1. AS Media Studies: TV Drama
Sound: Micro Elements

2. Sound in TV Drama and Film
Sound has the power to create certain moods, to create character and can signal events that are about to happen.
The power of music to manipulate audiences emotions has always been acknowledge in television and film.

3. Sound in TV Drama
The entire sound track is comprised of three essential ingredients: 
the human voice /dialogue
sound effects
music
In TV drama these create a balance between the realism of the world of the text/programme and drama that is created by the use of sound
(in the real world dialogue is less polished and music/ soundtracks don’t appear!)

4. The world of the TV programme we see on screen is called the DIEGESIS.
Types of Sound
The world of the TV programme we see on screen is called the DIEGESIS.
There are two main types of sound in TV drama…
DIEGETIC sound
NON-DIEGETIC sound
Both are used in TV drama to create VERISIMILITUDE – realism.
VERISIMILITUDE = the believable logic of the texts world (which appears real)

5. Diegetic Sound
DIEGETIC SOUND is any sound or music that happens inside the world of the story
This sound is part of the programme’s world (diegesis) and can be dialogue/speech, footsteps and sound effects with a source.
For example if the drama portrays a character playing the piano, the sounds of the piano are projected.
DIEGETIC sounds contribute to the realism of the programme and also help to create a particular atmosphere.

6. Diegetic Sound
The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound.
However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to  engage the audience in a moment of suspense. 

7. Non-Diegetic Sound
Non-diegetic sound is sound that takes place outside the world of the story.
It is usually placed on later in the post-production process e.g. music and soundtrack.
Such sounds are included so as to provide an appropriate emotion or mood and they may also add to the realism of the drama.
Foley is the reproduction of everyday sounds for use in filmmaking. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best Foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noise, movies feel unnaturally quiet and uncomfortable.

8. Dialogue - modes of address Voice Over
The use of voice over is generally used in TV drama as a narrative device
This is first person narration.
The voice over can also allow us information about the central character and build his/her representation
They can also allow privileged information – so sometimes we will know more than the other characters on screen- which creates drama!
Narrative Devices =
Elements that help explain the narrative (story/plot) e.g. voice over, captions and extended dialogue

9. Dialogue/Speech: Modes of Address Direct Address
Direct address = when the characters on screen directly address the audience.
It is an alternative to the voice over.
This is rare in TV drama but when used can create humour or can act as a narrative device , giving us more information about the narrative.
It tends the break the verisimilitude of the drama and stops the action taking place. (Breaking the 4th wall.)

10. Dialogue/Speech: Modes of Address
Can also refer to how the audience speak to one another
Are they speaking to them in a fatherly figure way, are they having to refer to them as ‘My lord..’, reflecting age/status…are they being sexist…
You can actually quote dialogue to support your points

11. The Importance of Music in TV Drama
The soundtrack/score in TV drama is often used to tell the audience how we should be feeling, whether this is sad, happy, scared or amused.
This use of music is a convention of TV drama.

12. Incidental music
This Incidental music is used to add emotion and rhythm to a drama. Usually not meant to be noticeable.
it often provides a tone or an emotional attitude toward the story and/or the characters  depicted.
In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Incidental music may aid viewer understanding by linking scenes. For example, a particular musical theme or sound motif associated with an individual character or situation may be repeated at various points in a text in order to remind the audience of ideas (think the Bond theme in Bond films or Indiana Jones films.)

13. Types
Overtures: An overture is incidental music that is played usually at the beginning of a film, play, opera, etc., before the action begins. It may be a complete work of music in itself or just a simple tune. In some cases it incorporates musical themes that are later repeated in other incidental music used during the performance.

14. Theme song: It is a work that represents the performance and is often played at the beginning or end of the performance. Elements of the theme may be incorporated into other incidental music used during the performance. In films, theme songs are often played during credit rolls.

15. Theme songs are among the works of incidental music that are most commonly released independently of the performance for which they were written, and occasionally become major successes in their own right.

16. Underscore: An underscore is soft, noiseless soundtrack theme which accompanies the action in a performance. It is usually designed so that spectators are only indirectly aware of its presence. It may help to set or indicate the mood of a scene.:

17. Stinger: A stinger is a very brief instant of music that accompanies a scene transition in a performance. Often the stinger marks the passage of time or a change in location. Stingers were used frequently in the American television series Friends (as one example) to mark scene transitions involving the passage of time or a change of location. Similar techniques are commonly used in many American sitcoms.

18. Loop: Short sequences of recorded music called loops are sometimes designed so that they can be repeated indefinitely and seamlessly as required to accompany visuals. These are often used as background music in documentary and trade films.

19. sound is comprised of conventions and innovations.
We have come to expect an acceleration of music during car chases and creaky doors in horror dramas.
Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds

20. Parallel and Contrapuntal Sound
Sound can be used in one of two ways…
Parallel sound = when we watch a TV drama the sound we hear usually compliments and follows what we see on screen. For example fast paced, loud music in chase scenes or action sequences.
2) Contrapuntal sound = is sound that does not fit the images we see on screen. Usually done to create an effect e.g. classical music over violent scenes etc…

21. Stings
A Sting = either a brief crescendo stab of music used to enhance the drama of the current situation just before a change of scene (called a "dramatic sting" when used this way)
or a brief comical stab on music to enhance a punch line at the end of a scene (most famously, the so-called "rimshot" -- ba-dum-bum-ching).
"Sting 'em and sling 'em" is a phrase used to describe this kind of break.
When used for a cheap shock, the sting becomes a scare chord.

22. Ambient Sound
Ambient sound, also known as natural sound = The sound occurring in the area where they shoot the drama. It is often used or created in dramas to create verisimilitude (realism)

23. Theme Tunes Theme tunes are used over the opening titles of TV dramas.
They are a recognisable piece of music that the audience will associate with the drama.
The purpose of the music is to establish a mood for the show and to provide an audible cue that a particular show is beginning.
These are a ‘call to action’ for audiences so they will sit down to watch the programme.