Дисертації з теми "Music and cinema"

Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock’n’Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach – converging film analysis, popular music studies and music journalism – this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

Although film music research has been on the rise over the last decade, most research has focused on the Hollywood tradition. An increasing number of projects focusing on film-scoring traditions other than Hollywood are nevertheless beginning to reveal the richness of localised traditions and increase our understanding of the purpose of film music elsewhere. This thesis is a study of music in Taiwan cinema, focusing on the period 1989-2009. After the 1987 lifting of martial law and the 1989 release of HOU Hsiao-hsien's celebrated A City of Sadness, restrictions on cultural production in Taiwan were relaxed and cash from other Chinese-speaking communities as well as European and American companies began to be invested in Taiwan cinema. This influx of foreign capital has combined with the cultures of multiple colonisers to create the heterogeneous approach to filmmaking and the hybrid musical cultures found in Taiwan today. How do all these changes affect our understanding of the relationship between music and moving images in Taiwan cinema? How has music in Taiwan cinema reflected and responded to changes to its internal and external environments? I shall examine these questions from three perspectives. In Part One I briefly summarise the country's cultural history in order to flesh out an argument about the environment in which film musicians were working. I also define important conceptual terms such as Taiwan cinema, Chinese-language cinema, Cultural China, transnational cooperation, and so on. In Part Two I investigate the influences of Chinese aesthetics on music in Taiwan cinema, particularly on HOU Hsiao-hsien's use of silence. In doing so, I suggest that the changing philosophy of silence in HOU's films reflects his response to political and cultural currents over the past two decades. In Part Three I examine music in martial arts films, particularly in Ang 3 LEE's Crouching Tiger, Hidden Dragon (2000). As an important genre in China and the first to gain popularity in the West, martial arts films have long been subject to transnational exchange; to study the role of music and musicality in martial arts films is therefore to gain a useful perspective on the shifting forces that have influenced Taiwan cinema and Chinese-language cinema over several decades. The success of Crouching Tiger has given rise to more frequent transnational exchanges in Taiwan cinema than before. In Part Four, I will examine the music in two more recent films, Cape No. 7 (2008) and Secret (2007), to examine film music's ability to reflect the struggles in today's Taiwanese society to construct its own cultural identity. 4

Orientador: Lucia Nagib
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese propõe uma análise da relação música/cinema fundamentada em discussões que demandam uma interface entre a Musicologia e a Teoria do Cinema. O objeto de estudo é o filme Thirty Two Short Films about Glenn Gould (1993), do canadense François Girard. O universo musical do filme sugere uma análise específica, muito além da mera funcionalidade da música em relação à diegese. O objetivo é evidenciar como Girard executa cinematograficamente uma leitura sobre posicionamentos estéticos do pianista Glenn Gould e, com isto, ampliar a reflexão em torno da interface música/cinema. A metodologia adotada dialoga, em parte, com a abordagem de cunho fenomenológico de Michel Chion. Entretanto, pelo fato de ser um filme no qual a presença da música, além de assunto, constitui o principal modo de expressão, optou-se por estabelecer, sempre que necessário, aproximações entre a teoria do cinema e da música
Abstract: This thesis proposes an analysis of the film/music relationship through discussions at the interface between Musicology and Film Theory. The chosen subject is François Girard¿s film Thirty-two short films about Glenn Gould (1993). A specific approach is required in order to study the music in this film because of the musical world interpreted here by Girard. The idea is to show how Girard gives a cinematic reading of Glenn Gould¿s aesthetical position and, through this reflection, to provide a contribution to the field of Film Music. The theoretical support for this thesis comprises a number of influential authors on music and cinema theory, with focus on Michel Chion¿s phenomenological orientation
Doutorado
Doutor em Multimeios

This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.

Orientador: Claudiney Rodrigues Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai
Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai
Doutorado
Doutor em Multimeios

Orientador: Claudiney Rodrigues Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Inicialmente, este trabalho procura delinear algumas definições preliminares como convenção, gênero, gênero fílmico, melodrama e o melodrama romântico, enquanto filme, partindo dos pressupostos gerais sobre as convenções musicais dos gêneros fílmicos, estabelecidos por Mark Brownrigg. Em seguida, e feito um exame mais detalhado das convenções musicais do gênero fílmico Melodrama Romântico, observando mais detidamente as características musicais, o emprego, as origens e possíveis significados de cada convenção no repertorio tradicional Ocidental. Depois, a analise de partituras de musicas que acompanham cenas de amor, investiga os procedimentos composicionais utilizados em temas musicais relacionados a cenas de amor. Por fim, o levantamento das convenções melódicas utilizadas na representação musical que acompanham, enfatizando, cenas de amor na narrativa audiovisual
Abstract: Initially, this paper seeks to outline some preliminary definitions as convention, genre, genre film, melodrama and romantic melodrama, as a film, based on the general assumptions about the musical conventions of film genres established by Mark Brownrigg. Then we make a closer examination of the musical conventions of the genre film romantic melodrama, observing more closely the musical characteristics, employment, the origins and possible meanings of each convention in the traditional Western repertoire. After the analysis of music scores that accompany love scenes, investigating the compositional procedures used in topics related to music love scenes. Finally, the survey of the conventions used in representing melodic music that accompany it, emphasizing, love scenes in audiovisual narrative
Doutorado
Musica
Doutor em Música

In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).

The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.

In Phase Two, a different group of university choir singers ( N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance.

A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001). Additionally, a significant etude x film visual performance condition interaction was discovered (p = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (p < .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (p < .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude "Doh" (p < .05), while no significant differences were found for etude "Noo" (p > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research.

This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film Mały Tre¸bacz, which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the Hejnal mariacki).

The theory of film music and its terms and categories have not yet been applied to or tested in more recent genres of film, and this study tests the application of the terms auteur and melomane in the films of Robert Rodriguez (Once Upon A Time In Mexico, Sin City and Planet Terror) and Quentin Tarantino (Kill Bill V. 1 and 2, Death Proof). Both directors have a distinct musical stance, and through an examination of the above-mentioned films, their influences and sonic impact are explored. The working question of this thesis, in the abstract, is whether or to what extent the terms, concepts and directorial categories of film-music theory apply to this recent repertoire. This study explores the similarities and differences in the relationship between the music in the films of the auteur and melomane while exploring the fields of musical narrative present in contemporary film.

