O muzyce i filmie: wprowadzenie do muzykologii filmowej
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Musica Iagellonica
2014
|
| Schriftenreihe: | Acta Musicologica Universitatis Cracoviensis
25 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: On music and film Bibliogr. s. 333-349. Indeks osób. Indeks filmów |
| Beschreibung: | 380 s. il. 25 cm |
| ISBN: | 9788370991920 |
Internformat
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| 100 | 1 | |a Piotrowska, Anna G. |d ca. 20./21. Jh. |e Verfasser |0 (DE-588)143552686 |4 aut | |
| 245 | 1 | 0 | |a O muzyce i filmie |b wprowadzenie do muzykologii filmowej |c Anna G. Piotrowska |
| 264 | 1 | |a Kraków |b Musica Iagellonica |c 2014 | |
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| 490 | 1 | |a Acta Musicologica Universitatis Cracoviensis |v 25 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T.: On music and film | ||
| 500 | |a Bibliogr. s. 333-349. Indeks osób. Indeks filmów | ||
| 650 | 7 | |a Muzyka filmowa |2 jhpk | |
| 650 | 7 | |a Kino i muzyka |2 jhpk | |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027650124&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804152733708582912 |
|---|---|
| adam_text | S -P
I
S TREÊC
Wstęp.
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Część pierwsza
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ШУСН ЈЈШШЅШШСН
19
1.1.
Tradycje badawcze
.................................. 19
Interdyscyplinarność badań
.......................... 20
Zmiana paradygmatu
.............................. 23
1.2.
Współczesność: muzykologia filmowa
....................... 26
Metody badań muzyki filmowej
........................ 28
2.
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hlimej
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2.1.
Różnorodność literatury przedmiotu
........................ 36
2.2.
Typologia ujęć
..................................... 41
Prace o charakterze teoretycznym
....................... 42
Opracowania historyczne
............................ 51
Rozważania teoretyczno-historyczne
..................... 54
3.
ĄIU OPISU
ІШИЙІ ИШОїШ
........................
,
. 58
3.1.
Związki muzyki i obrazu: od opery do filmu
.................... 58
3.2.
Po co muzyka w filmie?
................................ 70
3.3.
Nowe spojrzenie: muzyka filmowa jako funkcja oraz muzyka i muzykalia jako
temat filmowy
..................................... 73
Muzyka jako funkcja
............................... 74
Muzyka jako temat filmu
............................ 77
Część druga
zflRy
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historii
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fiimoiMJ
4.
ПІШУ
Ul
Eft
Z£ Hinfl
Π
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mE GO
.......................... 81
4.1.
Pierwsze pokazy filmowe i rola muzyki
....................... 81
Muzycy w kinie
.................................. 86
Repertuar
..................................... 90
Antologie i
cue sheets..............................
95
4.2.
Oprawa muzyczna filmu: kontrola producencka
.................. 101
Pierwsi kompozytorzy muzyki filmowej
.................... 103
SPÌE ¡USCI
5.
м/шп оіщшу
................................
5.1.
Wczesne próby udźwiękowienia filmu
........................ 107
Rozwiązanie typu sound-on-disc
........................ 107
Rozwiązanie typu sound-on-film
. . . :.................... 109
5.2.
Film-symbol: The Jazz Singer
............................. 113
5.3.
Kwestie terminologiczne i technologiczne
..................... 117
Kłopoty z nazewnictwem
............................ 117
Ograniczenia technologiczne
.......................... 120
5.4.
Reakcje na filmy dźwiękowe
............................. 129
Kompozytorzy wobec nowych możliwości
.................. 129
Reżyserzy a film dźwiękowy
........................... 138
Teoretycy muzyki o kinie dźwiękowym
.................... 141
6.
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Ш ІШУНІ
FIL m D
UJ
€
J
(1827-1955)
I
D
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Б
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JEJ D Z
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...... 152
6.1.
Adaptacja myśli wagnerowskiej ...........................
152
6.2.
Twórczość
Маха
Steinera,
Ericha
W. Korngolda i Alfreda
Newmana
...... 159
6.3.
Nowe poszukiwania
.................................. 169
6.4.
