Soviet Film Music: An Historical SurveyPsychology Press, 1997 - 311 pages In the years 1917 to 1991, despite unfavorable prevailing conditions, there were outstanding achievements in the music created for the cinema in the Soviet Union. Perhaps in no other country was film music associated with so many distinguished composers: Sergei Prokofiev, Dmitry Shostakovich, Isaak Dunayevsky, Georgy Sviridov, Aram Khachaturian, Alfred Schnittke, Nikolai Karetnikov, Edward Artemyev, Edison Denisov, and Sofia Gubaidulina. They were ready to accept film directors' invitations because they considered the cinema to be a perfect laboratory for testing the concepts and themes for future operas, symphonies, oratorios, and other large-scale compositions. A remarkable characteristic of Soviet film music was the appearance of successful director - composer collaborations, such as the famous 'duets' of Eisenstein - Prokofiev, Kozintsev - Shostakovich and Tarkovsky - Artemyev. This fascinating volume is the first attempt at a historical analysis of Soviet film music - a unique and full |
Table des matières
pianist versus composer | 3 |
Evolution from the silent to the sound film The duality of music | 13 |
The symphonic type of dramaturgy | 23 |
The role of music in creating a mythicised image of socialism | 31 |
The formation of other genres in musical cinema | 49 |
Elaboration of the idea of soundvisual counterpoint in the film | 59 |
10 | 71 |
initial steps towards | 89 |
Music by Nadezhda Simonyan and Dmitry Shostakovich in film | 167 |
An upsurge of interest in musical cinema Ways of solving | 185 |
The zenith of musical achievements in the directors cinema of | 193 |
The rise and fall of film music in the period of stagnation | 213 |
Human tragedy as reflected in film music | 221 |
Extending the expressive means of film music A search for | 229 |
film music in the work of Artemyev | 249 |
a change in orientation A transition from | 259 |
Music in the postwar cinema of the late forties and early fifties | 115 |
Music in the role of stepdaughter Multiple music clichés in | 121 |
film music of the postStalinist period | 133 |
Change of fortune New means of expression in the language | 145 |
Song in the cinema of the 60s Crystallization of a monothematic | 151 |
The mixed and chamber types of musical dramaturgy | 157 |
Black wave aesthetics and music The crisis of film music under | 273 |
Notes | 289 |
Filmography | 297 |
| 305 | |
Autres éditions - Tout afficher
Expressions et termes fréquents
accompanied action Alexander Nevsky Alexandrov Alfred Schnittke Andrei Rublev Andrei Tarkovsky appearance Artemyev artistic ballet battle Battle Film beauty character characteristic choral chorus classical climax colour comedy film composer composer's composition conception created creative czar's dance device director G dramatic Dunayevsky dynamic Eisenstein elements emotional epic episode fate feeling film makers film music Film Studio genre Gorky Film Studio Hamlet hero heroic idea ideological Ivan the Terrible Ivan's Katerina Khachaturian Kozintsev leitmotiv Lenfilm lyrical material melody montage Moscow Mosfilm Motherland musical dramaturgy musical film noise opera opritchniks orchestral original music piano picture pizz plot polyphonic popular Prokofiev Pyriev quotation resembled rhythm rhythmic role romance Russian scene Schnittke screen version sequences Sergei Shostakovich shot silent film Solaris solo song sound film sound-track Soviet cinema Soviet film music story structure stylistic symphonic synthesis Tarkovsky Tchaikovsky techniques theme timbre tragic visual Volga-Volga waltz