Music as a Component of Film Sound: Theoretical Aspects (original) (raw)

Principles of Functional Classification of Music in Cinema

Artistic Culture. Topical Issues, 2020

The article deals with the basic principles of the functional classification of music in contemporary cinema, with the use of new technologies in the process of creating music for movies, and innovations introduced by modern film composers. The basic prin ciples of functional classification of music in modern cinema should be considered with regard to systemic, sociocultural approaches, to the latest developments in cinema studies and musicology, as well as comparativehistorical and logicalanalytical methods. The main principles of sound and image interaction in cinema are established, being: mutual reinforcement and counterpoint between sound and visual components in film drama, consistency and logic in the development of the storyline and unfolding of the concept of the film, harmonization or intensifying the interaction between the inner sense and perception of this sense by the recipients. The main func tions of music in cinema are defined: managing emotions; intensifying artistic communication; creation of intertextuality within the work; "background" support of the main plot line; combining the other components of the structure of the screenplay, including parts of the storyline. Nowadays, the following basic models of interaction of music with a plot function in cinema: illustrative, con trast, synchronous, communicative and structural. The basic principles and functions of music in modern cinema, caused by the de velopment of compositional practice and changes in filmmaking technologies, are substantiated. The functions of music in cinema determine the certain models of interaction sound and visuals on screen.

CINEMA STUDIES: PERSPECTIVES ON SOUND

Revista Língua & Literatura, 2021

The article focuses on cinema studies. The objective is to present a model for cinema sound analysis. The proposed problem is the extraction of cinematic sound elements, as well as their functionality. Methodologically, in the first section, we presented introductory perspectives on cinema´s sound. Sequentially, in the second section, we presented the discursive idea of sound, with emphasis on voice, music, and noise, aiming to show a way to understand sound language. With the deductive method, the article is conceptual and realized through linguisticdiscursive analysis of sound. KEYWORDS: Cinema. Media Studies. Sound Studies. Music. Soundtrack.

The Effect, Importance and Functions of Music in Cinema

Revista Gênero e Interdisciplinaridade

This study focuses on an example of Cahit Berkay who has an important place in the context of film music and the importance, effect and functions of music in the Turkish Cinema. Essentially of the study within the frame of literature review, music, cinema, the relation between music and the field of arts, Turkish Cinema and music, also provides information relates with Cahit Berkay in the context of music in Turkish cinema. The research part of the study, to measure the effects of the soundtracks composed by Cahit Berkay, “Selvi Boylum ve Al Yazmalım” and “Çöpçüler Kralı” movies detected by sample for purpose, versions separated from music with technical method and original music versions interview group (limited to Near East University Vocational School of Health Services Year 2 students) viewed; reactions of students, content analysis technique a from qualitative and quantitative research methods, has been measured within the framework of their responses through written opinion fo...

Interaction between Music and Image in Film – Presumptions and Typology

In this article I shall make an attempt to present a systematic model of the relationship between music and image in film. The interaction between music and image can be approached in various aspects. The functional aspect is one of the principle ones, when speaking about that. Glancing at this issue can distinguish several different types of this interaction. First of all the exploitation of music in film can be determined by merely practical and pragmatic functions as well as by commercial and ideological reasons (a pragmatic interaction). Seconds -formal compositional tasks, linking/separating, etc. structural functions (a structural interaction). Third -the reasons of rendering semantic functions, non musical (literary, narrative and like) senses (semantic interaction). Each of these interactions is realized by certain phenomenologically singled out situations of music and image contact: diegetic/non-diegetic (the source aspect), synchronicity-parallelism/asynchronicitycounterpoint (a community aspect), foregrounding/backgrounding (predominant aspect). The whole complex of phenomenological and functional aspects compose a hexagonal sound and image model embracing cardinal analytical points of cinema music.

A question of method: notes on sound and music analysis in films

2017

To establish accurate methods that enable the rigorous study of the soundtrack in audiovisual products has been a recurring problem in film studies in Brazil. This essay critically examines manuals, books and articles from different areas of study, including Social Communication, Film Analysis and Sound Studies, in order to compile suggestions of methods of sound and music analysis in audiovisuals that may help future

The Journal of Film Music

2015

Picture music—a new art form—is coming into its own. George Antheil, Modern Music (1937) encouraged within the academic community, the study of film music has become a burgeoning multidisciplinary if not trans-disciplinary endeavor. Today writers utilize not only the concepts and technical vocabu-laries of music and film making, but variously terms and concepts from musicology, film theory, media and communication studies, cultural studies, comparative literature, literary criticism, criti-cal theory, philosophy, semiotics, psychology, cognitive science, soci-ology, feminist theory, gender studies, and marketing research— and that is probably not an exhaustive list of all the disci-plines and areas represented. With the resulting profusion of techni-cal language there is the potential for a veritable Babel. Like different languages, two disciplines may, for instance, have different terms for the same thing, and writers may

A brief history of the relationship between sound and image

2013

This paper is an overview of significant uses of music in film, with specific focus on music in avant-garde cinema. Touching briefly on the work of several key filmmakers, the paper establishes the nature of the relationship between music and film, suggesting that the cinematic experience is 'incomplete' without music.

Music in Films

Journal of Film Music, 2009

The purpose here is not to trace the history of music in film, but to survey the literature about music in film written between 1980 and 1996. Film music literature is a strange hybrid, much like its subject, existing in a limbo cut off from the main body of both its progenitors: neither film studies nor musicology have paid much attention to film music in the past, and like a squalling brat, film music studies have continued to protest loudly the neglect. While it is true that film studies and musicology have been largely uninterested in film music—or, to be fair, ill-equipped theoretically to approach the synthetic form—the vociferous plaints of complete neglect are gradually being exposed as hyperbole.