Soviet Film MusicIn the years 1917 to 1991, despite unfavorable prevailing conditions, there were outstanding achievements in the music created for the cinema in the Soviet Union. Perhaps in no other country was film music associated with so many distinguished composers: Sergei Prokofiev, Dmitry Shostakovich, Isaak Dunayevsky, Georgy Sviridov, Aram Khachaturian, Alfred Schnittke, Nikolai Karetnikov, Edward Artemyev, Edison Denisov, and Sofia Gubaidulina. They were ready to accept film directors' invitations because they considered the cinema to be a perfect laboratory for testing the concepts and themes for future operas, symphonies, oratorios, and other large-scale compositions. A remarkable characteristic of Soviet film music was the appearance of successful director - composer collaborations, such as the famous 'duets' of Eisenstein - Prokofiev, Kozintsev - Shostakovich and Tarkovsky - Artemyev. This fascinating volume is the first attempt at a historical analysis of Soviet film music - a unique and full |
Contents
13 | |
The role of music in creating a mythicised image of socialism | 31 |
The formation of other genres in musical cinema | 49 |
The fortunes of film music in the hard times of the War | 71 |
initial steps towards | 89 |
Music in the postwar cinema of the late forties and early fifties | 115 |
film music of the postStalinist period | 133 |
Change of fortune New means of expression in the language | 145 |
The zenith of musical achievements in the directors cinema of | 193 |
The rise and fall of film music in the period of stagnation | 213 |
Human tragedy as reflected in film music | 221 |
Extending the expressive means of film music A search for | 229 |
film music in the work of Artemyev | 249 |
a change in orientation A transition from | 259 |
Black wave aesthetics and music The crisis of film music under | 273 |
The innovative experiments of Alexander Sokurov and Andrei | 281 |
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accompanied according achieved action Alexander appearance artistic associated background battle beauty became become central character characteristic cinema classical close colour combination comedy composer composer's composition conception connected continued created creative death device directed director Dunayevsky early Eisenstein elements emotional episode expressive fact fate feeling film music Film Studio finale followed genre gives helped hero human idea illustration imaginative interest Ivan the Terrible later leading leitmotiv living lyrical material means melody Moscow Mosfilm movement natural opened opera orchestral organization original performance period picture played plot popular possible powerful present principle Prokofiev recording resembled result revealed rhythm role Russian scene screen seems sequences Shostakovich shot showed sometimes song sound Soviet spiritual story structure style symbol symphonic techniques theme timbre Timpani traditional tragic turned visual whole written young