Odrodzenie tzw. klasycznej partytury filmowej
.................. 173
Muzyka Johna Williamsa
............................ 175
Wagneryzm we współczesnej muzyce filmowej
................ 183
Część trzecia
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7.
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filíoíc
...........................
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7.1.
Funkcja intencjonalno-behawioralna: ewokowanie nastrojowi emocji
..... 189
Dlaczego horror straszy?
............................ 190
Tradycje muzyczne w westernie
........................ 208
7.2.
Funkcja referencyjno-sygnifikatywna: sugerowanie znaczeń
........... 225
Identyfikacja czasu akcji
............................. 227
Identyfikacja kulturowo-etniczna
....................... 241
miizac«
ι
líiüzaHOüifliiit
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fi Lm
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.............256
8.1.
Implikacje gatunkowe
.................................256
Sceny muzyczne
.................................257
Opera w kinie czy opera filmowa?
.......................273
Musical fiimowy
.................................285
8.2.
Biografie muzyków
...................................312
W świecie muzyki poważnej
..........................312
Ikony muzycznej pop kultury
..........................323
Zakończenie. O/ISIflJ I JURO
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329
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ШОШШСИ
...........................
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........................................351
lODEHS
FILÍÍÍÖÍÍi
.......................................367
Summary.
ОП
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SUMMARY
00
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flO inTRODUCTIOn
TO
FIL
ITI
fliüSICOLOGy
Film musicology is a new academic discipline, deeply rooted in humanities,
focused on researching the history, theory and aesthetics of film music as
well as its reception. The debate on film music
—
spanning over several decades
—
has resulted in an impressive volume of the literature of the subject. At the
moment, readers have at their disposal a vast number of books available in many
languages, especially in English. The curiosity of those interested in film music
can also be easily satisfied thanks to the growing number of websites devoted
to the subject in question which present the collective effort of several authors.
In this light On Music and Film: An Introduction to Film Musicology performs
the modest function of a guidebook, introducing its readers to the world of film
music.
The aim of the book is to present the history, theory, aesthetics and reception
of film music and illustrate them from many perspectives but also to compa¬
re and contrast various approaches to research as well as to address the main
questions of interest to scholars. As an introduction to studies on film music, it is
targeted at those embarking on the journey of discovering film music.
The text is divided into three distinct parts. The first, From the History of
Reflections on Music in the Cinema: Theories and Methods^ discusses the meth¬
odological and theoretical difficulties encountered in the analysis of film music.
The book s author, Anna G. Piotrowska, focuses predominantly on clarifying the
position of film music studies within a broader academic perspective and identi¬
fies the dominant approaches adopted by various authors; she also characterises
the descriptive language typically applied to describe film music in the available
literature on the subject. What she considers the breakthrough in the research
on film music to have occurred in the
1980s,
is the arrival of such key works as
Unheard Melodies: Narrative Film Music
(1987)
by Claudia Gorbman and Settling
the Score: Music and the Classical Hollywood Film
(1992)
by Kathryn
Kálinak.
Piotrowska also addresses the issue of the terminology used, suggesting that film
3/8
music , as employed in the literature of the subject and online discussions, may
have varying yet identifiable meanings, and mostly refers to:
1.
The entirety of musical effects audible during the screening of a film (as
registered on a videotape or a DVD).
2.
Record of a soundtrack on vinyl or CD. This kind of release often involves
extending or rearranging musical material as well as removing dialogue,
etc. to name but a few procedures affecting the final result. Another com¬
mon practice encountered on CDs with film music is the addition of mu¬
sical passages not included in the original soundtrack as heard in the
cinema version.
3.
Scores
—
the written notations of the music composed for the film. Apart
from scores used for recording the soundtrack for the film itself, there are
also special arrangements (e.g. piano arrangements) of the most popular
themes from films, frequently orchestrated anew and compiled in a pot¬
pourri-like manner to be performed during concerts, for example as
suites.
In the second part of the book, Outline of the History of Film Music, Anna G.
