Film Music

The advancements of technology in the music industry move at a rapid rate. Within the past century, the core industries have evolved into numerous sub cultures and niche employment careers. Throughout these historical developments, certain individuals have undoubtedly been
identified as the seminal mavericks of the industries, bringing forward creative innovations within their fields.

The history of film music has witnessed this same trait during which many composers have been hailed as the seminal individuals of their time. Max Steiner is repeatedly accredited as being the first to synchronize musical elements of score to the visuals (Pratt, 2009), notably in Merian Cooper and Ernest Schoedsack’s King Kong (1933). Bernard Herrmann kickstarted the collaborative approach to composition which led to the iconic Alfred Hitchcock films Vertigo (1958), North By Northwest (1959) and Psycho (1960). Five time academy award
winner John Williams undoubtedly has left his mark on the film music scene, and whose ‘big orchestral sound’ can be found on numerous blockbuster films, such as Schindler's List (1993), Jaws (1975), the Indiana Jones (1981) and the Star Wars (1977) franchise. The 21st
Century has continued to bring forward pioneering individuals within the industry of film music, with one arguably leaving a footprint as large as the others. Hans Zimmer is an internationally renowned film composer, producer and performer, and has built up a celebrity-grade reputation as one of the most influential composers of the 21st Century. Zimmer has scored music for over a hundred films, collaborated with many world class directors and received numerous awards for his compositional works.

With that said, Zimmer’s approach to film scoring production practices have been recognised as having a conventional industrial approach. He is an authority on certain production practices involving the combination of synthesised electronic music with traditional orchestral instruments and he has implemented these techniques into many of his 21st
Century soundtracks. Zimmer’s compositional style is argued as ‘romantic minimalism’, which can be described as a combination of minimalistic romantic musical ideas and the stripping away of musical textures (Wright, 2015). This technique has been demonstrated and
discussed through behind the scenes footage and Zimmer’s online masterclass series (2016).

In the 21st Century, film composers are under continuous pressure to create unique and innovative ideas for every film. Zimmer and his implementation of romantic minimalism has undoubtedly experienced criticism of producing formulaic music. As Zimmer attempts to
ensure diversity in his film scores, the definitive traits of romantic minimalism are harder to identify. Therefore, the intentions of this research project are to establish the traits and aesthetics of romantic minimalism attributed to Zimmer’s 21st Century film scores, as well as
brief research into his career. Through analysing films of various genres scored by Zimmer, the underlying aesthetics of his work can be discovered, as well as identifying the individual
genre dependant traits.

This essay examines the stylistic and cultural aspects of what I call Hans Zimmer’s “Epic Style.” This powerful and understudied idiom has assumed a default status for a huge amount of musical multimedia in the new millennium. Zimmer’s maximalized minimalisms infuse films ranging from Drop Zone to Inception. Through analyses of these and other scores, I identify a number of structural components of this style and comment on how they reflect broad trends in Hollywood scoring practice. I conclude with a consideration of the role that masculinity, heroism, and military entertainment play in this incredibly influential and pervasive musical style.

The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the
most enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work.

Статья посвящена средневековой аллегории Danse macabre и ее кинематографическим интерпретациям. Отмечается особая концентрированность, мотивная многосоставность данной средневековой эмблемы, позволяющая интерпретировать ее как понятие, обобщающее разнообразную — визуальную и звуковую — символику Средневековья, связанную с идеей всеобщего равенства в Смерти.
В качестве отличительной особенности данной аллегории отмечается также ее контекстуальная укорененность в катастрофическом типе сознания, присущем позднему Средневековью. Это делает ее подобием специфической призмы, путешествующей сквозь столетия и преломляющей в себе эстетические, этические, социокультурные ориентиры эпох со схожими кризисными аспектами в становлении картины мира.
В данной работе нас интересует, как авторский кинематограф ХХ столетия, обращающийся к Средневековью с его символической системой мышления, воспроизводит мотив Danse macabre на новом языковом уровне — впрямую или косвенно — через отдельные аудиальные и визуальные элементы аллегорических построений. И здесь две картины — «Седьмая печать» И. Бергмана и «Декамерон» П. Пазолини представляют весьма примечательную пару. Обе обращаются к исторической ситуации Черной смерти (XIV век). Однако, разница трактовок аллегории
Danse macabre у двух художников словно воспроизводит перелом самого исторического сознания (и в следствие этого — меняющейся на протяжении эпохи сути самой аллегории) — от средневекового эсхатологического ужаса и поисков подлинности бытия к ренессансному амбивалентному видению.

