant Commedia dell’arte employed abundant musical support of the actionmusical support of the action

Shakespeare’s play used sound as a Shakespeare’s play used sound as a necessary element of designnecessary element of design

Development of Sound DesignDevelopment of Sound Design

In the Elizabethan Theatre, music functioned to In the Elizabethan Theatre, music functioned to create atmosphere and to effect transitions.create atmosphere and to effect transitions.

Dumb show with accompaniment which did as Dumb show with accompaniment which did as much to convey the message of the players as much to convey the message of the players as did the actiondid the action

Stage directions from early prompt books Stage directions from early prompt books described the tone of the music, “recorders described the tone of the music, “recorders doleful”, “bells strange and solemn” or “the pipes doleful”, “bells strange and solemn” or “the pipes sweet”sweet”

Development of Sound DesignDevelopment of Sound Design

Production books indicate that many Production books indicate that many musicians were hired for Elizabethan playsmusicians were hired for Elizabethan plays

Scripts called for “noises off”, bells, Scripts called for “noises off”, bells, alarms, clocks, whistles, thunder, storms, alarms, clocks, whistles, thunder, storms, gunshots, cannons, wolves, crickets, the gunshots, cannons, wolves, crickets, the crash of armor, ship’s bells, hunters with crash of armor, ship’s bells, hunters with dogsdogs

Development of Sound DesignDevelopment of Sound Design

As Restoration, Neoclassical, and As Restoration, Neoclassical, and Romantic periods of theatre evolved, Romantic periods of theatre evolved, emphasis on offstage sound and music emphasis on offstage sound and music went in and out of style.went in and out of style.

Introduction of gas lighting in 1820, Introduction of gas lighting in 1820, production values changed dramatically. production values changed dramatically. Scenery became a “set”, with emphasis on Scenery became a “set”, with emphasis on realistic settings and conversational realistic settings and conversational dialogue.dialogue.

Development of Sound DesignDevelopment of Sound Design

The use of prerecorded sound effects was The use of prerecorded sound effects was limited until the mid-1930’s, when sound effects limited until the mid-1930’s, when sound effects recordings for the stage became readily recordings for the stage became readily available.available.

Bertolt Brecht incorporated sound recordings Bertolt Brecht incorporated sound recordings into his productions in the 1930s, but cited into his productions in the 1930s, but cited Piscator’s 1927 production of Piscator’s 1927 production of RasputinRasputin as being as being the first to make use of such recordings(a the first to make use of such recordings(a speech by Lenin)speech by Lenin)

Development of Sound DesignDevelopment of Sound Design

1948 introduction of the long playing 1948 introduction of the long playing recordrecord

1952 tape recorders began to replace 1952 tape recorders began to replace turntables for general use in theatreturntables for general use in theatre

Many Broadway Productions of the 1950s Many Broadway Productions of the 1950s made an attempt to incorporate sound like made an attempt to incorporate sound like HollywoodHollywood

Development of Sound DesignDevelopment of Sound Design

First credited sound designer was Dan Dugan, First credited sound designer was Dan Dugan, who was producing designs for the American who was producing designs for the American Conservatory Theatre in San Francisco for the Conservatory Theatre in San Francisco for the 1968-69 season.1968-69 season.

That same year the Broadway production of That same year the Broadway production of HairHair included the credit, “Sound by Bob Kernan”included the credit, “Sound by Bob Kernan”

1971, Abe Jacob, first to receive “sound 1971, Abe Jacob, first to receive “sound designer” billing on Broadway for designer” billing on Broadway for Jesus Christ Jesus Christ SuperstarSuperstar

Development of Sound DesignDevelopment of Sound Design

Reel-to-reel, cassettes, CDs,synthesizers, Reel-to-reel, cassettes, CDs,synthesizers, samplers, computers, and high-quality samplers, computers, and high-quality speakers, MIDI(musical instrument digital speakers, MIDI(musical instrument digital interface), mini-disks, DATs, and DAWs interface), mini-disks, DATs, and DAWs have become the standard fare of the have become the standard fare of the contemporary sound designercontemporary sound designer

Development of Sound DesignDevelopment of Sound Design