1,044 research outputs found
“From the Barroom: American Song, Saloon Culture, Stack O’Lee and Wild Bill, or ‘Did you touch my hat?’”
No full textA Review of Peter Franklin’s Seeing Through Music: Gender and Modernism in Classic Film Scores
No full textFilm music has often been described as a utilitarian musical genre, a genre beneath that of the concert hall. Building on the work of music and film scholars like Caryl Flinn and Kathryn Kalinak, as well as on the criticism of Hanns Eisler and Theodor Adorno, in Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores Peter Franklin weaves an intriguing defense of film music. This defense rests on Andreas Huyssen’s concept of “the great divide” between Modernism and Mass Culture, in which the latter is rejected due to its emotionality, thus connecting it to the feminine. In using this concept, Franklin identifies two main points in traditional criticisms of film music: (1) the gender polemic inherent in describing film music as over-emotional and irrational, while speaking of art music as serious and logical and (2) the debt that film music owes to opera – a curious genre in that it straddles “the great divide”.Franklin separates his 167-page monograph into two sections. Each section consists of three essays, woven almost seamlessly together. The first section concerns itself with operatic treatments of film music and with the connection between the two genres, while the second one shifts the focus to the ideas that films express in their treatment of symphonic music. Aimed at musicologists, film historians and literary critics alike, Franklin’s volume speaks not only about film music itself, but also about the ways in which we engage in discourse about music and art overall
Strangeness production in Pb-Pb collisions with ALICE at the LHC
No full textWe present new ALICE results on the production of strange and multi-strange hadrons in Pb– Pb collisions at the top LHC energy of TeV. Strangeness production measurements are powerful tools for the study of the thermal properties of the deconfined state of QCD matter, the Quark-Gluon Plasma. Thanks to its unique tracking and PID capabilities, ALICE is able to measure weakly decaying particles through the topological reconstruction of the identified hadron decay products. Transverse momentum spectra of , , and at central rapidity are presented as function of the collision centrality. The so-called baryon anomaly in the ratio is examined to probe particle production mechanisms: the position of the peak is sensitive to recombination processes, the high- part can provide revealing insights on fragmentation and, finally, the steepness of the rising trend featuring for GeV/c can be connected to the hydrodynamic expansion of the system. In order to study strangeness enhancement, hyperon yields are normalised to the measurements of pion production in the corresponding centrality classes. Comparisons to lower energy results as well as to different collision systems will be shown. This offers a complete experimental picture that is used as a benchmark for commonly adopted phenomenological models, such as the thermal statistical hadronisation approach.We present new ALICE results on the production of strange and multi-strange hadrons in Pb--Pb collisions at the top LHC energy of = 5.02 TeV.Strangeness production measurements are powerful tools for the study of the thermal properties of the deconfined state of QCD matter, the Quark-Gluon Plasma.Thanks to its unique tracking and PID capabilities, ALICE is able to measure weakly decaying particles through the topological reconstruction of the identified hadron decay products.Transverse momentum spectra of , , and at central rapidity are presented as function of the collision centrality.The so-called baryon anomaly in the ratio / is examined to probe particle production mechanisms: the position of the peak is sensitive to recombination proces ses, the high- part can provide revealing insights on fragmentation and, finally, the steepness of the rising trend featuring for 2 GeV/ can be connected to the hydrodynamic expansion of the system.In order to study strangeness enhancement, hyperon yields are normalised to the measurements of pion production in the corresponding centrality classes.Comparisons to lower energy results as well as to different collision systems will be shown. This offers a complete experimental picture that is used as a benchmark for commonly adopted phenomenological models, such as the thermal statistical hadronisation approach
Paweł Mykietyn and the Soundtrack to EO (IO) by Jerzy Skolimowski. Introductory Remarks
No full textThe soundtrack for EO (Polish: IO), composed by Paweł Mykietyn, is a starting point for a discussion on the role of film music as a key element in shaping the atmosphere, characters, and narrative in the movie by Jerzy Skolimowski. Based on the concept of Zofia Lissa, the first Polish film music theorist of film music, and the research of Kathryn Kalinak, the author discusses the influence of sounds and musical motifs on the perception of the viewer. The article presents the functions of individual works used as tools to express the emotions of the characters and emphasize significant plot moments. The analysis shows how film music is an important element in the interpretation of an audiovisual work, influencing the viewer’s perception and adding new layers of meaning
Melancholy in Hollywood westerns, 1939-1962
Get PDFThis thesis uses the concept of melancholy to extend and develop the critical
understanding of the Western genre. It focuses on the various ways in which
Westerns made in Hollywood between 1939 and 1962 can be said to express
melancholy. It proposes that, during the period in which Western movies
were an important and popular part of mainstream film production, the
conventions of the genre were familiar and well-developed enough to permit a
wide range of sophisticated expressive possibilities. The complex and
ambiguous associations attached to the notion of melancholy make it
particularly suitable for demonstrating this.