This dissertation uses an interdisciplinary approach that analyzes and compares the film scoring processes of Danny Elfman, Elliot Goldenthal, James Newton Howard and Hans Zimmer in characterizing the fictional hero Batman in film. This is accomplished by applying Classical Hollywood film scoring principles from the golden age of cinema, Juan Chattah's pragmatic and semiotic typologies regarding musical metaphoric expression, and psychology. This amalgamation demonstrates how the aforementioned film composers consider varying structural aspects of their music, i.e., formal design, melodic contour, harmonic gestures, and cadential formulas, in (re)creating and establishing their individual artistic trademarks on a comic book character within canonical and non-canonical storylines. The study includes soundtracks from Tim Burton's Batman and Batman Returns, Joel Schumacher's Batman Forever and Batman & Robin, and Christopher Nolan's Batman Begins and The Dark Knight. The result is an analysis that: 1) enhances what little is known about the music for these films; 2) allows for the recognition of the film scoring creative process behind film sequelization; 3) enhances musical and psychological interpretations of the Batman character; and 4) offers an expansion of Chattah's metaphorical typologies.

Austrian-born composer Max Steiner (1888-1971), who moved to Hollywood, California (U.S.A.) in 1929, brought to the American cinema a style of composition inspired by the works of Richard Wagner, Gustav Mahler and Richard Strauss. In spite of his profound influence on this new style of American music, very little detailed analysis of his film scores has been done. Biographical information is presented here with emphasis on the events leading up to and including the composition of the Academy-Award-winning score for the 1942 Warner Brothers film, Now, Voyager. The process of film score analysis is also briefly discussed, as well as the availability of unpublished film scores at various film archives in the United States. The body of this paper presents a detailed analysis of the harmonic, melodic and rhythmic elements that make up the seven main themes in the Now, Voyager score, as well as the transformation of those themes throughout the film. Leitmotifs and changes in tonality are an important part of this style, and they demonstrate a strong late-nineteenth-century romantic influence. These seven themes are consistently associated with the specific characters and situations as the film's narrative progresses. The relationship between these themes and the narrative of the film is discussed. Like Wagner and Strauss, Steiner has assigned themes to each main character and situation, and he applies the leitmotif technique to each of these themes. The consistency with which these themes occur simultaneously with their corresponding characters or situations on the screen is obviously intentional. The timing of these musical events in synchronization with the visual images is always very precise. Attempting such precise timing, however, could have easily resulted in a score that lacks any kind of unity or structure. The fact that all of these musical events are put together to form a logical and coherent score clearly exhibits a great sense of craftsmanship.

This thesis discusses two aspects of Vaughan Williams' 7th Symphony. Comparison of Sinfonia Antartica and the film "Scott of the Antarctic" reveals that the symphony is a direct derivative of the film score and that the symphony contains no original motivic material of its own. Only minor changes to the film score, such as chronology, orchestration, extensions, and the like, were necessary to rework the material into its symphonic form. The second aspect under discussion is the symphony's harmonic language. The problem with the harmonic content is that the relationships between chords do not follow functional harmonic procedures. However, the harmonic materials used in this symphony can be illuminated through analysis techniques found in the writings of Ernst Kurth, an early twentieth century theorist and specialist in Romantic music.

Orientador: Claudiney Rodrigues Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O principal foco desta pesquisa é investigar o diálogo entre a produção musical e a produção cinematográfica brasileira a partir do mapeamento da presença da canção popular na história do cinema brasileiro. A tese apresenta um levantamento historiográfico do uso da canção popular, composta para filmes ou neles inserida, nos vários períodos que compõem a história do cinema brasileiro, desde as primeiras experiências de sonorização e o início do cinema sonoro, passando pelas tentativas de industrialização do cinema com as companhias produtoras Cinédia, Atlântida e Vera Cruz, as tendências e experimentações do Cinema Novo e Marginal até as produções mais contemporâneas do chamado cinema da retomada e os filmes da década de 2000. Esse trabalho possui um viés bastante informativo ao construir um panorama histórico que leva em conta a inegável contribuição de intelectuais, críticos, analistas e historiadores que já desbravaram outras investigações sobre o cinema brasileiro. Nele é examinada a literatura específica sobre cinema brasileiro para traçar um panorama transversal e compilar uma filmografia que coloca como foco a trilha musical, com o intuito de apresentar ao leitor a importância da canção popular ao longo da história do cinema feito no Brasil
Abstract: The main goal of this dissertation is to investigate the dialogue between the musical and the cinematographic production according to the presence of popular songs in the Brazilian cinema history. It presents a historiographical review on the use of songs in films, either specifically composed or just inserted in it during different historical Brazilian cinema periods. The work starts with the first experiences on sonorization and the very beginnings of sound cinema, includes the efforts to establish an industrial cinema in Brazil, with companies such as Cinédia, Atlântida and Vera Cruz; it examines new trends and experimentation of Cinema Novo and Marginal, and finally analyses the contemporary productions of the so called "Cinema da Retomada" (recovered cinema) and also films from the decade of 2000. This research integrates the incontestable contributions on Brazilian cinema investigations of intellectuals, critics, analysts and historians. This work also analyse all literature compilation that embodies this broad view of the subject is intended not only to focus on film music, but mainly to present the importance of popular songs for the history of the cinema made in Brazil
Doutorado
Doutor em Multimeios

Mestrado em Estudos Ingleses
A presente dissertação propõe-se apresentar uma perspectiva global do papel da música popular, com particular ênfase para o Rock ‘n ‘ Roll, em filmes direcionados para adolescentes, lançados entre 1955 e 1985. Após contextualizar socioculturalmente as três décadas em estudo, este trabalho concentra-se na análise de filmes específicos de cada uma das décadas, de forma a avaliar a evolução da música nos filmes com o passar dos anos e o seu impacto nos espectadores.
This dissertation aims to present an overview of the role of popular music, with particular emphasis on Rock ‘n’ Roll, in films targeted at teenagers, released between 1955 and 1985. After contextualizing the three decades of study in respect of their social and cultural backgrounds, this work focuses on the analysis of particular films from each decade so as to assess the evolution of, for the most part, pre-recorded popular film music throughout these years and its impact on viewers.

This thesis examines the history of animated cartoons in Britain between 1880 and 1928, identifying a body of work that has been largely ignored by film and animation historians, covering the production, distribution, and exhibition of these films. Throughout this history, graphic arts - especially print cartooning and illustration - and the music-hall lightning cartoon act are found to have played a formative role in British animated cartoons. The artists who made the first British animated cartoons were almost exclusively drawn from one of those two fields and thus this work may be considered to form a parallel history of ‘artists’ film’. They brought with them to film a range of concerns from those prior forms that would shape British animated cartoons. Examining that context provides an understanding of the ways British animated cartoons developed in technologic, economic, and aesthetic terms. This work includes the first in-depth history of the music-hall lightning cartoon act, which finds that it anticipates cinematic animation, featuring qualities such as transformation, the movement of line drawings, and the desire to bring drawings to life. Building on this history, a new critical framework for examining these films aesthetically is provided, emphasising the role of the spectator and their perceptual processes. This framework draws upon the work of E.H. Gombrich and Sergei Eisenstein, and extends it to include recent findings from neuroscientific fields. The result is an original aesthetic reading of this body of work, which finds the films to have a deep engagement with the basic perceptual processes involved in viewing moving line drawings.

