TY  - CONF
  - Kulezic-Wilson, Danijela
  - Music and Media, 4th Study Group Conference, Turin 2012
  - Films without Melodies: Audio-visual Musique Concrète
  - Universita di Torino
  - Oral Presentation
  - 2012
  - ()
  - 0
  - 28-JUN-12
  - 29-JUN-12
  - Since Gorbman (1987) noted the seemingly conflicting and yet inherently complementary nature of music’s numerous roles in film, which include it being both “unheard” and omnipresent, film music practice has undergone numerous changes, some more obvious than others. The reliance on music to provide temporal continuity, dramatic accents and emotional padding is still so deeply embedded in the industry’s psyche that its products have often manifested the symptoms of addictive over-dependence on music, resulting in the devaluation of its presence in film. On the other hand, this practice has inspired alternative approaches to scoring which substitute original non-diegetic music with pre-existing musique concrète and a deepening interest in the expressive potential of sound design. As suggested by “composed” soundscapes in the films of Nuri Bilge Ceylan (Uzak), Gus Van Sant (Death Trilogy), Bela Tarr (Damnation), Peter Strickland (Katalin Varga) and Alejandro González Iñárritu (Biutiful), this type of soundtrack can successfully fulfil many of the roles in film previously ascribed only to music while managing to remain semiotically non-committal. Even more interestingly, it encourages the deceptive impression that the diegetic world is its sole source of origin, thus seemingly sidestepping questions of authorial intention and manipulation inherent to non-diegetic scores.            My paper explores the impact of this new practice on the ever-changing landscape of film scoring and its reflection in film music scholarship, particularly two aspects of it: the integration of sound effects and speech into existing methodologies concerned with music and the resurgence of the issue of aesthetics which has been conspicuously absent from the discipline since the 1950s.
DA  - 2012/NaN
ER  - 

@unpublished{V152460441,
   = {Kulezic-Wilson,  Danijela },
   = {Music and Media, 4th Study Group Conference, Turin 2012},
   = {{Films without Melodies: Audio-visual Musique Concrète}},
   = {Universita di Torino},
   = {Oral Presentation},
   = {2012},
   = {()},
   = {0},
  month = {Jun},
   = {29-JUN-12},
   = {{Since Gorbman (1987) noted the seemingly conflicting and yet inherently complementary nature of music’s numerous roles in film, which include it being both “unheard” and omnipresent, film music practice has undergone numerous changes, some more obvious than others. The reliance on music to provide temporal continuity, dramatic accents and emotional padding is still so deeply embedded in the industry’s psyche that its products have often manifested the symptoms of addictive over-dependence on music, resulting in the devaluation of its presence in film. On the other hand, this practice has inspired alternative approaches to scoring which substitute original non-diegetic music with pre-existing musique concrète and a deepening interest in the expressive potential of sound design. As suggested by “composed” soundscapes in the films of Nuri Bilge Ceylan (Uzak), Gus Van Sant (Death Trilogy), Bela Tarr (Damnation), Peter Strickland (Katalin Varga) and Alejandro González Iñárritu (Biutiful), this type of soundtrack can successfully fulfil many of the roles in film previously ascribed only to music while managing to remain semiotically non-committal. Even more interestingly, it encourages the deceptive impression that the diegetic world is its sole source of origin, thus seemingly sidestepping questions of authorial intention and manipulation inherent to non-diegetic scores.            My paper explores the impact of this new practice on the ever-changing landscape of film scoring and its reflection in film music scholarship, particularly two aspects of it: the integration of sound effects and speech into existing methodologies concerned with music and the resurgence of the issue of aesthetics which has been conspicuously absent from the discipline since the 1950s.}},
  source = {IRIS}
}