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In 2019, I presented a paper at a conference in NUI Maynooth, Ireland that used Kevin Donnelly’s notion of the soundtrack as spectre as the starting point for discussing performativity and presence in the films of Russian director Andrey Zvyagintsev. During the discussion that followed, Danijela Kulezic-Wilson, who was in attendance, raised several observations concerning the relevance of Donnelly’s concept to her own research exploring the integrated soundtrack. This paper essentially seeks to continue that conversation. By revisiting several examples explored in Kulezic-Wilson’s chapter on “Soundtrack’s Liminal Spaces” in Sound Design Is the New Score, alongside others including Nick Cave’s score for The Proposition (John Hillcoat, 2005) and Birdman (Alejandro Iñárritu, 2014), I explore to what extent Donnelly’s analogy can be expanded to consider instances in film where the foregrounding of tactile musical gestures and spatial placement within the audio mix results in a distinctly performative, quasi-physical sensibility that challenges the “insubstantial” status of Donnelly’s spectral presence. Drawing on a broad framework of theoretical concepts including Miguel Mera’s discussion of the haptic score and Paul Sanden’s network of liveness, this paper aims to provide a complimentary perspective to an important aspect of Danijela Kulezic-Wilson’s significant contribution to the study of film sound and music.

Filmmakers have established editing rules that aim to create cinematic continuity across filmic cuts, thereby avoiding viewers' confusion despite the abrupt changes in perception. In our present project, we investigated the impact of 3D films, as opposed to 2D films, on the salience of filmic cuts. We employed a cut detection task and focused on within-scene cuts with mere changes in camera perspective. We presented short video clips to our participants and asked them to press a key whenever they noticed a filmic cut, and we measured their cut detection performance. In addition to viewing mode (2D vs. 3D presentation), we considered cross-modal auditory influences (visual vs. audiovisual presentation) on the salience of filmic cuts. Participants detected cuts more accurately and faster when the video clips were presented in 3D rather than in 2D and when the video clips were presented only visually (without soundtrack) rather than audiovisually (with soundtrack). Both factors influenced cut detection performance independently. We conclude that while the regular audiovisual presentation of films supports the filmmakers' mission to achieve cinematic continuity, filmmakers should also be aware of the additional salience of cuts that comes with 3D film presentation and consider its effects on cinematic continuity. [ABSTRACT FROM AUTHOR]

The purpose of the article is to substantiate the importance of orchestral music in the creation of film music content based on the definition of its synergistic properties. The research methodology is based on the principles of a system-synergistic approach (in determining the synergistic properties of orchestral music and the components of film music production), methods of analysis (in processing scientific sources on the topic), synthesis (in formulating the conceptual apparatus of the study) and generalisation (in determining the scientific novelty and results of the study). The scientific novelty of the results obtained is that the synergistic properties, functions, stages of creation and recording of orchestral music for film are determined and scientifically substantiated. Conclusions. Orchestral music is an integral and full-fledged part of a film work; it performs artistic and expressive, emotional and psychological, and hedonistic functions. When creating a high-quality film soundtrack, one should take into account the synergistic properties of orchestral music (openness, attractiveness, coherence, emergence). The success of orchestral film music production depends on the creative interaction of the participants in this process - composer, arranger, orchestra and conductor, sound engineer, music producer. [ABSTRACT FROM AUTHOR]

In this article, my goal is to reveal the importance and potential of global history, an approach that is generally neglected in media and film history literature. The main characteristics of global history are de-centralizing history, taking a wide spatial and temporal perspective, avoiding Eurocentric and nationalist optics, and explaining patterns of causalities behind connections. I begin by explaining global history before presenting the differences between global history and similar approaches used in film and media studies literature. Then, I focus on a potential case study, the phenomenon of foreign music used as soundtracks in Turkish domestic films between the 1950s and the 1980s. I demonstrate how the 'borrowed soundtracks' creates a hitherto unstudied connectedness between disconnected audiences from different countries or societies. I consider the soundscapes of the films as a space of aural encounter, and I argue that global history would enable us to understand the emotional, cultural, and economic layers of this indirect connectedness. [ABSTRACT FROM AUTHOR]

Copyright of Musica Theorica is the property of Musica Theorica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound’s poetry provides a soundtrack for the spectacle of torture in which the film’s libertines engage. Following this, I consider Pasolini’s 1965 text “The Cinema of Poetry” and use this text as a way of reading the role played by a copy of Rimbaud’s collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film.