Orientador: Claudiney Rodrigues Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa objetivou realizar um estudo sobre as trilhas musicais compostas pelo maestro e arranjador Radamés Gnattali, no período compreendido de 1933 a 1983. Pretendeu-se responder algumas questões referentes ao comportamento e adequação das composições musicais presentes nos filmes musicados por Gnattali, sob o olhar de diversos diretores do cinema nacional. Com esse estudo, verificamos como Radamés Gnattali procedeu na composição de música para filmes, entendendo as características estéticas da época e constatando como essas composições se situam no cenário da trilha sonora cinematográfica do Brasil, já que o compositor atuou por 50 anos nesse ramo e compôs 56 trilhas musicais. Para tanto, utilizamos como metodologia de trabalho: pesquisas de campo, hemerográfica, bibliográfica e as teorias musical e imagética, com o intuito principal de captar detalhes importantes através da análise das trilhas musicais inseridas nos filmes escolhidos.
Abstract: This research aimed to carry out a study on the soundtracks composed by the conductor and arranger Gnattali Radames in the period 1933 to 1983. It was intended to answer some questions regarding the appropriateness of behavior and musical compositions present in the film music by Gnattali, under the gaze of several directors of the national cinema. With this study, we found Gnattali proceeded as Radames in composing music for films, understanding the aesthetic of the time and noting how these compositions are in the soundtrack of the film scenario in Brasil, as the composer worked for 50 years in this business and composed 56 music tracks. To this end, we used the methodology of work: theories of cinema and music, with the main aim of capturing important details by analyzing the musical tracks included in the films chosen.
Doutorado
Multimeios
Doutor em Multimeios

Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação de mestrado elabora um panorama das trilhas musicais dos filmes da Companhia Vera Cruz e contribui para o preenchimento de uma lacuna bibliográfica sobre trilhas musicais brasileiras da década de 50. Com esse estudo, verificamos como alguns compositores procederam, entendendo as características estéticas da época e percebendo como estas composições musicais se situam no cenário de trilha sonora cinematográfica no Brasil. Para tanto, foram realizadas consultas bibliográficas, hemerográficas, entrevistas e análises fílmicas aliadas à teoria musical dos dezoito filmes de ficção da Vera Cruz
Abstract: This present master¿s thesis elaborates a panorama of the soundtracks of the Cinematographic Company Vera Cruz and contributes for the fulfilling of a bibliographical gap on the Brazilian musical tracks from the fifties decade. With this study, we verify how some composers had proceeded, understanding the aesthetic characteristics of that period of time having the perception as these musical compositions had taken place into the Brazilian¿s cinematographic soundtrack scenario. On account of these research bibliographical, interviews, research in reviews and newspapers from that period and filmic analyses allied to musical theory have been done on the eighteen fiction Vera Cruz films
Mestrado
Mestre em Multimeios

Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Parte indissociável da composição audiovisual, a trilha sonora estabelece um diálogo com o mundo imagético proporcionando ao filme maior desenvolvimento na elaboração e desenvolvimento da sua linguagem. O objetivo desta dissertação é analisar minuciosamente os elementos sonoros ocorridos nos filmes Bye bye Brasil (1979) do diretor Carlos Diegues, Pra frente Brasil (1982) de Roberto Farias e Central do Brasil (1998) de Walter Salles e de que maneira eles atuam na construção do sentido destas obras. No recorte proposto foram escolhidos filmes significativamente representativos em suas respectivas décadas. Por meio da análise, também foi possível diferenciar as mudanças tecnológicas e estéticas em relação ao som do cinema brasileiro ocorridas durante este período. Além de revisar importantes acontecimentos na história do país sob a óptica do cinema, este trabalho também contribui para a discussão das questões referentes ao som e a música no cinema brasileiro, ampliando a bibliografia do assunto.
Abstract: Integrating piece of the audiovisual composition, the soundtrack establishes a dialog with the visual world, providing a better elaborated movie and facilitating the development of its language. The objective of this thesis is to perform a deep and thorough analysis of the sound elements of the Brazilian movies "Bye Bye Brasil" (1979) from Carlos Diegues, "Pra Frente Brasil" (1982) from Roberto Farias and "Central do Brasil" (1998) from Walter Salles. The subject movies were chosen due to their leading exposure and relevance in their respective decades. The time component of this work also allowed the discussion and assessment of the technologic and esthetic evolutions of the sound within the Brazilian cinema along the last decades. On top of revisiting some of the important facts of the history of Brazil from the perspective of the cinema, this work also contributes to the discussions around the sound and the music in the Brazilian cinema, expanding the bibliography on the subject.
Mestrado
Mestre em Música

The music of Scott Walker (b. Noel Scott Engel, January 9, 1943) continues to influence multiple generations of respected figures in popular music from David Bowie to Radiohead, yet Walker has not set foot on stage to perform since the 1970s. Instead, the singer-songwriter-producer's latter-day reputation has instead thrived upon the basis of his recorded works. Following a radical self re-invention on the Walker Brothers' farewell album Nite Flights (1978) Walker has pushed the boundaries of his chosen media to the extent that his recorded tracks belong more to the aesthetic sphere of fixed art forms such as films rather than performance-oriented forms such as music as it is traditionally categorized among the liberal arts. In the same manner that Sergei Eisenstein and Orson Welles abandoned the rules of theatrical formalism to create works native to the cinematic medium itself, Walker has likewise approached his work in recording studios as a Phonographic Auteur. To abstract Walker's works by discussing them as "songs" detached from their recorded "track" form would be as detrimental to their analysis as would the discussion of Citizen Kane outside of the form language of the cinema. As deconstructions of the binary opposition between track and song the problems surrounding the analysis of Walker's post-1978 works are largely those confronting the analysis of Euro-American popular music that arise from its troublesome relationship with the recorded format. Further, Walker's career evidences how a number of artists in Euro-american contexts have come to regard the recorded, studio intensive format of music as a solution to the problems they are confronted within the the modern public concert spectacle. In doing so these individuals have given birth to a burgeoning autonomous art form, and by extension, a new model of the composer-listener-performer dynamic.

