Film Music in the Aspect of Stylistic Modeling
Article Sidebar
Main Article Content
Abstract
The article examines film music from the point of view of stylistic modeling as a compositional technique
in cinema music. On the level of musical thematicism this presumes a free approach towards work with quoted
material realized by means of stylization or allusion. The compositional level is structured through a compiled
(polystylistic) means of organization of the musical setting by juxtaposition of the quoted material. Work with
precise or arranged quotations is viewed in the aspect of compositional technique, the individuality of the film
producer and the genre-related specificity of films. The video context is disclosed of appearance of quotations from
classical music, the expediency of them being brought in, the ethicality of connecting well-known compositions of
the classics with video images, which are in discord with the initial content of the music. Analysis is made of the
process of creation of a film soundtrack and the measure of the authorial expression of will and a re-interpretation
of themes by classic composers.
Use is made of the methodology of integrated and stylistic analysis traditional in Russian musicology, and
research methods with incorporation of special music research tools in the structure of the media-text elaborated
by Tatiana Shack. The essence of the method consists in a rejection of analysis of a traditional musical text and its
replacement with an audio-visual form with a complex examination of music in combination with visual and verbal
constituents and taking into account the context in which they exist. The proposed approach towards analysis is
based on knowledge of the specificity of functional music: its discreteness, derivative qualities, multifunctionality,
compilativity, contextual quality, dependence on montage rhythm and subservience to the video material.
Keywords: film music, citation, allusion, stylization, cinema producer, film composer, stylistic modeling.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Denisov A. V. Mezhtekstovye vzaimodeystviya v muzyke – semioticheskiy aspekt [Intertextual Interactions in Music – A Semiotic Aspect]. Muzykal'naya semiotika: puti i perspektivy razvitiya: sb. st. po materialam Vtoroy mezhdunar. nauchn. konf. 13–14 noyabrya 2008 g. [Musical Semiotics: The Ways and Prospects of Development: Compilation of Articles on the Materials of the Second International Scholarly Conference. November 13–14, 2008]. Ed. by L. V. Savina. Astrakhan, 2008, pp. 30–34.
3. Kuz'menkova O. V. Stilevoe modelirovanie v tvorchestve otechestvennykh kompozitorov 70–90-kh godov XX veka: simfonicheskaya i instrumental'naya muzyka: dis.… kand. iskusstvovedeniya [Stylistic Modeling in the Works of Russian Composers of the Time Period Between the 1970s and the 1990s: Symphonic and Instrumental Music: Thesis of Dissertation for the Degree of Candidate of Arts]. St. Petersburg, 2004. 190 p.
4. Lotman Yu. M. Yazyk kino i problemy kinosemiotiki [The Language of the Cinema and the Issues of Film Semiotics]. Kinovedcheskie zapiski [Cinema Studies Notes]. 1988. No. 2, pp. 131–150.
5. Frolov S. V. «Pikovaya dama» Chaykovskogo. Neuchtennaya fenomenologiya [“The Queen of Spades” by Tchaikovsky. Unaccounted Phenomenology]. Frolov S. V. Chaykovskiy: muzykal'no-istoricheskie etyudy: sb. st. [Tchaikovsky: Musical and Historical Studies: Compilation of Articles]. Issue 2. Tambov, 2015, pp. 91–105.
6. Frolov S. V. Traurno-elegicheskiy intonatsionnyy kompleks v pervoy kartine opery P. I. Chaykovskogo «Evgeniy Onegin» [The Mourning-Elegiac Intonational Complex in the First Scene of the Opera by P. Tchaikovsky “Eugene Onegin”]. Frolov S. V. Chaykovskiy: muzykal'no-istoricheskie etyudy: sb. st. [Tchaikovsky: Musical and Historical Studies: Compilation of Articles]. Issue 2. Tambov, 2015, pp. 20–35.
7. Khvatova S. I. Metodologicheskie podkhody k analizu muzyki kino: o rabote po stilevym modelyam [Methodological Approaches to the Analysis of Cinema Music: on the Work on Style Models]. Muzyka v prostranstve mediakul'tury: sb. st. po materialam Pyatoy mezhdunar. nauch.-prakt. konf. 17 aprelya 2018 goda [Music in the Space of Media Culture: Compilation of Articles on the Materials of the Fifth International Scholarly-Practical Conference. April 17, 2018.]. Krasnodar, 2018, pp. 7–9.
8. Shak T. F. Muzyka v strukture mediateksta. Na materiale khudozhestvennogo i animatsionnogo kino [Music in the Structure of the Media Text. On the Material of Artistic and Animated Film]. 2nd Edition, Supplemented. St. Petersburg: Lan': Planeta muzyki, 2017. 384 p.
9. Shak T. F. O smyslovom mnogoobrazii tsitat v muzyke kino [On the Semantic Diversity of Quotations in Film Music]. V prostranstve smyslov: tekst i intertekst: sb. st. po materialam mezhdunar. nauch. konf. [In the Space of Meanings: Text and Intertext: Collection of Articles on the Materials of the International Scholarly Conference]. Petrоzavodsk State A. K. Glazunov Conservatory. Petrozavodsk, 2016, pp. 412–421.
10. Shak T. F., Semchenkova A. V. Muzykal'naya tsitata v strukture mediateksta: napravleniya analiza [The Musical Quotation in the Structure of the Media Text: Directions of Analysis]. Vestnik Adygeyskogo gos. un-ta. Seriya «Filologiya i iskusstvovedenie» [Herald of the Adygei State University. “Philology and Art History” Series]. Issue 2 (58). Maikop, 2010, pp. 217–224.
11. Shevlyakov E. G. Neoklassitsizm i otechestvennaya muzyka 60–80 godov [Neoclassicism and Russian Music Between the 1960s and the 1980s]. Ed. by A. M. Zuker; North Caucasus Higher School Research Center, Rostov State S. V. Rakhmaninoff Conservatory. Rostov-on-Don: Publishing House of the Rostov Pedagogical Institute, 1992. 157 p.