This paper examines the possibilities of cultural identity construction in connection with Howard Shore's soundrack to the Lord of the Rings movies by Peter Jackson. By applying Philip Taggs musematic analysis as an analytical tool (as proposed by Mathew Young) it examines notions of Celticness. At the same time it challenges simple attributions by comparing the music with other musical examples typically connected with Englishness and Tolkien's textual source as well as the writer's own intentions regarding his novel.

Norman McLaren œuvre dans le domaine onirique de l’animation. David Cronenberg est maître du genre de l’horreur intérieure. Que peuvent donc partager ces deux cinéastes canadiens aux univers si distincts? Chacun a construit une relation à long terme avec un compositeur – respectivement Maurice Blackburn et Howard Shore. D’un duo à l’autre, le musicien occupe une place centrale au sein de la création collective; sa musique se révèle comme une composante fondamentale. Quels processus créatifs lui permettent de se déployer?
Ce livre fait la lumière sur les mécanismes collaboratifs et la pensée de ces duos. Plus généralement, il établit une poïétique de la création musico-filmique, décrit et comprend les processus créateurs filmique et musical qui déterminent la composition d’une musique de film et, plus encore, une musicalité de tout le complexe audiovisuel. Du cinéma d’animation expérimental (A Phantasy) au long-métrage de fiction (Crash, A Dangerous Method) en passant par le documentaire engagé (Jour après jour), l’auteure offre un portrait inédit de pratiques musico-filmiques novatrices tout en proposant de nouvelles approches analytiques pour la musique de film.

David Shore, the co-creator of House M.D., openly acknowledged the show’s debt to the  Sherlock Holmes stories of Arthur Conan Doyle, from the anchoring concept of a case-solving genius who lives for his work to the homonymic pun of the main character’s name. Shore and his collaborators also followed Doyle’s lead in leveraging musicality as a humanizing element, a mode through which these famously rational characters wind down and “feel.” In the case of Sherlock Holmes, his love of music (and the violin in particular) adds Romantic-hero appeal; music evokes the private, dreamy side of Holmes, a man usually so devoted to the rational that his best friend Watson once angrily described him as “an automaton—a calculating-machine!”A similar dialectic exists in the case of Dr. House, whose cynicism, arrogance, and obsession with puzzles makes him difficult to like, even after he pulls a miracle diagnosis out of his brain. In fact, music facilitates many of the rare glimpses into House’s tortured, Gordian psyche. Curiously, much of the published literature on House M.D., while admittedly still slim to date, overlooks the central place of music in the doctor’s world.


My purpose in this study will be to conduct a deeper investigation—a diagnostic differential, so to speak—into the musical Dr. House, identifying intertextual connections to the Sherlock Holmes stories, but also exploring how the audio-visual medium and the considerable musical talents of the show’s star, Hugh Laurie, tremendously enhance the dramatic force of the character. The show’s creators consistently featured musical references—musicians, instruments, trivia—in scripts, and smoothly incorporated Laurie’s musicianship into the storytelling. As a result, House’s musicality is not just more believable, but Laurie’s onscreen performances offer a compelling mode for understanding the character more deeply. I will explore the revelatory aspects of House’s musicking with reference to a variety of scenes throughout the series, but most fully in the final section of this essay with a detailed analysis of the music-themed episode, “Half-Wit.”

In the world of Japanese anime, Studio Ghibli’s co-founder Hayao Miyazaki and the legendary composer Joe Hisaishi are undeniably two of the most iconic people. Often called the Walt Disney and John Williams of Japan, their animations have been capturing the imagination of both children and adults for over thirty years.
In my literature review, I will briefly illustrate the purpose of film music through fundamental theories, as it relates to the narrative function of the story, before describing the specific purpose of harmony, as well as point out some key harmonic techniques. Then I will explain the origins of some Japanese music theories and interpret some modern trends I have identified. Lastly, I will disclose information regarding Joe Hisaishi and his collaboration with Hayao Miyazaki.
My case study will attempt to identify how Hisaishi uses Japanese pentatonic scales in his piece One Summer’s Day. It will also attempt to justify his identified lack of musical cueing as it relates to the way the music synchronizes with the animation.

