Preview

Bulletin of Vaganova Ballet Academy

Advanced search

About some creative tandemas of outstanding film composers and film directors of the 20th century

Abstract

In the modern world, visual art occupies a large place and is accessible to the widest range of people. Developing as a genre, cinema in its various interpretations forms new genre varieties, such as film music. Unlike the opera genre, where the work of a composer in collaboration with a director or conductor is influenced by many factors and the final result varies depending on each specific production, cinema, as a fixed genre, retains the result, once realized and preserved in tandem of the director and composer.
This article analyzes the combination of visual and auditory experience using the example of joint works of creative unions - a composer and a director. The author considers the unique experience of interaction and the characteristic features of each described creative tandem, such as the formation of common stylistic features and relationships that make it possible to create unique films, the problems of interaction between the director and the composer, and the importance of the musical design of the film as the most important means of expression. Examples for consideration in this article are some well-known domestic and foreign film works, on the basis of which the concept of a sound film is based.

About the Author

A. O. Kozyrev
Vaganova Ballet Academy; Dmitry Hvorostovsky Siberian State Academy of Arts
Russian Federation

Postgraduate Student, Lecturer, akozyrev

Rossi St., 2, Saint-Petersburg, 191023

22, Lenina St., Krasnoyarsk, 660049



References

1. Lissa 3. E`stetika kinomuzy`ki. M.: Ripol Klassik, 1970. 495 s.

2. Lavrova S. V. Novaya muzy`ka i e`ksperimental`noe kino: tvorchestvo Bernxarda Langa v kontekste New Media Art // Problemy` sinteza v sovremennoj muzy`kal`noj kul`ture: Sb. trudov mezhdunarod. nauch. konf. 11-15 apr. 2019 g. T. 1. Rostov-na Donu: Izd-vo RGU im. S. V. Raxmaninova, 2019. S. 32–44.

3. Lavrova S. V. Akusticheskaya fotografiya i «loop»-e`stetika. Nasledie principov e`ksperimental`nogo kino v novoj muzy`ke // Vestnik Akademii Russkogo baleta im. A. Ya. Vaganovoj. 2016. № 3 (44). S. 218–227.

4. Zenina O. A., Karaseva O. S. Muzy`ka Sergeya Sergeevicha Prokof`eva k kinofil`mu «Aleksandr Nevskij» // Koncepcii ustojchivogo razvitiya nauki v sovremenny`x usloviyax: sb. st. po itogam Mezhdunarod. nauch.-prakt. konf. [Samara] 08 maya 2018 g. Sterlitamak: Agentstvo mezhdunarodny`x issledovanij, 2018. S. 299–301.

5. Efremova L., Nikiforova E. Osobennosti muzy`kal`noj dramaturgii v fil`max G.Kozinceva i L. Trauberga s muzy`koj D. Shostakovicha // Iskusstvo i iskusstvovedenie: teoriya i opy`t: sintez iskusstv v e`poxu postmoderna: sb. Vy`p. 15. / otv. red. N. L. Prokopova. Kemerovo: Kemerovskij gosudarstvenny`j institut kul`tury`, 2017. S. 90–97.

6. Shostakovich: Zhizn` i tvorchestvo: v 2 t. / S. Xentova. L.: Sov. Kompozitor: Leningr. otd., 1985. T. 1. 544 s.

7. Perevozchikova K. V. Koncert dlya dirizhera s orkestrom Nino Roty` i Federiko Fellini: repeticiya Apokalipsisa // Muzy`kal`naya akademiya. 2020. № 3. S. 19–205.

8. Fedorov A. V. Sovetskaya kinofantastika v zerkale kinokritiki i zritel`skix mnenij. M.: Informaciya dlya vsex, 2021. 170 s.

9. Novoselova M. A. Al`fred Shnitke i kinoiskusstvo // Dnevnik nauki. 2019. № 8. S. 55–70.

10. Novikova L. S. Dzhon Uil`yams i ego muzy`ka k kino // Iskusstvo glazami molody`x: mat-ly` XI Mezhdunarod. nauch. konf. 28-29 marta 2019 g. / red.: N. V. Perepich, M. V. Sablina. Krasnoyarsk: SGII im. D. Xvorostovskogo, 2019. S. 285–291.

11. Artem`ev E`. N. Vy`razit` osnovnoe sostoyanie // Kinovedcheskie zapiski. 1994. № 21. S. 116–127.

12. Shak T., Zamixovskaya V. Sotvorchestvo rezhissera i kompozitora v aspekte stilya kinomuzy`ki // Kul`turnaya zhizn` Yuga Rossii. 2019. № 1 (72). S. 28–32.

13. Vivier P.-W. The Postmodern Aspects Reflected in the Qatsi Trilogy [E`lektronny`j resurs]. URL: http://waynevivier.co.za/docs/The_postmodern_aspects_reflected_in_the_Qatsi_trilogy.pdf (data obrashheniya: 29.05.2021).

14. Lur`e Ya. M. Fil`my` De`vida Lincha: stilistika, obraznost`, avtorskaya manera // Artikul`t. 2013. № 1 (9). S. 32–41.

15. Antipova Yu. V. Duxovy`e instrumenty` v sovremennoj massovoj muzy`ke: nekotory`e aspekty` izucheniya // Vestnik muzy`kal`noj nauki. 2019. № 3 (25). S. 77–84.

16. Gusejnova F. E`. “Stillness of the mind”: Analiz partitury` Abelya Korzhenevskogo dlya «Odinokogo muzhchiny`» Toma Forda // Sovremenny`e nauchny`e issledovaniya: aktual`ny`e voprosy`, dostizheniya i innovacii: sb. st. XIII Mezhdunarod. nauch.-prakt. konf. Penza: MCzNS «Nauka i Prosveshhenie», 2020. S. 281–285.


Review

For citations:


Kozyrev A.O. About some creative tandemas of outstanding film composers and film directors of the 20th century. Bulletin of Vaganova Ballet Academy. 2021;(5):70-83. (In Russ.)

Views: 255


Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 License.


ISSN 1681-8962 (Print)