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    Home » POV: “Hearing is Believing”

    POV: “Hearing is Believing”

    By SHOOTThursday, July 24, 2014Updated:Tuesday, May 14, 2024No Comments8493 Views
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    Bob Farnsworth

    By Bob Farnsworth

    --

    On May 22, I was fortunate enough to deliver a TedxFrontRange Talk in Loveland, Colorado, entitled: “Hearing is Believing.”

    Normally people say “Seeing is Believing,” but I would like to present the theory that “Hearing is Believing.” I’ve discovered, as a musician and composer, that we as human beings generally trust our ears more intently than we trust even our own eyes. Perhaps it’s because our ears are always open, even when we sleep.                                                                                

    In the world of advertising, the sound of the music that can be heard underneath the announcer’s words is remarkably powerful. This is vitally important when conceiving the music that will accompany an important new advertising campaign.  If I play a snappy, funny little tune on the piano while I say the words — “I really felt sort of melancholy when I woke up this morning”– the music heard behind my words would make me sound like a liar.

    On the other hand, if I was playing a somber tune on my piano while saying the words — “When I woke up today, the birds were chirping and the sun was shining” — people listening to me would, once again, think I was a liar. I’m not happy, I’m sad, because the dirge-like music they can hear elicits a more powerful human response than the words I’m saying.

    A great deal of thought must go into the design and implementation of music for advertising. Another topic I’d like to discuss here is digitally created music. No matter how closely we think today’s synthetic sounds can replicate real instruments, it always blows us away when we are allowed the opportunity to compose original music for ad campaigns employing an entire orchestra. When recording tracks using just electronics and digital instruments, the music tends to “stair-step”–that is, the emotion within the piece of music isn’t properly conveyed.

    Due to the human element involved when a human being actually plays an instrument in real life, the music can rise and fall naturally and organically — like an ocean wave. A human musical performance always allows much more subtlety, nuance, and flavor to be expressed.

    We also enjoy the opportunity to create a remix for a brand’s existing theme music. This is a great way to infuse a successful campaign with new energy.

    I believe in the motto: “Music is the international language.” No matter what words are integrated into a TV campaign, the music behind the voice is the language that people will best understand.

    With great creative direction, anything is possible. And always remember, “Hearing is Believing.”

    (Bob Farnsworth is founder/composer of Hummingbird Productions in Nashville.)

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    Category:POV (Perspective)
    Tags:Hummingbird ProductionsPOV



    Joachim Trier and Eskil Vogt Find A Home In “Sentimental Value”

    Thursday, January 15, 2026

    “Home is where the heart is.” The universality of that time-honored adage is in many respects at the core of Sentimental Value (Neon)--not just as it applies to the story but also as part of the process that went into telling that story. On the former score, director Joachim Trier’s film--which he wrote with long-time friend and colleague Eskil Vogt--is set in an old family home in Oslo that carries memories that help to define two sisters, now adults, and their strained relationship with a father who prioritized his filmmaking career over being a parent. The sisters are Nora (portrayed by Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas). Nora, the older sister, grew up to be an accomplished actor, following in the cinematic/stage career footsteps of her dad, Gustav (Stellan Skarsgård in a Golden Globe-winning performance). After years of absence from Nora and Agnes’ lives, Gustav unexpectedly appears at the time-worn family residence to attend the funeral wake of the daughters’ mother but his prime motive for turning up is a movie that he wants to make in order to fuel his career comeback. And he has Nora in mind to play the lead in the film. She immediately refuses the role, which ends up going to a movie starlet (Elle Fanning). As shooting begins, psychological scars revert to open wounds and the presence of the American celeb forces Gustav, Nora and Agnes to look at themselves and their family’s fragile emotional underpinnings more closely. The family home is a repository of past lives spanning love, loss, alienation, joy, resentment and estrangement--as such, it’s a centerpiece for the characters in Sentimental Value and lends great insight into them. For example, at one point around the middle of the film, we see... Read More

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