Linda Maria Koldau (Frankfurt am Main) Der Vortrag Filmmusik als "Baukastenprinzip": Kompositorische Traditionen und ihre Wirkung im Film, der das 2. Kieler Symposium zur Filmmusikforschung am 11. Juli 2008 in Kiel eröffnete, gab Anlass zu ungewöhnlich heftiger Diskussion zwischen Vertreterinnen und Vertretern der Musikwissenschaft. Da es aus Zeitgründen nicht möglich war, in notwendiger Differenzierung auf die Kritik der Fachkollegen einzugehen, soll die Diskussion hier dokumentiert werden. Der Vortrag selbst, der einen neuen Ansatz in der Analyse von Filmmusik vorstellt, ist mittlerweile in ausgearbeiteter Form unter dem Titel "Die Arbeit mit kompositorischen Topoi: Eine Analysekategorie der Filmmusik" in der musikwissenschaftlichen Fachzeitschrift Archiv für Musikwissenschaft (2008) erschienen. Die Beispiele, die hier nur kurz umrissen werden, sind dort ausführlich analysiert. Da der Begriff des "Baukastenprinzips" trotz differenzierender Erläuterung im Vortrag zu Missdeutungen geführt hat, wird im Folgenden von "musikalischkompositorischen Topoi" gesprochen; diese Begriffswahl wird im genannten Aufsatz genauer erläutert. 1 Grundlage des Eröffnungsvortrags ist ein Ansatz, in dem Filmmusik auf ihre kompositorischen Mikrostrukturen hin untersucht wird. Da es hier nicht um Fragen eines Personalstils, einer bestimmten Filmepoche oder einer speziellen Filmmusikschule geht, sondern um die grundsätzliche Frage nach Traditionen und Konventionen in der westlichen Musiksprache, die sich in der Komposition von Filmmusik bis heute fortsetzen, wurden Beispiele aus Filmen ganz unterschiedlicher Genres, Entstehungszeiten und Inhalte ausgewählt. Berücksichtigt wurden Filmmusiken, die sich an die klassische Tradition der westlichen Musik anlehnen; ausgeklammert wurde ethnisch geprägte Musik, die eigenen Traditionen folgt und in Filmen häufig geographisch-kulturelle Verweisfunktion besitzt. Vorgestellt wurde die semantische Belegung spezifischer kompositorischer Strukturen am Beispiel von Ostinati und der Mikrostruktur der kleinen Sekunde. Dabei wurde mehrfach hervorgehoben, dass eine derartige "Mikroanalyse" eines speziellen 1 Ebenso finden sich in dem Aufsatz ausführliche Hinweise auf Sekundärliteratur aus der Filmmusikforschung und der Musikwissenschaft, die auch im Literaturverzeichnis zu diesem Beitrag aufgeführt sind. Kieler Beiträge zur Filmmusikforschung, 3, 2009 / 23 filmischen Elements selbstverständlich der Kontextualisierung und Einbindung in das filmische Ganze bedarf. Diese Einbindung kann die Deutung von kompositorischen Traditionen zu einem gewissen Grad relativieren; häufig zeigt sich jedoch, dass der Rückgriff auf bestimmte Strukturen und Konventionen in der Komposition zur Intensivierung der filmischen Aussage beiträgt und dass es deshalb in der Erforschung von Filmmusik sinnvoll und notwendig ist, eben diese Strukturen im Detail auf Traditionen ihrer Verwendung, die damit verbundene semantische Belegung und ihren Einsatz im Film zu untersuchen. Die Thesen dieses Vortrags stießen auf verschiedene Einwände von Seiten der Fachkollegen, die im Rahmen der vorliegenden Dokumentation nun ausführlicher diskutiert werden können. Als erster Einwand wurde angeführt, dass die Diskussion um die Bedeutung von Musik alt sei und dass sie letzten Endes zu nichts geführt habe. Dem ist erstens entgegenzuhalten, dass diese Frage, und zwar in detailliertem Eingehen auf spezifische musikalische Strukturen, in der Filmmusikforschung bislang nicht gestellt worden ist -demnach