Film d'Art, the French production company responsible for the development of Henri Lavédan's L'Assassinat du Duc de Guise (1908), demonstrated a forward-thinking vision for film and music. Through their innovations, the company combined many elements of cinematography with new standards for quality productions. This project report will investigate the goals of Film d'Art and its unusually high ambitions, standard music practices in the silent film era, the issues revolving around the instrumentation to Saint-Saëns' score to Henri Lavédan's L'Assassinat de Duc de Guise (1908), and the performance of my arrangement in a graduate recital.

This work sets out to use film analysis, with specific regard to film music, to discuss the relationship between representations of the past and certain conditions of nationhood in contemporary Italy. Focusing on five recent films depicting memories of the 1970s, this thesis looks on the one hand at how certain past events, such as young people's political activism in organisations and movements largely repressed by official historiography, when revisited in films ; links with audiences, particularly with in today's Italy. On the other hand, by analysing the films' representational forms and language, the thesis considers to what extent the growing number of films that offer a vision of the 1970s, both alternative and complementary to a period of political violence and terror signified by the label anni di piombo [years of steel], highlights the urgency for current society to re-think the modalities and strategies of writing history and constructing memory.

Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade realizar um estudo analítico da música do compositor Thomas Newman e sua interação com a narrativa fílmica. Foram abordados os princípios gerais da utilização de música como parte de uma composição áudio-visual, princípios estes, em certa medida, consolidados pela tradição hollywoodiana. Algumas considerações teóricas foram feitas, baseadas em textos de autores como Eisenstein, Claudia Gorbman, Michel Chion, Eisler/Adorno, e Roy Prendergast, entre outros. O estudo foi realizado a partir de três participações do compositor em obras cinematográficas, considerando-se aspectos como harmonia, melodia, ritmo, timbre e forma. A partir do material analisado, foram assinalados alguns traços estilísticos do compositor e avaliados os resultados da interação de sua música com os filmes estudados. O trabalho incluiu, ainda, sinopses das produções aqui abordadas, além da transcrição reduzida de temas compostos por Thomas Newman, com as respectivas análises dentro de cada contexto particular
Abstract: This research had for purpose to perform an analytical study of the music by composer Thomas Newman and its interaction to filmic narrative. The general principles of music utilization as part of the audiovisual composition were approached. Such principles, in part, were consolidated by the Hollywood tradition. Some theoretical considerations were made, based in texts by authors such as Eisenstein, Claudia Gorbman, Michel Chion, Eisler/Adorno and Roy Prendergast, among others. The study was accomplished from three collaborations of the composer in cinematographic works, taking into account aspects as harmony, melody, rhythm, timbre and form. From the analyzed material a few stylistic characteristics of the composer were pointed out and the results of the interaction between his music and the studied films were evaluated. The work also included synopsis of the approached productions besides the reduced transcriptions of the themes composed by Thomas Newman with the respective analysis within each particular context
Mestrado
Mestre em Música

This project is an effort to adapt computer game prototyping tools as controls for interactive digital music. Secondarily it is an investigation of a social aspect of interactive music. Meaning, is it possible give the game-player-listeners the ability to structure the music interactively and become the composers of their own game experience? Throughout the process these social and aesthetic questions countered and informed the technical questions.

In every media composer's digital studio the tools of creation and distribution have elided. Work is instantaneously and efficiently distributable on a global scale; many of the aesthetic difficulties specific to art-making in 2015 derive from this fact. This paper describes some of these difficulties strictly within the context of the rising demand for mediated interactive experiences.

The conclusions are decisive. Contemporary game prototyping programming techniques—even those limited to WebGL-enabled browser applications—are highly effective tools for the creation and control of interactive digital music.

Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

Le silence est au cœur de tous les tissages musicaux, littéraires, cinématographiques. Son importance constitue l’objet de cette étude. En commençant par mettre en perspective la complexité qui lui est inhérente, il est question d’interroger sa place et ses manifestations dans le champ littéraire, puis dans le champ musical pour en arriver au champ cinématographique qui est toujours resté le moteur de cette recherche. Dans un approfondissement portant sur l’un des films de David Lynch, Wim Wenders, John Huston et Milos Forman, le silence est étudié dans son rapport à la voix, aux dialogues, à la musique, au corps, au mouvement, au montage, autour des questions de mémoire et d’oubli, d’imaginaire, d’errance, d’incommunicabilité ou de fracture, d’intimité, d’introversion ou d’extraversion, de protection ou de communion, de masque, d’enfermement, de mort, d’oppression ou de liberté… Ces cas d’étude permettent d’observer le silence dans sa polymorphie, l’évolution des ses valeurs, ses dualités ou la stratification de ses formes
Silence is at the heart of all the musical, literary, movie weaves. This study is based on its importance. Putting first its inherent complexity into perspective enables us to search for its place and expression in the literary field, and then in the musical field to finally reach the movie field that has always been the driving force behind this research. By studying one of the movies by David Lynch, Wim Wenders, John Huston and Milos Forman in much greater depth, silence is to be explored in its connection with voice, dialogues, music, body, movement, film editing, around issues of memory and oblivion, imagination, wandering, incommunicability, break, privacy, introversion or extraversion, protection or communion , mask, imprisonment, death, oppression or freedom ... These case studies allow us to observe silence in its polymorphism, its changing values, dualities or the stratification of its forms

Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade demonstrar o processo pelo qual caminhou a linguagem da orquestração até sua chegada à trilha musical cinematográfica e, posteriormente, trazer à tona os processos adquiridos na música de cinema tendo a obra de Bernard Herrmann como exemplo. Ao observar a produção musical da primeira década do cinema norte americano, é possível perceber que a orquestração sinfônica do cinema é um dos frutos diretos do desenvolvimento da instrumentação e orquestração de concerto como linguagem. Para demonstrar este processo, estruturou-se uma análise cronológica das obras de compositores ligados ao contexto de produção germânico, considerado mais próximo em sua relação com a prática assumida pela música do cinema. Em um segundo momento, apresenta-se uma análise semelhante dos compositores que precedem Bernard Herrmann, considerados pilares de formação da linguagem musical no cinema. A terceira fase, por sua vez, trata da obra de Herrmann como um todo e analisa as peças compostas para Vertigo (1958) e Psycho (1960), ambas as produções dirigidas pelo cineasta Alfred Hitchcock
Abstract: This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960)
Mestrado
Fundamentos Teoricos
Mestre em Música

This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.

