Giancarlo Vulcano

BA, Sarah Lawrence College. MA, Queens College. Composer for the following: Briarpatch (2020), network anthology series, starring Rosario Dawson, Alan Cumming, and Jay Ferguson; Modern Persuasion (2019), independent feature; State of Stress with Sanjay Gupta (2018-2019), documentary for HBO; Unbreakable Kimmy Schmidt, Netflix series; Great News (2016-2018), NBC series created by Tracey Wigfield (2014-2018); Getting Naked: A Burlesque Story (2017), feature-length documentary by James Lester; 30 Rock (2007-13), NBC series created by Tina Fey, starring Tina Fey, Tracy Morgan, Alec Baldwin, and Jane Krakowski; Keith Broke His Leg (2015-present), web series by Keith Powell; Unfinished Spaces (2012), feature-length documentary by Alysa Nahmias and Ben Murray; Reise nach Tulum (2011), feature film by Eduardo Villanueva; What’s the Harm? (2010), short film by Steve Reese; Under the Cover of Darkness: The Work of Michael Flomen (2009), feature-length documentary by André Cornellier; Love and Roadkill (2008), short film by John David Allen; and Red Angel (2007), short film by Matthew Ross. Orchestrator for Les Traducteurs (2018), French feature film directed by Regis Roinsard, score by Jun Miyake. Orchestra score supervisor for Gangs of New York (2002), feature film starring Leonardo DiCaprio, Cameron Diaz, and Daniel Day-Lewis and directed by Martin Scorcese. Score producer for Baby Mama (2008), feature film produced by Universal, starring Tina Fey and Amy Poehler. Score production for The Aviator (2004), feature film starring Leonardo DiCaprio, Cate Blanchett, and Kate Beckinsale and directed by Martin Scorcese. Music score coordinator for The Departed (2006), feature film starring Jack Nicholson, Leonardo DiCaprio, Matt Damon, Alec Baldwin, and Martin Sheen and directed by Martin Scorcese. Music preparation for the following: A History of Violence (2005), feature film starring Viggo Mortensen, Maria Bello, and Ed Harris and directed by David Cronenberg; and The Lord of the Rings (2000-02), feature film trilogy directed by Peter Jackson; Saturday Night Live (2000-08)...among others. SLC, 2022–

Undergraduate Courses 2021-2022

Filmmaking and Moving Image Arts

Music and Sound for Film

Open, Seminar—Spring

This class will explore how music and sound serve the dramatic intent of a film. As co-inhabitants of the aural spectrum, a film’s score and sound design are increasingly called upon to interact and work together. Working in one of those areas usually implies a working understanding of the other. The class will cover: working with a director on spotting both music and sound, choosing musical themes that correspond to the dramatic needs of a film, using sound design to highlight environmental and psychological facets of the world and its characters, conceptualizing the sonic space of a film, and designing the music and sound so they occupy different frequency areas and remain distinct. The marriage of sound and music has deep roots in the history of cinema, and special attention will be paid to the masters of sound in film such as Walter Murch/Francis Ford Coppola, Stanley Kubrick, Akira Kurosawa (note: list is subject to change). Technical topics to be covered: intro to ProTools and an overview of basic mixing, concepts in music editing, use of effects such as compression, eq, reverb and filters, file organization, and management and workflow. While this course will be a historical overview of important work and concepts, time will also be given to developing student work with the hope that students gain experience through collaboration—both during class and independently.

Faculty

Music

Music and Sound for Film

Component—Spring

See course description under Lectures and Seminars.

Faculty

Music and Sound for Film

Open, Seminar—Spring

This class will explore how music and sound serve the dramatic intent of a film. As co-inhabitants of the aural spectrum, a film’s score and sound design are increasingly called upon to interact and work together. Working in one of those areas usually implies a working understanding of the other. The class will cover working with a director on spotting both music and sound, choosing musical themes that correspond to the dramatic needs of a film, using sound design to highlight environmental and psychological facets of the world and its characters, conceptualizing the sonic space of a film, and designing the music and sound so they occupy different frequency areas and remain distinct. The marriage of sound and music has deep roots in the history of cinema, and special attention will be paid to the masters of sound in film such as Walter Murch/Francis Ford Coppola, Stanley Kubrick, Akira Kurosawa (note: list is subject to change). Technical topics to be covered: intro to ProTools and an overview of basic mixing; concepts in music editing; use of effects such as compression, eq, reverb and filters; file organization; and management and workflow. While this course will be a historical overview of important work and concepts, time will also be given to developing student work with the hope that students gain experience through collaboration—both during class and independently.

Faculty