Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring
Music scoring of film is one of the most potent techniques for defining and dimensionalizing moving images; in silent film, musical fabric has formidable powers to broaden and evoke emotional and intellectual responses simultaneously. Silent film scoring is an especially volatile process because the...
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| Опубликовано в: : | URI:https://journals.openedition.org/miranda, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
| Опубликовано: |
Miranda
2021
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| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | Music scoring of film is one of the most potent techniques for defining and dimensionalizing moving images; in silent film, musical fabric has formidable powers to broaden and evoke emotional and intellectual responses simultaneously. Silent film scoring is an especially volatile process because the music serves in place of the dialogue and its vocal nuances, and the sound effects and soundscape–it is one of the most misunderstood disciplines of the cinematic arts. This paper will discuss my musicological research and its results for The Cossacks (1928); the scoring process (composing, adapting, and developing musical subtext); and score recording. In detailing the production of contemporary silent film scoring, I intend to reveal the importance of creating a score that compliments and possibly exceeds a film’s artistic merits. Interpreting visual text and fleshing out subtext through musical scoring can elevate a simple film sequence into a richly complex artistic expression. |
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