Orientador: Claudiney Rodrigues de Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O pensamento musical no cinema exemplificado pela "música aplicada" de Ennio Morricone originou-se em julho de 1992, na ACCADEMIA MUSICALE CHIGIANA, Siena - Itália, onde Ennio Morricone e Sergio Miceli ministraram conjuntamente o Corso de Perfezionamento in Musica per Film. Sucintamente, o curso propôs a possibilidade de uma confluência entre dois pensamentos relacionados à música de cinema, duas abordagens: uma musicológica, histórica e teórica, voltada a apresentar instrumentos idôneos na análise das relações intercorrentes entre música e imagem (a parte de Sergio Miceli); a outra, profissional, artesanal, estritamente relativa a um pensamento e uma praxe compositiva desenvolvida dentro dos vínculos impostos pela própria produção e linguagem cinematográfica (a parte de Ennio Morricone). Mesmo que primariamente distintas, de modo geral, as abordagens percorreram assuntos que, insistentemente, orbitaram em torno de um mesmo problema: qual o contexto da música e do compositor de cinema na história contemporânea? Utilizando inserções musicais das trilhas sonoras das duas trilogias do diretor Sergio Leone e de alguns filmes representativos situados em momentos importantes da trajetória de Ennio Morricone como referência, este trabalho busca apresentar, situar, estender e aprofundar a proposta de confluência estabelecida na Chigiana, acrescida por tópicos importantes e significativos do instrumental teórico da área de música de cinema, principalmente o referenciado no campo acadêmico. O estudo alterna entre uma vertente mais geral, percorrendo panoramicamente momentos decisivos da vida e da obra de Ennio Morricone, com outra mais particularizada, aprofundando-se em momentos significativos, onde são estabelecidas instâncias reveladoras de seu pensamento musical aplicado no objeto audiovisual
Abstract: Musical Thought in Cinema exemplified by Ennio Morricone's "Applied Music" originated in July 1992 at Accademia Musicale Chigiana, in Siena - Italy, where Ennio Morricone and Sergio Miceli ministered, together, the Corso di Perfezionamento in Musica per Film. Succinctly, the course raised the possibility of a confluence between two approaches related to film music: a musicological, historical and theoretical view aimed to present suitable instruments for the analysis of the reciprocal relations between music and image (Sergio Miceli's focus), and a professional, compositional perspective developed within the constraints imposed by its creation and cinematic language (advocated by Ennio Morricone). Even though primarily distinct, in general, both approaches seem to converge to the same problem: what is the context of film music and composer in history? Using fragments of Sergio Leone's two trilogies and other representative film scores in the career of Ennio Morricone as reference, this study aims to present, situate, expand and deepen the proposed confluence, established originally at Chigiana, by considering various well-known theoretical lenses. This work will alternate between a panoramic overview of decisive moments in Ennio Morricone's life and work and an in depth analysis of key extracts which reveal his applied musical thought in the relationship between the audiovisual object and the soundtrack
Doutorado
Doutor em Música

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período.
This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

Esta tese analisou os processos de significação na música de cinema tendo como referencial teórico estudos musicológicos com ênfase cognitivista e semiótica, decorrentes da teoria das tópicas musicais, a partir dos trabalhos de Leonard Ratner (1985), Kofi Agawu (1991, 2009), Robert Hatten (1994, 2005, 2014) e Danuta Mirka (2014). A pesquisa se concentrou em dois gêneros cinematográficos, o western e a ficção científica, considerando as práticas musicais a eles relacionadas desde o cinema silencioso, para compreender a formação do inventário associativo que constituiu a base do pensamento tópico no cinema. Ao analisar o inventário musical de cada gênero, observamos que o uso recorrente de figurações e materiais musicais específicos correlacionados a elementos da paradigmática fílmica criou aquilo que denominamos - \"imaginário sonoro do gênero cinematográfico\", que definimos como sendo o conjunto de gestos, musemas, tópicas e sons concretos recorrentes na música do gênero e que contribuíram para a formação de uma identidade musical. A identificação dos elementos constituintes deste imaginário sonoro nos ajudou a compreender a significação musical à luz dos códigos e da mitologia que fundamentam o gênero cinematográfico. Em relação à formação do imaginário sonoro do western e da ficção científica, duas tendências antagônicas ganharam relevância: o papel da tradição folclórica e nacionalista para a identidade da música do western e, por outro lado, a importância das experiências da vanguarda musical para a construção do imaginário sonoro da ficção científica. Os signos musicais que permeiam o imaginário sonoro do gênero cinematográfico se combinam em processos tropológicos e se transmutam para acompanhar os desenvolvimentos técnicos, poéticos, tecnológicos e ideológicos que afetam os campos musical e cinematográfico. Em conjunto com as análises musicais, a teoria da marcação, aplicada ao plano musical por Hatten (1994), nos serviu como profícua ferramenta para a análise das antinomias que orientam grande parte das narrativas cinematográficas. A adoção da teoria da marcação contribuiu para revelar a função da música como alienadora ou -familiarizadora? de elementos da narrativa. Verificamos finalmente a possibilidade de correlação entre o discurso paradigmático das referências tópicas e o eixo sintagmático da forma fílmica.
This doctoral dissertation analyzed the processes of musical meaning in cinema using as theoretical fundament musicological studies of cognitivist and semiotic basis that have followed the theory of music topics after the work of Leonard Ratner (1985), Kofi Agawu (1991, 2009), Robert Hatten (1994, 2005, 2014) and Danuta Mirka (2014). The research concentrated in two cinematographic genres, the western and the science fiction, considering musical practices related to them since the silent movies, to understand the formation of an associative inventory that has become the basis of the topical thought in cinema. Analyzing the musical repertoire of each genre, we observe that the recurring use of specific figurations and other musical materials, related to elements of the film paradigms, has created what we called - \"sound imagery of a cinema genre\" . We defined this concept as the set of gestures, musemas, topics and concrete sounds often used in the music of that genre which contributed for the identification of the music with the images and the plot. The identification of the elements of this sound imagery helped us to understand the musical meaning by the perspective of the codes and myths that form the cinematographic genre. In relation to the formation of the sound imagery of the western and the science fiction genres, two antagonist tendencies have emerged, the role of folkloric and nationalistic traditions for the music identity of the western genre and the importance of avant-garde musical experiments for the construction of the science fiction sound imagery. The musical signs that cross the sound imagery of the cinematographic genre blend through tropological processes and transform themselves to follow the technical, poetical, technological and ideological developments that affect the fields of music and cinema. Besides the musical analysis, the markedness theory, applied to music by Hatten (1994), served as useful tool to analyze the role of antinomy that guide many of the cinematographic narratives. The adoption of the makedness theory contributed to reveal how the music alienate or familiarize the elements of the narrative. We also verified a possible correlation between the paradigmatic discourse of the topical references and the syntagmatic axis of the filmic form.