The Review of Literature addresses the major perspectives through which
Westerns have been conceived and understood within Film Studies, and
assesses their relevance to the methodology employed in this thesis. It also
considers some of the wider contexts that will be employed in the discussion
of the genre and its conventions that will follow. The Introduction to
Melancholy establishes a fuller cultural, historical and intellectual context for
the particular focus of the thesis, and suggests some of its specific
applications in relation to Westerns.
The main section of the thesis is divided into four chapters. Each of these
examines a particular feature of the Western genre that can be used to
express melancholy. Chapter 1 discusses the conventions that are employed
to frame our understanding of violence in the genre. The melancholy
implications of these conventions, and the problems that arise out of them,
are considered in relation to a number of films from the period.
Chapters 2 and 3 deal with more specific and localised tropes which function
as melancholy reflections of other aspects of the genre. Chapter 2 looks at
the night-time town as an alternative melancholy space within the generic
world of the West. Aspects of the previous chapter’s discussion of violence
are developed in this context, through the detailed analysis of the use of the night-time town in Pursued, Rio Bravo, The Man Who Shot Liberty Valance
and Stagecoach.
Chapter 3 examines the figure of the old man as a melancholy counterpart to
the Western hero. It demonstrates a long-standing connection between the
two character types within the genre, and investigates how this connection is
used to portray the hero in a melancholy light. The first half of the chapter
examines the melancholy relationship between the hero and old men as
supporting characters in Blood on the Moon and Yellow Sky. The second half
develops some of the same issues further in relation to old men in more
prominent roles in Man of the West and Ride the High Country.
Chapter 4 considers the use of music to express melancholy in Westerns. Its
particular focus is the Western title song, and the period of the early 1950s
when it came to prominence. More broadly, the chapter looks at the effects of
combining styles and conventions from Western movies and popular music,
and the ways in which this combination can produce melancholy. The films
whose title songs are examined in detail are High Noon, Rancho Notorious,
Johnny Guitar and River of No Return
Estrategias narrativas y musicales en el wéstern español de los años sesenta: dos filmes de Ramón Torrado con música de Daniel Montorio
Get PDFIn 1964, the composer Daniel Montorio (1904-1982) wrote the music for two westerns directed by Ramón Torrado (1905-1990): Relevo para un pistolero and Los cuatreros. At that time, Spanish westerns —whether or not they were co-productions— were massproduced, the film industry had a consolidated infrastructure, and narratives were influenced by North American cinema. Torrado and Montorio were veteran professionals and they made two successful films, following the classic patterns of the genre, before the innovations of visuals, sound and narrative in the spaghetti western that would prevail after the Leone and Morricone Dollar Trilogy. Following studies on the presence of pastoral topic in film music (N. Lerner, 2001; M. Beckerman and W. H. Rosar, 2009), the semiotic analysis of P. Tagg and B. Clarida for The Virginian (2003), the works of K. Kalinak on the music of the American western (2007, 2012) and the study of mythopoetic of music in genre cinema (T. Scheurer, 2005), this article analyzes the music of these films as a discursive practice, from a semiotic perspective. The objective is to analyze the functions of music in filmic narratives, and to assess the presence of musical topics conosolidated in the North American western (M. Whitmer, 2012 and 2018; R. J. Stilwell, 2016) in Montorio’s film music, confirming that both diegetic songs and extradiegetic music were effective tools in the definition of Spanish popular and commercial “genre cinema” during the sixties.En 1964, el compositor Daniel Montorio (1904-1982) escribe la música para dos wésterns dirigidos por Ramón Torrado (1905-1990): Relevo para un pistolero y Los cuatreros. Por entonces, los wésterns españoles —fueran o no coproducciones— se producían en serie, había una infraestructura industrial consolidada y unas narrativas influidas por el cine