ist sie in der Erforschung von Filmmusik also keineswegs "alt". Gerade in einer künstlerischen Gattung, in der das Zusammenwirken sämtlicher inhaltlicher, visueller, akustischer und technischer Parameter auf das Erzeugen einer speziellen Bedeutung abzielt, ist es sinnvoll, die Frage nach dem Ausdrucksgehalt von Musik neu zu stellen. Zweitens aber hält die Aussage, dass die Diskussion um die Bedeutung bzw. den Ausdrucksgehalt von Musik "zu nichts geführt" habe, einer Überprüfung an der Forschungsgeschichte nicht stand, da sie die Arbeit der Systematischen Musikwissenschaft auf diesem Gebiet außer Acht lässt. Über den inhaltsbezogenen Hermeneutikbegriff von Hermann Kretzschmar und Arnold Schering -der unter Einbeziehung philosophischer und rezeptionsästhetischer Überlegungen längst zu einem offenen Konzept von Hermeneutik als "eine[r] bewegliche[n] und dennoch verbindliche[n] Basis für den Vollzug musikalischer Verstehensprozesse" 2 geführt hat -lässt sich zweifellos diskutieren, ebenso über jüngere Deutungsansätze, die spätere Strömungen repräsentieren. Gleichwohl greifen diese Deutungsmuster auch in der ursprünglich von Kretzschmar und Schering vorgestellten Form auf jahrhundertealte kompositorische Traditionen, Topoi und Konventionen zurück, sie sind also historisch begründet. Eine pauschale Ablehnung hermeneutischer Verfahren in der Analyse und Deutung von Musik schreibt die im 19. Jahrhundert entwickelte Ästhetik einer "absoluten Musik" fort, die in der Musikwissenschaft längst differenziert betrachtet wird. Insbesondere die Filmmusikforschung verlangt nach einer offenen musikwissenschaftlichen Betrachtungsweise, da diese Kunstgattung in hohem Maße den Ausdrucksgehalt sämtlicher visueller und akustischer Elemente fordert und ausschöpft. Eine Weigerung, hermeneutische Verfahren in die Analyse von Filmmusik zu integrieren, würde eine entscheidende Ebene in der Deutung von Filmmusik und ihrem Zusammenwirken mit den anderen filmischen Parametern ausblenden. Hier ist demnach die Offenheit gefragt, viel diskutierte Ansätze der Musikwissenschaft in eine andere Kunstgattung zu überführen, die stark auf dem Einsatz und der Wirkung von Musik beruht und kompositorische Konventionen -gerade auch in der Deutung außermusikalischer Inhalte -gezielt einsetzt. 2 Mauser 1993, S. 47. Kieler Beiträge zur Filmmusikforschung, 3, 2009 / 24 Die im Vortrag erläuterten Beispiele der Verwendung von Ostinati in der Filmmusik wurden dahingehend kritisiert, dass den melodischen Strukturen von Ostinatoformeln letzten Endes kein spezifischer Ausdrucksgehalt zuzuordnen sei. Insgesamt ließe sich der Einsatz von Ostinatotechniken in der Filmmusik allenfalls auf rhythmische Komponenten reduzieren, die zwar antreibend wirken mögen, ansonsten aber keine spezielle Aussage im filmischen Kontext träfen. Hier ist darauf hinzuweisen, dass bestimmte Ostinatoformeln im 17. Jahrhundert mit ganz spezifischen Affekten assoziiert wurden, was sich insbesondere in der Vokalmusik durch die entsprechenden Texte belegen lässt. 3 Zu nennen ist dabei vor allem das absteigende Tetrachord, das in seiner Moll-Version zum "Emblem of Lament" wurde und als Träger von Klagen und traurigen Affekten in zahlreichen Kompositionen bis weit ins 18. Jahrhundert, punktuell auch darüber hinaus, eingesetzt wurde. 4 In Filmen tritt dieser Quartbass häufig an affektiv entsprechend geprägten Stellen auf, sowohl als isolierte musikalische Figur als auch als ostinate Bassformel unter Oberstimmen. Die 9 Flückiger 2001, S. 113, 133.