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica.
This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930
Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov
Mestrado
Mestre em Música

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

In a time defined as both an age of abundant atheism which triumphs in the wake of the death of God, and an age of post-secularism which returns to religion, the discrete forms of music and cinema remain germane sites for theorising the relation between belief and the nature of existence. Taking up the particular relation between the cinematic human figure and musical meaning, how might Marcel Cobussen’s musical-spiritual concept of the threshold problematise the difference between Christian and atheistic belief, so as to reimagine the boundaries of spiritual identity, faith, truth, ethics, choice and possibility? As an original contribution to knowledge, this thesis engages a series of liminal aesthetic modes—the ineffable, the uncanny, utopian desire and absurd feeling—to bring spiritual theories of music and film philosophy into a dynamic dialogue with one another, not only to develop a circuit of reciprocity between the two disciplines that affirms the significance of one to the other, but to work toward a more complex understanding of the spiritual significance of the cinematic human figure and musical meaning than discrete theories of cinema, music or film music have traditionally accommodated alone. Drawing from a range of continental thinkers such as Friedrich Nietzsche, Søren Kierkegaard, Vladimir Jankélévitch, Edgar Morin, Gilles Deleuze and Marcel Cobussen, this thesis argues that liminal modes of musical meaning and the cinematic human figure inhabit a dynamic, indeterminate space between a belief in eternity and a belief in time, becoming conduits and catalysts for a mode of possibility I call spiritual complexity. Spiritual complexity affirms the paradox, ambiguity and irony of liminal modes of existence in our post-religious and post-secular time, where the ontological and ethical possibilities of human identity may be reimagined in the thresholds of archaic, Platonic, Christian and atheistic belief.

Orientador: Francisco Elinaldo Teixeira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente estudo tem como objetivo estabelecer uma aproximação entre cinema e música no que concerne aos mecanismos de produção de sentido articulados por ambas as artes. A partir dos conceitos de imagem-movimento e imagem-tempo, concebidos por Deleuze através das teorias de representação da matéria de Bergson, o estudo propõe defender a idéia de que a narrativa encampada pela imagem pode ser lida e compreendida também como uma partitura musical sinfônica, aproveitando, para tanto, os estudos de André Parente sobre a narratividade fílmica
Abstract: The goal of present study is to establish a bridge between cinema and music concerning in particular the generating mechanisms of articulated senses in both art forms. From the concepts of image-moviment and image-time, determined by Deleuze through Bergson's representation of matter theories, this work sets to defend the idea that the narration expropriated by image can be read and equally understood as a symphonic music score, taking advantage for such analysis of Andre Parente's studies about the filming narrative
Mestrado
Mestre em Multimeios

