In this lecture, the speaker clarifies the distinction between diegetic (source) music—music that originates within the film’s world, such as a radio or a live band—and non‑diegetic (score) music, which is added externally to support the narrative. He defines both terms, provides concrete examples (radio in a scene, bar band), and shares a personal anecdote about being asked to compose source music on the fly for a bar‑scene shoot, describing how he assembled a makeshift band, improvised the performance, and later integrated that material into the overall score. The talk also hints at a forthcoming segment on moments where source music morphs into score music, illustrating the fluid boundary between the two categories.
Chapters
Okay, up next, we're going to talk about die justic music and non diegetic music. Now, these are fancy terms that mean source music or score music. So I'm going to probably use the words source and score because it's just. It just makes a lot more sense. Sometimes you'll see these words digestic, but die justice music means source music, and non diegetic means score. So let's do non digestic first. That means score. That's the stuff you write, basically. So non digestic music means that it's music meant to accompany a scene. Right? Die justic music means that it's music that is in the scene. In other words, imagine a scene when someone walks over to a radio and turns it on. That music that comes out of that radio is. Is die justic music is source music. There is a source to it. We can see where the music is coming from. Another one would be there's a scene that takes place in a bar and there's a band playing in the bar. The music that the band plays is source music. It makes sense. There's a reason it's there because there's a band there. We see the source of the music. In non diegestic or score music, it's stuff that doesn't come from anywhere. You know, it's just kind of there, floating around to add ambience. Most of the stuff that we write is that. However, you do have to sometimes write source music. I had to do it once where I was writing a film. I had the gig to write the music for this film, and they were still filming it, so I hadn't seen any of it. I didn't know anything about it other than I had read the script. And I knew that they had given me the job. So they. They called me when they were filming and saying, hey, do you want to start now writing the music? And I said, I kind of can't because I don't have any footage. They said, well, actually, there's a scene we're filming tomorrow where there's this party in this bar and we need a band to play in the bar. So I said, okay, that sounds fun. So I called up a bunch of buddies and we went to this bar and we formed an ad hoc band and we played some tunes and we just kind of jammed and like, improvised and made it up. And that was the scene. It was the only movie I've ever actually been in. But, you know, it knocked one of the cues off. But it was source music. You know, I had to just figure it out. But I also had to do it in a way that made sense with what the rest of the music was going to be. So it was handy that I did that, because then when I sat down to write the music, I remembered what key we were in, what general sounds we were using and stuff. So I could kind of tie it into the rest of the movie. So that's the difference between score and source music or die justic and non diegestic. So let's go into some examples of this and kind of talk about how it works. So we'll do that. Then we're going to talk about kind of where they collide. There's a spot where they collide where something is source and becomes score music in a scene. And there's one really awesome scene that I want to show you of that. So let's move to a new video and talk about source music.