Resumen:
En este trabajo nos proponemos reflexionar sobre la relación entre música y cine a través del análisis de la trilogía cinematográfica Tres colores (Trois Couleurs) del realizador Krzysztof Kieslowski y del compositor Zbigniew Preisner. Tras su análisis concluimos que, en casos como el que nos ocupa, la fusión y entendimiento entre ambos campos artísticos, preservando su autonomía, alcanza cotas ciertamente relevantes y subyugantes. En todo caso, destacamos que cuando este género musical adquiere entidad per se, puede llegar a producir auténticas obras maestras.


Abstract:
This paper aims to reflect on the relationship between music and cinema through the analysis of the film trilogy Three Colors (Trois Couleurs) by the filmmaker Krzysztof Kieslowski and the composer Zbigniew Preisner. After analysis we conclude that, in cases like the present one, fusion and understanding between the two fields of art, preserving their autonomy, reaches heights certainly relevant and captivating. In any case, we note that when this genre acquired entity per se, can produce masterpieces.

Obwohl Filmmusik keineswegs mehr ein Randgebiet musikwissenschaftlicher Forschung ist und inzwischen einige Veröffentlichungen zu diesem Thema vorliegen, fehlte bislang ein Grundlagenwerk zu den Wirkungen von Filmmusik. Dies will das vorliegende Lehrbuch sein - und darüber hinaus erstmalig einen umfassenden und aktuellen Überblick zu empirischen Ergebnissen im Bereich audiovisueller Wirkungsforschung liefern. Hinzu treten orientierende Kapitel zu Filmmusiktheorien und psychologischen Grundlagen.

cf. data file (Summary_and_conclusion.pdf)

The paper focuses on the use of diegetic or source music in the »Star Trek« universe. Its main purpose is to investigate which references are used in »Star Trek: The Original Series« (1966-1969), »Star Trek: The Next Generation« (1987-1994), "Star Trek: Deep Space Nine" (1993-1999), »Star Trek: Voyager« (1995-2001), "Star Trek: Enterprise" (2001-2005), and »Star Trek: Discovery« (2017ff.) to construct a particular prospect of music as one of the most important parts of our cultural heritage from the future's point of view.

Musik ist in audiovisuellen Medien und speziell Film und Fernsehen von unvermindert hoher Bedeutung. Kaum ein Film, gleich welcher Länge, verzichtet vollständig auf einen wenigstens temporären Einsatz von Musik. Angesichts dieser Tatsache erstaunt es, dass Filmpraktiker in Hinsicht auf diese anscheinend obligatorische Filmkomponente oft übertriebene oder sogar falsche Erwartungen haben. Von einer ‚Psychologie der Filmmusik‘, also übergeordneten wissenschaftlichen Erkenntnissen zur Wirkung von Filmmusik, kann bisher kaum gesprochen werden, obwohl einige theoretische Modelle und eine Vielzahl an empirischen Studien vorliegen. Dies hat vor allem mit dem bisher häufig fehlenden Austausch verschiedener Wissenschaftsdisziplinen zu tun mit parallelen Forschungen ohne Rückgriff auf vorliegende Forschungsergebnisse oder wenigstens einen gemeinsamen Kanon an Fachbegriffen. Der vorliegende Aufsatz gibt einen umfassenden Überblick zu theoretischen Modellen und neuerer Forschung in den sieben Bereichen filmmusikalischer Wirkungen, wobei auch synonyme Begriffsbildungen und grundlegende psychologische Mechanismen verdeutlicht sowie gleichzeitig Wissenslücken aufzeigt werden, um diesem bisher blinden Fleck der Filmmusikforschung die ihm gebührende Aufmerksamkeit zukommen zu lassen.