The fact that silent cinema is not to be considered just as a precursor to sound cinema, in an evolutionary sense, is today well acknowledged. The studies of scholars such as Tom Gunning, André Gaudreault, Richard Abel, Noël Burch and Charles Musser have moreover invited to consider what the “silent era” harbored not just as another cinema than the “sound” one, but as a number of “other” ways to conceive cinema, each one of them needing an accurately different approach, whatever is the chosen perspective (historiographical, aesthetic, sociologic, etc.) to look at them from. However, it is strange how one of these perspectives seems to be reluctant in accepting this awareness towards the silent production. It is the musical perspective: even if studies that deal with silent film music according to the specific features of the different languages of the silents have been developed indeed (most notably, the ones by Rick Altman), they nonetheless remain a minority. The panorama of discourses about film music, as of 2010, can still include authoritative contributions saying that «almost nothing has changed from the beginnings to present days» in the general way in which music interacts with moving images. Signs of this attitude are to be found even in the field of film preservation. Film archives devoted to silents, in fact, do not often accompany their film collections with pertinent music collections. There are, of course, meaningful exceptions, like the silent music collections at the Library of Congress or at the MoMA, or the Eyl/Van Houten Collection at the Nederlands Filmmuseum. But they are, precisely, exceptions. This situation apparently clashes with the need for «painstaking historical research» that Rick Altman recommends to be at the core of contemporary studies on silent films. A research done within an archive of silent film, in fact, is likely to be incomplete on the side of music and sound practices. Musicians of the silent era interacted with films by staying at the side of the screen, in the shadows next to the light of the projector: it is quite ironic how the discourse on their music, now, is again confined in a “shadow” – a metaphoric one, though - which borders with the “light” of the modern studies on silent cinema, but cannot proficiently interact with it. «It is time», as Altman said, «to include sound in silent cinema’s historiographical revival». A complete silent film music archive should be at the interface between a music library and a performing arts collection. Written scores, during the silent era, were a minority: the greatest part of the musical practice was instead based on cue sheets, compilations, repertoires, or even improvisations –which cannot of course have left any trace outside occasional accounts from audience members or the performers themselves. Moreover, practices of non-musical sonorization where often complementary to and concurrent with music performances: so, there is an evident need to keep record of them too. In addition to that, it must be remembered that, especially since the 1980 Thames Television presentation of Abel Gance’s Napoléon, reconstructed by Kevin Brownlow with new music by Carl Davis, the repertoire of the music for the silents started to grow again. In the last 30 years, the venues where silent film are screened in a way respectful of historical practices multiplied, as well as the production of appropriate music accompaniments founded on complete scores, but also, again, on cue sheets and improvisations, just like during the actual silent age. It seems reasonable for this “new” tradition of music for silents to be preserved alongside the historical documents which are its origin and source of inspiration. My Ph. D. thesis uses these considerations as a premise to reconstruct and study a special and circumscribed collection of silent film music: the repertoire played at the international silent film festival Le Giornate del Cinema Muto from 1982 to present days. The accuracy shown by this festival in the presentation and divulgation of silent film music practices provides in fact a solid ground for a project of this kind. In addition to that, Le Giornate have already expressed, in 2009, the intention of having such an archive developed in Pordenone, after a suggestion I advanced during the XI Collegium organized by the festival. The thesis is divided into two parts. The first one includes an introductory chapter, where problems about the archival preservation of musical sources pertinent to silent film music are discussed; then, a first chapter deals with an outline of the history of music for silent films, choosing a non-linear approach based on the insurgence of musical practices more than on a chronological succession; finally, the first part is concluded by a chapter describing the aesthetic of music for silent films, comprehensive of a review of the pertinent literature and a description of the audiovisual strategies used by the composers. The second part is the repertoire of the music that has been performed live at Le Giornate del Cinema Muto on the basis of written scores. 115 films are listed following the 29 editions of the Festival, with full filmographic information. Each film is accompanied by a short analysis of the main audiovisual strategies. The sources of this research are mainly the audiovisual recordings of the screenings at le Giornate del Cinema Muto preserved at La Cineteca del Friuli, Gemona. Other details have been collected through conversations (in person or via email) with some of the authors of the music: Gillian B. Anderson, Neil Brand, Günter A. Buchwald, Philip Carli, Antonio Coppola, Berndt Heller, Stephen Horne, Maud Nelissen, Donald Sosin and Gabriel Thibaudeau.
Il fatto che il cinema muto non possa essere considerato un mero precursore del cinema sonoro, secondo una logica «biologica e teleologica», è oggi ampiamente riconosciuto. Le riflessioni di studiosi quali Tom Gunning, André Gaudreault, Richard Abel, Noël Burch e Charles Musser hanno inoltre invitato a considerare il muto non solo come un altro cinema rispetto al sonoro, ma come un sistema di pratiche cinematografiche concorrenti ed essenzialmente diverse da quella del sonoro, decisamente mal raccolte sotto l’etichetta generica “cinema muto”. Ciascuna di queste maniere cinematografiche, numerose e dall’identificazione e denominazione controversa– cinematografia-attrazione, cinema dei primi tempi, cinema primitivo, ecc. – necessita di distinti strumenti d’analisi, quale che sia il punto di vista (storiografico, estetico, sociologico, ecc.) scelto per studiarla. È tuttavia strano come uno di questi possibili punti di vista si stia ancor oggi dimostrando piuttosto riluttante nell’accettare tale genere di consapevolezza nei confronti del muto. Si tratta del punto di vista musicale. È vero che non sono mancati gli studi teorici capaci di trattare la musica per il cinema muto tenendo conto della molteplicità e delle differenti necessità dei linguaggi visivi di quell’epoca: Rick Altman ha in particolare offerto alcune delle riflessioni più interessanti in tal senso. Ma tali riflessioni sono rimaste una minoranza. Il panorama dei discorsi sulla musica per film nel 2010 è ancora in grado di accogliere contributi importanti che tuttavia non differenziano le strategie audiovisive del sonoro da quelle del muto, sostenendo che nella maniera generale in cui la musica interagisce con l’immagine in movimento «poco o nulla è cambiato dalle origini ad oggi». Segni di questa tendenza si riscontrano persino nell’ambito della preservazione dei film. Gli archivi cinematografici attivi nella conservazione del muto, infatti, raramente accompagnano le loro collezioni con archivi paralleli destinati alla documentazione relativa alla musica. Esiste, bisogna riconoscere, la consapevolezza dell’importanza che i documenti musicali possono avere nelle operazioni di restauro e preservazione dei film. Esistono inoltre casi particolari di raccolte di musica per il muto gestite in sinergia con archivi di film, come le collezioni di musica per il muto conservate alla Library of Congress di Washington, DC, o al Museum of Modern Arts (MoMA) di New York, oppure la Eyl/Van Houten Collection presso il Nederlands Filmmuseum. Ma si tratta di eccezioni: e fino alla fine degli anni ’80 in effetti non esistevano significative raccolte di musica per il cinema muto al di fuori di quella del MoMA. Questo stato delle cose sembra in apparente contrasto con la necessità di una «ricerca storica coscienziosa» che Altman raccomanda parlando dell’approccio contemporaneo al muto. Infatti, allo stato attuale delle cose, una ricerca sul muto svolta in un singolo archivio rischia plausibilmente di essere molto carente sul versante delle pratiche sonore e musicali. Durante l’epoca del muto, i musicisti interagivano con i film restando accanto allo schermo, nell’ombra vicina alla luce del proiettore. È piuttosto ironico come oggi i discorsi sviluppati attorno alla loro musica siano nuovamente costretti in un’“ombra” – metaforica, stavolta – che sta ai confini della “luce” costituita dai moderni studi sul cinema muto, senza però poter ben interagire con essa. «È tempo», come ha scritto Altman, «di includere il suono nella rinascita storiografica del cinema muto». Un archivio della musica per il cinema muto dovrebbe porsi all’intersezione tra una biblioteca musicale ed una collezione di materiali legati alle arti performative. Le partiture scritte, durante l’epoca del muto, erano infatti una minoranza: la maggior parte della pratica musicale si fondava su cue sheet, compilazioni, repertori o improvvisazioni – che non possono aver lasciato alcuna traccia al di fuori di occasionali resoconti di membri del pubblico o degli stessi musicisti. In più, pratiche di sonorizzazione non musicali erano spesso concomitanti e complementari alle esecuzioni: esiste dunque una chiara urgenza di preservare anche qualsiasi tipo di documentazione parli di esse. In aggiunta a ciò, occorre ricordare che, almeno dalla presentazione del 1980 del Napoleon di Abel Gance prodotta da Thames Television, che ha mostrato il film ricostruito da Kevin Brownlow con una nuova musica di Carl Davis, il repertorio della musica per il muto ha cominciato a crescere di nuovo. Negli ultimi trent’anni, i luoghi dove i film muti vengono proiettati in maniera rispettosa di pratiche musicali storiche si sono moltiplicati, assieme alla produzione di partiture, cue sheet e improvvisazioni. Sembra ragionevole offrire a questa “nuova” tradizione di musica per il muto un posto accanto ai documenti che ne sono origine ed ispirazione. La mia tesi di dottorato utilizza queste considerazioni come premessa per ricostruire e studiare una collezione particolare e circoscritta di musica per il cinema muto: il repertorio di partiture eseguite al Festival internazionale Le Giornate del Cinema Muto, dal 1982 al 2010. L’accuratezza filologica dimostrata da tale Festival nella presentazione e nella divulgazione delle pratiche musicali del muto offre infatti una solida base per studi di questo genere. Inoltre, Le Giornate del Cinema Muto hanno già espresso, nel 2009, l’intenzione di fondare concretamente un archivio come quello sopra descritto, in seguito ad un suggerimento da me avanzato nel corso del XI Collegium di studi organizzato dalla manifestazione. La tesi è divisa in due parti. La prima include un capitolo introduttivo, dove vengono discussi problemi riguardanti la conservazione archivistica delle fonti musicali pertinenti alla musica per il muto; dopodiché, un primo capitolo tratta della storia della musica per il muto, scegliendo un approccio non lineare guidato dallo sviluppo delle pratiche musicali, e non da una consequenzialità cronologica; infine, la prima parte si conclude con un capitolo descrivente l’estetica della musica per il muto, nel quale si offre una rassegna della letteratura sull’argomento ed una descrizione delle strategie audiovisive utilizzate dai compositori. La seconda parte presenta il repertorio della musica che è stata eseguita a Le Giornate del Cinema Muto sulla base di partiture scritte. Si tratta di un elenco di 115 film, coprente la 29 edizioni del Festival e completo di informazioni filmografiche. Ogni scheda di film è accompagnata da una breve analisi delle principali strategie audiovisive. Le fonti di questa ricerca sono principalmente le registrazioni audiovisive delle proiezioni a Le Giornate del Cinema Muto conservate presso La Cineteca del Friuli, Gemona. Altri dettagli si sono ottenuti tramite conversazioni (di persona o tramite email) con alcuni degli autori delle musiche: Gillian B. Anderson, Neil Brand, Günter A. Buchwald, Philip Carli, Antonio Coppola, Berndt Heller, Stephen Horne, Maud Nelissen, Donald Sosin e Gabriel Thibaudeau.