Piotrowska gives a chronological overview of the main tendencies in the develop¬
ment of cinematography, especially those that had a decisive role in shaping and
creating the musical settings of films. Thus, starting with silent cinema, she dis¬
cusses how music was used in cinema theatres: initially performed live, with time
usually jotted down, and finally recorded. The author emphasises the fact that in
the era of silent cinema, the interaction between the audience and the musicians
could be compared to the one experienced today in concert halls. She also high¬
lights various functions that music performed in the silent and sound cinema: for
performances in the former era the responsibility for the musical setting rested
on musicians employed in different locations working for individual screenings,
thus producing effects that could vary dramatically from one place to another.
However, in the era of talkies the soundtrack depended rather on one provider
only (i.e. the studio), assuring an identical form and musical layer during all
screenings. In the era of sound cinema films became items, ready made with
all ingredients, including music as designed by the producers. Consequently, in
this part of the book the author focuses on the arrival of mechanisms governing
the process of musical development in films and the controlling of their
imple-
3/9
mentation (initially in Hollywood). The author also casts light on the reception of
the first sound films, drawing heavily from German, English, Russian and Polish
sources. Chapter six offers a discussion on the privileged position of the late-
-romantic style in soundtracks and some attempts at breaking it, as illustrated by
the works of Max
Steiner,
Erich Wolfgang Korngold and Alfred Newman.
The third part of the book, entitled A Selection of Functional Aspects of Music
in Film, provides the authors own perspective on film music seen through its
function and in the context of the so-called musical subject matter of the film.
What stands out is the idea that, functionally, film music involves stirring emo¬
tions on the one hand, and on the other conveys culture-determined meanings.
However, when it becomes the subject matter of a film music it can shape the
genre itself or merely take advantage of references (either in the layer of the plot
or visuals) to biographies of famous musicians.
The selection of film examples for this publication was based on their gen¬
re: the discourse is illustrated mostly with melodramas, horrors, film
noir,
west¬
erns, historical films, science fiction films, film operas, musicals and biopics. In
many cases the soundtrack was an immediate reason for their blockbuster suc¬
cess, thereby becoming identifiable with the film. Nevertheless, the author stress¬
es several times that cinematographic achievement is not always synonymous
with an equally interesting musical setting. There are known cases of the opposite
being true, when soundtracks that brought progress in the area of film music (or
were, at least, symptomatic in their highly representative or abnormal nature)
accompanied productions of a lesser artistic value. While the author poses the
question of the existence (be it unwritten) of a canon of major works emblematic
for the history of film music, she simultaneously strives to create such a list of
standard productions following both tradition and her own instinct.
Finally, Anna G. Piotrowska concentrates on the heyday of film music observ¬
able through the increase in writings on the subject and through the wide-ranging
research undertaken in this area. Such popularity also translates into commercial
success, which means high sales of film music records and excellent attendance at
concerts offering film music. This popularity also entails featuring film music in
the repertoires of concert halls and prompts the organisation of different kinds of
film music festivals. This growing demand for soundtrack performances stems,
undoubtedly, from the growing common knowledge about film music. For in-
stance, the popular and quick reference website Wikipedia shows an increasing
record of detailed soundtrack descriptions.
Such fascination with film music is evidence, in the opinion of the author, of
the social need for experiencing good quality music. Currently, there is a demand
for music that is not a form of filling time or space but
—
at the same time
—
is
І
not overly demanding for its audience. The gap between music which is intellec¬
tually challenging and thought-provoking and the music which is unreflective,
nice, easy and light-hearted is successfully bridged by film music. It is the latter
that satisfies the need to cherish contact with original artistic works addressing
emotions and straightforward associations. The emotions and sense carried by
film music do not depend on performers, the style, techniques or genres as the
main impact of film music stems from its ability to invoke universal feelings and
evoke connotations based in culture. Therefore, one might risk the statement that
it is listening to this kind of music that, at the turn of the 20th and 21st centuries,
replaced the experience once (especially in the 19th century) provided by opera.