At its most basic, the found-footage film extracts images and sounds from a variety of sources and places them into new audiovisual configurations. Cinema history has thrown up numerous examples of such re-appropriation, from the borrowing of stock footage and locational shots between Hollywood films in the 1930s and ' 40s, to the stitching together of new and original material to form a seamless narrative in more recent films such as Dead Men Don't Wear Plaid (Carl Reiner, 1982) and Forrest Gump (Robert Zemeckis, 1994). While these examples from mainstream culture produce a new, yet coherent, visual re-contextualisation of sources by obscuring the different production qualities between clips, however, the experimental found-footage film creates something different. Although making use of compilation, cut-up, free-association, détournement and the super-cut, experimental directors also embrace footage taken from mainstream culture as their primary material. And yet, they seek to highlight and reinforce the different qualities between collaged clips, inviting audience members not only to construct coherence between newly contextualised images, but also to generate critical readings of the original, deconstructed texts. The form of double engagement that such a process engenders can transform culturally iconic footage into a critique of cinema's values and methods of construction, as Michael Zryd writes: "Foundfootage filmmaking is a metahistorical form commenting on the cultural discourses and narrative patterns behind history. Whether picking through the detritus of the mass mediascape or refinding (through image processing and optical printing) the new

This is the complete 132 pages of this monumental work, with my notes showing themes, use of doubling, form, harmony and much more.

One of Ravel's longest works, it is a seldom played, or studied, masterpiece.

A perfect work to examine for new harmonic and orchestration choices to add towards your own writing.

The growing popularity of TV serials (broadly defined as multi-episode TV productions of various character) goes along with the rapidly expanding reputation of music accompanying such shows. We can talk about the international success of several soundtracks. Recognizing this situation, the article prompts undertaking profound studies on music featured in TV shows suggesting analytical procedures embracing three, interdependent perspectives: referring to one episode, to a musical scene/sequence and to the whole serial understood as a cohesive entity. The first approach is of normative character and involves gauging the length of musical fragments versus the length of the episode, measuring how often and determining where musical fragments appear, checking the patterns of their distribution with the episode, etc. We also need to identify characteristic musical (leit) motifs (most specifically the central motif, usually the one opening all episodes) and divide musical fragments into those of diegetic and non-diegetic character. While discussing scenes or sequences with musical components, we focus on musical solutions assessing to what extent they are (a)typical for the whole serial. The third stage involves an attempt to look at music in all episodes as a structural element of the whole serial, as well as is aimed at answering the question concerning the functions which music plays in a particular serial.
The article is deeply rooted in the tradition of Film Musicology making use of its terminology, concepts, definitions as well as analytical tools. The theoretical framework provided in the article is designed as a modest proposal for musicologists and film specialists alike, as well as all those interested in musical and sonic aspects of TV shows, who can also develop their own, methodological approaches to music in TV shows.

Рост популярности телевизионных сериалов сочетается с быстрым распространением известности сопровождающей их музыки. Можно говорить о международном успехе нескольких подобных саундтреков. Исходя из этой ситуации, в статье ставится цель провести академическое исследование музыки телевизионных сериалов, осуществляя анализ с трех взаимообусловленных позиций: по отношению к отдельной серии, к отдельной музыкальной сцене/последовательности сцен, и, наконец, по отношению ко всему сериалу, понимаемому как единое целое. В первом случае анализ носит статистический характер и включает в себя определение времени звучания музыкальных фрагментов относительно длительности серии, фиксацию того, где и когда появляется музыка, как она распределяется внутри серии и т. д. На этом этапе также необходимо обнаружить лейтмотивы (в частности, главный лейтмотив, который обычно звучит в начале каждой серии) и разделить музыкальные фрагменты на диегетические и недиегетические. Анализируя отдельные музыкальные сцены, мы фокусируемся на их музыкальных решениях, оценивая, насколько они характерны для всего сериала. Третий этап включает попытку взглянуть на музыку каждой из серий как на структурный элемент сериала в целом, а также ответить на вопрос о функциях, которые выполняет музыка в том или ином сериале.
Автор статьи опирается на устоявшиеся традиции исследования кино-музыки, используя сложившуюся терминологию, концепции, определения, а также аналитические приемы. При этом теоретические принципы, представленные в статье, разработаны автором и предлагаются к использованию музыковедам и киноведам, а также всем тем, кто интересуется музыкальными и звуковыми аспектами телевизионных сериалов и способен создать свои собственные методологические подходы к исследованию музыки телеэкрана.