PENHA, Gabriel Petter. Tudo que aprendemos juntos: a representação social do professor de música no cinema. 2017. 101f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2017.
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This paper aims to understand the social representation of the music teacher on the cinema, an industrial art and a mass communication medium that influences the construction of representations that affect the dynamics of society. The problematic that guides our work lies on some issues related to the professional formation as well as the socio-cultural and symbolic dimensions of the cinema: What is the music teacher’s image in the movie Tudo que aprendemos juntos? How it can influence the construction of his professional identity? In order to reflect on these questions, we adopt the Theory of Social Representations as theoretical basis of our work, based on the assumption that representations form a system whose sharing leads to the formation of a vision, a consensus, an image, an element that searches the imagination for its own place of articulation. Our object of study is the feature movie Tudo que Aprendemos Juntos, whose theme is education in our country, and whose plot revolves around a young violinist who accepts, because of financial pressure, to teach music in the favela of Heliópolis, in a project sponsored by an ONG that works with a state school. Our methodology consists of a review of the literature about the problems related to our object of study and the analysis of the film in question, also supporting cinematographic works whose main character is the music teacher. In a context of progressive devaluation and proletarianization of the teaching activity, within a continuous process of dismantling of the State, it’s important to understand the building of social representations of teacher music as part of a discourse that emphasize the “redeemer” character of the teaching and of the music, which aims, ultimately, to the individualization of possible solutions to the problem of education in Brazil.
A presente pesquisa visa à compreensão da representação social do professor de música no cinema, arte de cunho industrial e meio de comunicação de massa influente na construção de representações que incidem na dinâmica social. A problemática que guia nosso trabalho radica em questões concernentes à formação profissional e à constituição identitária docente, bem como à dimensão sociocultural e simbólica da sétima arte: qual é a imagem do professor de música no filme Tudo que aprendemos juntos? Como ela pode influenciar na construção da sua identidade profissional? A fim de refletir sobre estes pontos, adotamos a Teoria das Representações Sociais como fundamentação teórica do nosso trabalho, partindo do pressuposto que as representações formam um sistema cujo compartilhamento leva à formação de uma visão, um consenso, uma imagem, elemento que busca na imaginação o seu próprio lugar de articulação. Nosso objeto de estudo é o longa-metragem Tudo que Aprendemos Juntos, cujo tema é a educação em nosso país e cujo enredo gira em torno de um jovem violinista que aceita, por necessidade financeira, lecionar música na favela de Heliópolis, num projeto patrocinado por uma ONG que atua junto a uma escola estadual. Nossa metodologia consiste na revisão de literatura acerca dos problemas atinentes ao nosso objeto de estudo e na análise do filme em questão, tendo também como suporte obras cinematográficas cujo personagem principal é o professor de música. Num contexto de progressiva desvalorização e proletarização da atividade docente, dentro de um contínuo processo de desmonte do Estado, importa que entendamos a construção de determinadas representações sociais do professor de música como parte de um discurso que enfatiza o caráter “redentor” da docência e da música, o que visa, em última instância, à individualização das possíveis soluções para a problemática da educação no Brasil

Orientador: Claudiney Rodrigues Carrasco
Acompanha 1 DVD-R DL Recordable
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho examina a transformação do agenciamento do jazz pela música de cinema na produção cinematográfica da década de 1950, a partir da trilha musical que Alex North compôs para o filme Um Bonde Chamado Desejo. A metodologia consistiu na reconstrução crítica do contexto histórico, no ajuste conceitual das interpretações possíveis para o jazz, e num conjunto de técnicas de análise musical. A diversidade de técnicas de análise se justifica pela sobreposição entre as técnicas de composição que constituem a poética de North, e esta irredutível complexidade é justamente um dos fatores que dá causa à existência deste trabalho. North é apontado por unanimidade como o compositor que inaugurou uma forma ampla de agenciamento para o jazz, e procuramos aprofundar o conhecimento que se tem acerca da contribuição dele
Abstract: This paper examines the transformation of jazz employment by film music composers in the cinematographic production of the 1950s, taking as reference the soundtrack that Alex North composed for the film A Streetcar Named Desire. The methodology consisted in critical reconstruction of the historical context, conceptual adjustment of the possible interpretations of jazz, and a set of techniques of musical analysis. The diversity of analytical techniques is justified by the overlap between the composition techniques that constitute North's poetic , and that irreducible complexity is an important factor giving rise to the existence of this work. North is appointed unanimously as the composer who ushered in a broadly usage of jazz, and here we seek to deepen the knowledge about his contribution
Doutorado
Fundamentos Teoricos
Doutor em Música

Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialisation process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The musical score often goes unnoticed, but may also contain emotional qualities. It can make an audience laugh, cry or alter their perception of the narrative. The three countries of East, West and reunified Germany have each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This thesis combines three key existing fields of academia: film music theory, Holocaust representation in film, and German politics, history and culture. Through comparative textual analyses of six film case studies, two each from East, West and reunified Germany, this thesis examines whether there are examples of similarities or inherent, reoccurring musical characteristics which define the Holocaust on screen. Furthermore, the six analyses will be supported by contextual examinations of the respective countries, directors and composers in order to ascertain whether there were political, cultural and/or social considerations which impacted upon the film scores. The original contribution to knowledge to which this thesis lays claim is that it forms the first significant scholarly engagement with not only the film music of German Holocaust cinema specifically, but, on a broader scale, the ongoing theoretical discourse surrounding film music and representation. This new contribution to Holocaust knowledge also extends to a continued development of the understanding of and engagement with the event and its audio-visual representations.