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Статья посвящена изучению музыки Альфреда Шнитке для кино. Автор затрагивает некоторые вопросы комплексного анализа киномузыки, предлагает использовать «многоступенчатый» принцип анализа: от литературного первоисточника через собственно режиссёрское раскрытие сюжета к киномузыкальной партитуре. Кроме того, отмечается, что рукописные партитуры и фонограмма музыки в фильме – это близкие, но не идентичные тексты и поэтому требуют отдельного рассмотрения.Обращаясь к фильму «Прощание» (реж. Л. Шепитько – Э. Климов) по повести В. Распутина с музыкой А. Шнитке, раскрывается поэтика литературного произведения, ее основная тема – прощания, которая по-своему была задумана Шепитько и получила новую интерпретацию у Климова. В связи с этим в музыкальном ряде выделяются два уровня: внешний и внутренний, которые воплощаются определенными музыкальными средствами: цитаты и сонорные комплексы.На основе анализа рукописной партитуры Шнитке и ее звучания в фильме выявляется значимость отдельных ее номеров (чаще начальных – «Увертюра», «Вступление»). Так, рассматривается «Увертюра» партитуры композитора к фильму А. Михалкова-Кончаловского «Дядя Ваня» по пьесе А. Чехова, которая, соединяясь с визуальным рядом, усиливает трагическое звучание основной темы, приобретает смысловую значимость полифонии временных пластов.Также акцентируется внимание на том, что созданная композитором партитура является «отправной точкой» в музыкальном решении фильма, музыкальные фрагменты звучат в другой последовательности, что нарушает структурную и композиционную целостность партитуры.Представленная работа демонстрирует использование предложенного методологического приема при анализе киномузыки А. Шнитке. Все это дает повод применять данный метод для изучения киномузыки в целом., The article is dedicated to the study of Alfred Schnittke's film music. The author examines some questions of the complex analysis of film music and suggests using the "multi-stage" principle of analysis: from the literary source through the director's own unfolding of the plot to the film musical score. In addition, it is noted that handwritten scores and the phonogram of music in the film are close, but not identical texts and therefore require separate consideration.The film "Farewell" (directed by L. Shepitko – E. Klimov) based on the story of V. Rasputin with music by A. Schnittke reveals the poetics of the literary work, its main theme – farewell, which in its own way was conceived by Shepitko and given a new interpretation by Klimov. In this regard, the musical series distinguishes itself on two levels: external and internal, which are embodied by certain musical means: quotations and sonoric complexes.On the basis of the analysis of Schnittke's manuscript score and its sound in the film, the significance of its individual numbers (most often the initial ones – "Overture" and "Introduction") is revealed. Thus, the Overture from the composer's score for A. Mikhalkov-Konchalovsky's film Uncle Vanya based on Chekhov's play is examined, which, when combined with the visuals, intensifies the tragic sound of the main theme and acquires the semantic significance of the polyphony of time layers.Also emphasized is the fact that the score created by the composer is a "starting point" in the musical arrangement of the film, the musical fragments sound in a different sequence, which distorts the structural and compositional integrity of the score.The presented work demonstrates the use of the proposed methodological method in the analysis of Schnittke's film music. All this gives grounds to apply this method to the study of cinematic music in general., Международный научно-исследовательский журнал, Выпуск 1 (127) 2023

Статья посвящена выявлению особенностей функционирования музыки для баяна и аккордеона в исторической динамике отечественного кино. На основе анализа музыки фильмов режиссеров Л. Быкова, И. Вырыпаева, Н. Губенко, И. Пырьева, С. Ростоцкого, Э. Рязанова, И. Савченко, Ю. Чулюкина и композиторов Б. Александрова, И. Дунаевского, А. Гайнуллина, А. Лепина, Б. Мокроусова, К. Молчанова, А. Пахмутовой, Я. Френкеля доказываются историко-хронологические, образно-поэтические, музыкально-психологические принципы функциональной трактовки музыки для баяна и аккордеона в кино. Определяются стилевые истоки киномузыки для этих инструментов как отражение тенденций современной культуры., The article considers the features of the functioning of music for the bayan and the accordion in the historical dynamics of Russian cinema. Representing an original layer of Russian musical culture, music for these instruments included in the structure of a film text has not become an object of a separate study and has not received theoretical justification as an independent branch of bayan-accordion performance and creativity. The aim of the article is to identify the specifics of the composers’ interpretation of selected instruments at different historical stages of the development of Russian cinema (the 1930s-1940s - the 2020s). The author characterizes the embodiment of the image of the instrument in domestic films, establishes the genre and style specifics of film music for the bayan and the accordion, determines the instruments’ functions and role in the dramaturgy of film production. Based on the analysis of the music of films directed by L. Bykov, I. Vyrypaev, N. Gubenko, I. Pyryev, S. Rostotsky, E. Ryazanov, I. Savchenko, Yu.Chulyukin and composers B. Alexandrov, I. Dunaevsky, A. Gaiin, A. Lepin, B. Mokrousov, K. Molchanov, A. Pakhmutova, Ya. Frenkel, the author substantiates the historical-chronological, figurative-poetic, musical-psychological principles of a functional interpretation of music for the bayan and the accordion in cinema. The stylistic origins of film music for these instruments are determined as a reflection of the trends of modern culture. The author proves that, one of the main ways to use music for these instruments is to include it into the media text of popular mass genres (e.g., song, dance) that specify the events and the time frame of the plot. Music for the bayan and the accordion in films is used both via genre generalization and via a direct quotation of vocal and instrumental material. One of the forms of presentation of the bayan and the accordion in domestic cinema was the image of a musician (bayan or accordion player) as the main character of the film. Music that sounds in such films contributes to the disclosure of the inner world of the character (the films Man with an Accordion, My Seawoman, The Daughter of the Accordion Player). In recent decades, there has been a tendency to psychologize music for the bayan and the accordion that is used in domestic films as a counterpoint to the visual text (the film Euphoria with music by A. Gaiin).