Obiettivo di questa breve analisi è anzitutto dimostrare che anche in un film prettamente musicale -come Whiplash- l’utilizzo del sonoro non è secondo all’utilizzo del montaggio video, ma al contrario svolge un ruolo di fondamentale importanza per la narrazione e la caratterizzazione dei personaggi. In secondo luogo si cerca di evidenziare il sapiente utilizzo delle moderne tecniche di sound design, adottate dal regista Damien Chazelle assieme al team audio per conferire un estremo realismo al film, nonché per potenziare il significato di numerose scene.

In the Danish environmental documentary Ekspeditionen til verdens ende (Expedition to the End of the World, 2013), music from Mozart’s Requiem sounds several times as Greenland’s melting ice and swelling ocean fill the screen. This recording is not mere Anthropocene ambience, however; the performance captured in a Copenhagen church sounds surprisingly provisional and fragile. Unlike the rhapsodic-atmospheric use of music in Werner Herzog’s environmental films, recent climate-science documentaries like Chasing Ice and Ice and Sky, or sentimental viral videos of Arctic piano-playing, the Mozart fragments in Dencik’s film sound as contingent material artifacts of human presence in a rapidly dissolving visual landscape. Interruption and closed-caption-style paratext further amplify this critical distance. Finally, Expedition to the End of the World illuminates global warming as the “hyperobject” Timothy Morton argues is difficult to reduce to cognitively manageable dimensions; roundabout commentary and music’s own slippery codes mirror this difficulty, further complicating a film that refuses reduction to an activist or aesthetic-philosophical position.

This thesis aims to cover two aspects: first, a description of how the work of film composers is; and second, an analysis of how the digital technology affects the musical creation for film, and how different has become film music since the emergence of the digital tools. The first point will discuss about the functions and evolution of film music, and the main steps of film scoring, as well as how several composers have worked at different times in the last hundred years. In this way, we will be able to decipher what are the similarities and differences of the way they work. This is interesting for the students who want to learn how the film world works, in addition to how to compose music film with today’s available tools. The second aim is to compare the film music of composers who have used the digital technology with which they have not used these media, and to observe the differences. In this way, it will be observed the impact of the technology, not just on the work of the composer, but also on the musical result. In short, how technology affects the composition and to film music as a result.

Richard Hageman is mainly remembered for his film scores or his art songs. Even though the greatest part of his career unfolded in the United States, his musical roots lie in his native Netherlands. His studies were funded by Regent Emma and he performed across the Netherlands including the Amsterdam Concertgebouw. This poster will expose Hageman’s development of his musical basis in his homeland, how he transferred his European influences to the United States through his versatile career as conductor, pianist, composer and actor, and how his legacy is being reestablished in the Netherlands today.

Presented at the Dutch Royal Musicology Soiety (www.kvnm.nl) in Haarlem on 7 May 2018.

John Williams is perhaps best known for his film music themes, most of which are based on eight-bar models that divide into discernible halves of 4+4 bars, each half usually containing two short ideas of two bars each. Though this type of thematic structuring has been the norm for the majority of Hollywood film history, Williams’s themes include variation more frequently than is typical for Hollywood films. After dividing Williams' film scores into four style periods, this chapter demonstrates that these variation-based themes occur mainly in his second period (the mid 1970s through the early 1990s) when the association includes an element of fantasy. It is argued that this thematic structure, in which the initial idea is not merely repeated or contrasted with, but varied, is a musical expression of fantasy. In this way, Williams strengthens the bond between theme and association by translating a fundamental element of the association into strictly musical terms.

Este artigo procura listar alguns recursos estilísticos recorrentes no som do cinema de horror, examinando e discutindo algumas razões pelas quais essas ferramentas narrativas se tornaram populares entre cineastas, compositores e sound designers. Assim, partimos de uma definição estável do horror como gênero e analisamos a recorrência de certas técnicas narrativas em cada componente do som no cinema – voz, música e efeitos sonoros – em filmes que encaixam nessa definição.