norteamericano. Torrado y Montorio eran profesionales veteranos y realizaron dos films de éxito, de línea clásica anterior al cambio de paradigmas visuales, sonoros y narrativos del spaguetti western que se impondría tras la Trilogía del Dólar de Leone y Morricone. Partiendo de los estudios sobre la presencia del tópico pastoral en la música de cine (N. Lerner, 2001; M. Beckerman y W. H. Rosar, 2009), los análisis semióticos de P. Tagg y B. Clarida de The Virginian (2003), las obras de K. Kalinak sobre la música del western americano (2007, 2012) y el estudio del funcionamiento mitopoético de la música en el cine de género (T. Scheurer, 2005), este artículo aborda el análisis de la música de estos filmes como práctica discursiva, desde una perspectiva semiótica. El objetivo es analizar las funciones de la música en las narrativas fílmicas, así como valorar la presencia de tópicos musicales consolidados en el western norteamericano (M. Whitmer, 2012 y 2018; R. J. Stilwell, 2016) en la música de Montorio, confirmando que tanto las canciones diegéticas como la música extradiegética fueron herramientas eficaces en la definición del “cine de género” popular y comercial en la España de los años sesenta
Bibliographie der Filmmusik
No full textIn die folgende Bibliographie sind Hinweise von Claudia Bullerjahn, Michael Hergt, Ludger Kaczmarek, Ingo Lehmann und Mirkko Stehn eingegangen. Die namentlich gekennzeichneten Annotationen sind uns freundlicherweise vom Projekt „Bibliographie für die Musikwissenschaft“, hrsg. v. Staatlichen Institut für Musikforschung Preußischer Kulturbesitz, Berlin, überlassen worden (online: http://www.sim.spk-berlin.de/start.php). Wir danken Herrn Carsten Schmidt für seine Kooperationsbereitschaft
The Chinese Translation of Film Music from Chapter Five to Conclusion and an Analysis of the Translation
Get PDF为电影而创作的音乐，是电影艺术的重要组成部分。同时，作为一种较新的音乐体裁，电影音乐在国际音乐界也受到越来越多的关注。罗得岛大学教授凯瑟琳•卡利纳克（KathrynKalinak）所著的《电影音乐》，是一本关于电影音乐基本理论和其历史的普及型读物，内容丰富且语言流畅。因此，本论文作者与其他译者合作对该书进行了翻译，并分析了翻译过程和常用技巧等。希望能为爱好艺术的中文读者提供了解电影音乐的途径，同时学习把握信息型文本的翻译风格及技巧，并通过发现自己在翻译过程中表现出的不足之处，有针对性地提高自己的英译汉水平。另外，在与他人合译此书的过程中，希望能借此熟悉合作翻译的流程，提高团队工作的...Music produced for films is an inseparable component of filmic art. It also draws increasing attention worldwide as an emerging musical genre. Film Music, written by Kathryn Kalinak, a professor with Rhode Island College, introduces the basic theories and history of film music with natural and colloquial language. The author of the thesis translates this book in cooperation with another translator...学位：翻译硕士院系专业：外文学院_翻译硕士学号：1202010115259
Creating a sound world for Dracula (Brorwning, 1931).
No full textCreating a Sound World for Dracula (Browning, 1931) The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s film remains a significant filmic event, despite its noisy original soundtrack and the absence of music. In this study Dracula’s original dialogue has been revoiced, and the film has been scored with new sound design and music, becoming part of a larger, contextual composition. This creative practice-based research explores the potential convergence of film sound and music, and the potential for additional meaning to be created by a multi-channel composition outside the dramatic trajectory of Dracula. This research also offers an analysis of how a multi-channel composition may enhance or change the way an audience reads the film. The audiovisual composition is original, but it uses an existing feature film as an element of the new art piece. Browning’s Dracula gains a new interpretation due to the semantic meaning provided by associations with major cataclysmic events of the 20th century, namely the rise of two totalitarian powers in Europe. The new soundtrack includes samples from the original that are modified, synthesised and re-worked: elements of historical speeches; quotes from Stoker’s Dracula; references to the sounds of the time period (Nazi rallies, warfare, Soviet prosecution), and the original recordings of Transylvania (similar to the geographical location and season Stoker describes in Dracula). 1 Dracula (in italics) will refer to Browning’s film (1931) throughout this paper. The soundtrack composition also includes elements of a new, specially composed Requiem, which share the same sonic and musical expression tools: music language, varying sound pitch, time stretch, granular synthesising, and vocal techniques such as singing, speech, whispering, etc.
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