Статья посвящена выявлению особенностей функционирования звукового образа баяна и аккордеона в исторической динамике зарубежного кино. На основе анализа музыки фильмов режиссеров М. Бреста, Ж.-П. Жене, Э. Кустурицы, Й. Лантимоса, М. Розы, В. Херцога и композиторов В. Аралицы, С. Губайдулиной, «Др. Нелле» Карайлича, Т. Ньюмана, Д. Спаравало, С. Террелла, Я. Тьерсена, доказываются историко-хронологические, образно-поэтические, музыкально-психологические принципы функциональной трактовки музыки для баяна и аккордеона в зарубежном кино. Определяются стилевые истоки киномузыки для этих инструментов как отражение тенденций современной культуры., The article is devoted to revealing the peculiarities of functioning of the sound image of bayan and accordion in the historical dynamics of foreign cinema. Based on the analysis of the music of films directed by M. Brest, J.-P. Genet, E. Kusturica, J. Lanthimos, M. Rosa, V. Herzog and composers V. Aralitsa, S. Gubaidulina, “Dr. Nelle” Karailich, T. Newman, D. Sparavalo, S. Terrell, J. Tiersen, historical-chronological, figurative-poetic, musical and psychological principles of functional interpretation of music for accordion and accordion in foreign cinema are proved. The stylistic origins of film music for these instruments are determined as a reflection of the trends of modern culture. The author considers a feature film as a genre of screen culture and notes that the content, the manner of narration and the system of expressiveness in it are determined by the dramatic and compositional functions of the visual, verbal and musical components. The role of music represented by individualized musical themes is great. In the system of means of expression forming a musical theme (melody, harmony, rhythm, texture, timbre, sonor), the individualization of timbre occurs in interaction with the “primary” means of musical expression. The relevance of the theme-timbres in film music is due to the development of sound engineers, the reorientation in the system of means of musical expression from primary to secondary, the synthetics of the media text as a whole, which leads to the visualization of the timbre with its individual flavor. The music for bayan and accordion that sounds in the off-screen and in-frame space characterizes the epoch, the socio-historical context (“Black Cat and White Cat” by E. Kusturica, “Amelie” by J.-P. Genet). In the film “The Smell of a Woman”, the image of the accordion is presented in an associative connection with the genre of Argentine tango. Bayan and accordion in foreign cinema are shown as academic instruments that are not related to the folklore tradition. In the soundtrack to the film “The Killing of the Sacred Deer” music by S. Gubaidulina for bayan becomes an indicator of the developing plot and reflects the emotional tone of the narrative in the frame. One of the forms of presentation of the accordion and accordion in foreign cinema is the embodiment of the image of a musician (accordion player) as the main character of the film. The music playing in the frame of the film “Stroshek” contributes to the disclosure of the inner world of the character. Its genre features and content fully correspond to the inner emotional state of the hero.

В статье, на материале анализа музыки фильмов «Подранки» (реж. Н. Губенко, комп. В. Панченко), «Фрида» (реж. Д. Тэймор, комп. Э. Голденталь) определяются драматургические функции жанра танго. Доказывается, что тематизм танго, представленный заимствованным материалом или специально сочиненным к фильму, воссоздает эпоху, характеризует персонажи, передает национальный колорит, формирует эмоционально-психологическую атмосферу, выступает в качестве лейтмотивов, становится средством создания кульминаций и фактором драматургии через репрезентацию ключевой идеи., In the article, on the example of the analysis of film music from different periods of the development of cinema art and national schools: domestic and American, the role of tango as a component of film music is considered. In the analysis of films, tango is considered in the context of the entire musical material as a whole and in conjunction with the visual and sound (verbal text, sound effects) series of media text. The parameters associated with the methods of introduction, the meaning of using the tango genre, the relationship with the storylines of films, the significance in the formation of imagery and dramatic functions are revealed. It is proved that the musical thematicism represented by borrowed material - “Tango of the Nightingale” (music by Y. Bogoslovsky), “I’m Infinitely Sorry” (music by A. Tsfasman, lyrics by B. Timofeev)” in the film Wounded Wounds (Mosfilm, 1976, dir. N. Gubenko, comp. V. Panchenko) - and created especially for the film Frida (Miramax Films, 2002, dir. D. Taymor) by composer E. Goldenthal, recreates the era, specifies the characters, conveys the national flavor, forms the emotional and psychological atmosphere of films, acts as leitmotifs, becomes a means of creating climaxes and an important factor in dramaturgy through the representation of the key idea of the works. At the same time, in Frida, the tango in its authentic performance creates a national flavor to a greater extent and characterizes the passion of the main character’s nature, hence the soloing of the rhythmic beginning, sharp accents, and the transfer of the ethnic color of the sound. In Wounded Boys, the borrowed tango material characterizes the era, social atmosphere, childhood memories, nostalgia, which is conveyed through tango in its lyrical content with expressive melody and ensemble instrumental composition, typical for the European existence of this genre.