Such an assumption of the role once performed by operatic works, both in the
social and in the aesthetic veins, stems not only from the genetic relationship be¬
tween these forms of art (connected by their multi-media nature) but also from
their reception. Anna G. Piotrowska remarks that the contemporary trip to the
cinema is prompted not only by the willingness to immerse oneself into the in¬
tricacies of a new plot or to feast ones eyes on the visually-pleasing display of the
new production, but is also dictated by the craving for participation in a magic
mystery play, while the central part of it may be losing oneself in the music re¬
sounding in the building of the cinema during the screening. Obviously in today s
cultural and economic situation, determined by technology and rapid progress, it
is not live but recorded music that we listen to. What is treated with the utmost
reverence, however, is the issue of sound quality in cinemas, referred to as high
definition audio . All in all it is the cinematic spectacle that enables cinemagoers to
experience music here and now , immersing them in it totally while absorbing it
with their eyes and ears. This is how the eternal
—
both
Wagnerian
and Einstein-
ian
—
ideal of syncretism in the arts has been realised in the realm of cinematics.
Bayerische
Staatsbibliothek
München
|
| any_adam_object | 1 |
| author | Piotrowska, Anna G. ca. 20./21. Jh |
| author_GND | (DE-588)143552686 |
| author_facet | Piotrowska, Anna G. ca. 20./21. Jh |
| author_role | aut |
| author_sort | Piotrowska, Anna G. ca. 20./21. Jh |
| author_variant | a g p ag agp |
| building | Verbundindex |
| bvnumber | BV042211435 |
| ctrlnum | (OCoLC)897311219 (DE-599)BVBBV042211435 |
| format | Book |
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| genre_facet | Aufsatzsammlung |
| id | DE-604.BV042211435 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T01:15:24Z |
| institution | BVB |
| isbn | 9788370991920 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027650124 |
| oclc_num | 897311219 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 380 s. il. 25 cm |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Musica Iagellonica |
| record_format | marc |
| series | Acta Musicologica Universitatis Cracoviensis |
| series2 | Acta Musicologica Universitatis Cracoviensis |
| spelling | Piotrowska, Anna G. ca. 20./21. Jh. Verfasser (DE-588)143552686 aut O muzyce i filmie wprowadzenie do muzykologii filmowej Anna G. Piotrowska Kraków Musica Iagellonica 2014 380 s. il. 25 cm txt rdacontent n rdamedia nc rdacarrier Acta Musicologica Universitatis Cracoviensis 25 Zsfassung in engl. Sprache u.d.T.: On music and film Bibliogr. s. 333-349. Indeks osób. Indeks filmów Muzyka filmowa jhpk Kino i muzyka jhpk Filmmusik (DE-588)4017129-2 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Musik (DE-588)4040802-4 s Film (DE-588)4017102-4 s Filmmusik (DE-588)4017129-2 s DE-604 Acta Musicologica Universitatis Cracoviensis 25 (DE-604)BV011022290 25 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027650124&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027650124&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Piotrowska, Anna G. ca. 20./21. Jh O muzyce i filmie wprowadzenie do muzykologii filmowej Acta Musicologica Universitatis Cracoviensis Muzyka filmowa jhpk Kino i muzyka jhpk Filmmusik (DE-588)4017129-2 gnd Film (DE-588)4017102-4 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4017129-2 (DE-588)4017102-4 (DE-588)4040802-4 (DE-588)4143413-4 |
| title | O muzyce i filmie wprowadzenie do muzykologii filmowej |
| title_auth | O muzyce i filmie wprowadzenie do muzykologii filmowej |
| title_exact_search | O muzyce i filmie wprowadzenie do muzykologii filmowej |
| title_full | O muzyce i filmie wprowadzenie do muzykologii filmowej Anna G. Piotrowska |
| title_fullStr | O muzyce i filmie wprowadzenie do muzykologii filmowej Anna G. Piotrowska |
| title_full_unstemmed | O muzyce i filmie wprowadzenie do muzykologii filmowej Anna G. Piotrowska |
| title_short | O muzyce i filmie |
| title_sort | o muzyce i filmie wprowadzenie do muzykologii filmowej |
| title_sub | wprowadzenie do muzykologii filmowej |
| topic | Muzyka filmowa jhpk Kino i muzyka jhpk Filmmusik (DE-588)4017129-2 gnd Film (DE-588)4017102-4 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Muzyka filmowa Kino i muzyka Filmmusik Film Musik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027650124&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027650124&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV011022290 |
| work_keys_str_mv | AT piotrowskaannag omuzyceifilmiewprowadzeniedomuzykologiifilmowej |