Today's technologically eclectic media landscape – dominated by streaming algorithms, curated playlists and TikTok-spawned virality – has elevated the role of the television music supervisor. Film and television soundtracks, previously influenced by mixtapes and compilation CDs, have become inexorably shaped by the rise of streaming. Digging the infinite crates of the internet for rare and recycled tracks from yesterday and today, music supervisors for shows like High Fidelity (2020), The Bear (2022–present), Atlanta (2016–22) and Russian Doll (2019–present) have sculpted distinct sonic identities that grab viewers on-screen and retain their attention through their 'Official Spotify Playlists'. This article traces the possibilities of the soundtrack in the playlist era through case studies of HBO's eclectic anthology series High Maintenance (2012–20), as well as the unprecedented resurgence of Kate Bush via Netflix's Stranger Things (2016–present). [ABSTRACT FROM AUTHOR]

The purpose of the article is to define the main components of the film music scoring process and the corresponding professional competencies of a film composer. The methodology of research is based on the integrated application of systemic and competency-based approaches, methods of theoretical analysis, specification, synthesis, and generalisation. The scientific novelty. Based on the analysis of art criticism and the author's own practical experience, the author of the article has determined: the main components of the film scoring process; the essence of compositional innovations in the best soundtracks of Ukrainian and foreign films; the main professional competencies of a film composer required to create a film soundtrack. The musical and creative competence of a film composer reflects the level of their compositional skill and the ability to creatively adapt musical material. Artistic and communicative competence characterises the ability to communicate creatively with the film's directing team, understanding the artistic intent of the film and the means of its implementation in musical images. Technical and technological competence is realised in the possession of modern technologies of sound recording and sound processing and the ability to work with studio equipment. Conclusions. Film scoring is a complex creative process that includes several stages (familiarisation with the general concept and dramaturgy of the film, creation of a score with a system of music themes and leitmotifs, studio recording of music, editing and synchronisation with the video sequence, sound design, creation of the final version of the soundtrack). The success of this process depends on the professional skill of the film composer, which is manifested in the formation of musical and creative, artistic and communicative, technical and technological competencies. [ABSTRACT FROM AUTHOR]

This article considers how poetry features in Pasolini's cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound's poetry provides a soundtrack for the spectacle of torture in which the film's libertines engage. Following this, I consider Pasolini's 1965 text "The Cinema of Poetry" and use this text as a way of reading the role played by a copy of Rimbaud's collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film. [ABSTRACT FROM AUTHOR]

Copyright of Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What does music add to drama, or more specifically, movies? Without music, movies today would not be the same. When it comes to creating a film, the soundtrack is arguably just as important as videography or acting. Exploring the roots that soundtracks have in opera and investigating Wagner's leitmotif will help discover how it influenced modern-day movie scoring. Furthermore, a deeper understanding of filmmaking can be obtained by examining the role music has to play in modern movies. The soundtracks from the original Star Wars trilogy films can be used to demonstrate the application of these things by looking deeply into how each theme is formed and how each one shapes the characters it represents as well as the story that is portrayed in a film. [ABSTRACT FROM AUTHOR]

What does music add to drama, or more specifically, movies? Without music, movies today would not be the same. When it comes to creating a film, the soundtrack is arguably just as important as videography or acting. Exploring the roots that soundtracks have in opera and investigating Wagner’s leitmotif will help discover how it influenced modern-day movie scoring. Furthermore, a deeper understanding of filmmaking can be obtained by examining the role music has to play in modern movies. The soundtracks from the original Star Wars trilogy films can be used to demonstrate the application of these things by looking deeply into how each theme is formed and how each one shapes the characters it represents as well as the story that is portrayed in a film.