Si la musique de cinéma a longtemps été délaissée sur le plan scientifique, en particulier dans la francophonie, la floraison d’analyses musicologiques spécialisées dans ce domaine depuis quelques décennies commence toutefois à combler cette lacune. Par un regard réflexif porté sur ce jeune champ disciplinaire qu’est la « musicologie du cinéma », il s’agira d’interroger la place de l’étude de la musique de film au sein des travaux en musicologie, afin de comprendre le désaveu dont elle a pu faire l’objet. Bien que des disparités perdurent entre les musicologies nord-américaine et française, nous montrerons que l’institutionnalisation progressive de l’étude de la musique de film et son rattachement assumé à la musicologie semblent en bon chemin. L’exposé des problématiques propres à l’étude de la musique de cinéma permettra de dégager non seulement les défis méthodologiques posé par un tel objet de recherche, mais aussi d’éclairer la manière dont elles rejoignent et réengagent nombre de réflexions animant la discipline musicologique elle-même.

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Film music has been neglected for a long time in scholarly literature, especially in French-speaking countries. This shortcoming is addressed since a few decades by the blossoming of musicological and specialized analysis devoted to film music. By casting a retrospective glance over this young academic field called “film musicology”, we will first question the place of film music study within musicological research, so as to understand the disavowal it has been subjected to. Disparities still exist between North American and French approaches, but we will demonstrate that the progressive institutionalization of film music and its inclusion within musicology are set on an encouraging path. The issues specific to film music study will be examined in order to highlight what methodological challenges such a research object entails. We will also show how they relate to and reengage a number of reflections taking place within musicology itself.

The authoritative catalogue of motivic material in the Star Wars film franchise.

Includes information on all leitmotifs and incidental themes as well as set-pieces, suites, and source music. Additional sections on thematic relationships, transformations, and associations, plus continually updated bibliography for primary and secondary sources. Extensive musical notation throughout.

Most recent update: March 23, 2023.

Dopo essere stato fatto oggetto di citazione musicale in funzione antifrancese o antirivoluzionaria – per esempio, rispettivamente nell'Ouverture 1812 di Tchaikovski (1880) e nella partitura originale di Gottfried Huppertz per Metropolis (Fritz Lang, 1927) – La Marseillaise si è nuovamente caricata degli originari connotati libertari, questa volta transnazionali, con il suo uso nel film Casablanca (Michael Curtiz, 1942). Girato in coincidenza con l'entrata in guerra degli Stati Uniti, il film è attraversato da una retorica interventista, e l'uso dell'inno francese nella partitura di Max Steiner è ciò che rende tale retorica particolarmente evidente. Presentata nei titoli di testa in una versione tronca, con una cadenza evitata che vira al modo minore – culturalmente associato alla negatività, alla tragedia, alla tristezza – La Marseillaise tornerà nel suo originario modo maggiore, non a caso, solo nel finale, quando il Capitano Renault – francese, più che collaborazionista, indifferente agli eventi – deciderà finalmente di unirsi alla lotta antinazista. Perno della retorica musicale interventista del film è la scena del celebre duello musicale nel Rick's American Café, in cui a Die Wacht am Rhein – canto patriottico prussiano, provocatoriamente intonato da uno sparuto gruppetto di gerarchi nazisti – viene risposto con La Marseillaise – che unisce tutto il pubblico lì presente in un unico Popolo antinazista. In questa scena è Rick stesso – interessato solo al suo business e non alla politica, come da lui stesso affermato – a dare il permesso alla band del suo locale di suonare l'inno francese: così Rick – l'Americano – sceglie di rompere il suo isolazionismo, e La Marseillaise diventa, da inno di una nazione, inno transnazionale della libertà e della democrazia.

L'articolo conduce un'analisi dettagliata della scena del duello musicale, abbinando l'uso dei due canti con le scelte stilistiche utilizzate per rappresentare, da una parte, l'isolamento dei nazisti destinato alla sconfitta e, dall'altra, la forza dirompente del Popolo transnazionale unito nella lotta. In particolare, si indagheranno le ragioni significative per cui all'inno francese non si è contrapposto, come sarebbe stato logico aspettarsi, l'inno tedesco (“Deutschlandlied”) ma un canto risalente al conflitto Franco-Prussiano.