The study focuses on Bohemian Rhapsody (2018, directed by Bryan Singer, later Dexter Fletcher), the biographical drama that reflects on the extraordinary lives and career patterns of the four members of the rock band Queen, predominantly the band’s frontman, Freddie Mercury. Given the fact that this feature film has changed the way we perceive the economic potential of biopics entirely, we offer an overview of some of the reasons why it was so successful in terms of the globalised film industry. The main objective of the study is to outline the biographical drama’s synergistic tendency in relation to the movie industry and the music business. Acknowledging Bohemian Rhapsody’s unprecedented global success, we work with the assumption that certain biographical dramas can, in fact, become globally popular, partly thanks to the fact that they utilise music as a nostalgia-driven narrative tool making portrayals of musicians deeper and more complex. The assumption is addressed via a theoretical reflection on the given topic and through a qualitative content analysis of the biographical drama Bohemian Rhapsody [ABSTRACT FROM AUTHOR]

This topic of the city has attracted sustained interest in film studies. However, when discussing the soundtrack of contemporary films, the specifics of urban soundscape representation in such genres as horror and science fiction, in which exactly the sound component plays a decisive role, facilitated by actively developing technical capabilities, is left aside. In American fantasy cinema, the urban soundscape is of interest only when it not only illustrates the plot of the film but also when it’s part of the narrative. We are talking primarily about dystopias, in which interesting musical and noise solutions reflect the unfamiliar, which is characteristic of sci-fi environments. In the soundtracks of sci-fi films, the dramatic increase in the complexity of the technological aspect is particularly noticeable. The combination of technology and processes used in the creation of soundscape, atmospheres, noises, and effects is usually grouped under the term sound design, which literally means "design and sound engineering". During this period, sound design was finally established and became a critical component of film sound design, especially in the sci-fi and horror genres. In these films, the former division of sound into speech, synchronous noise, background noise, and music are retained. Still, through sound design, an acoustic element is introduced that has a narrative function but is not purely noise or music. Hyperrealistic sound becomes a typical example of the application of sound design, in which diegetic synchronous noises are enriched with nondiegetic timbres that introduce an additional semantic load. As the unfamiliar medium of a fantasy film struggles to convey a narrative and needs support and interpretation, music and noise take on this function. If in a fantasy film the environment, particularly the city, has no narrative function, the soundscape is unremarkable, but if it has such a function, it is how the sound conveys the narrative that is important. As for dystopias, a characteristic feature of the urban soundscape in this genre is the sharp contrast with the film's overall sound.

Introduction: the rise of current sound fiction requires from Communication studies an attention that verifies the abilities of students in fictional sound creation for their future work. The dependency on the visual image and the word that the young generations have requires, in turn, an empirical verification. Methodology: the experience that is now presented carries out an action of writing sound fiction micro-stories, designed to detect the difficulties encountered by the students when putting into practice all the sound elements with the absence of the word, incorporating it after gradually in different phases of script writing. The guided writing work is completed with a double movement: one analytical on the scripts made and another based on the surveys completed by the authors on the complexity of this task of scriptwriting. Results: the micro-stories generated had a total lack of non-verbal sound resources, without exploitation of other elements of sound language. Discussion: the results confirm a "functional deafness" that leads to a failure to build fictional sound stories, beyond the design of soundscapes. Conclusions: the analysis of the creations points to the existence of a variation in the cognitive narrative of the new and future generations of creators and listeners in regards to sound. [ABSTRACT FROM AUTHOR]

The paper discusses certain aspects of the use of compositional techniques practiced by Hans Zimmer for the purpose of building the dynamics of the narrative of the film image. Based on the analysis of selected scenes from the movie Interstellar (dir. Christopher Nolan, 2014), it shows how the development of musical material inspired by American minimalism serves the specific functions of a sci-fi genre, and the appropriate manipulation of this material by the director significantly influences the construction of spatio-temporal relations in the cinematographic picture. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the 1980s, media images of white boomer nostalgia were often accompanied by 1960s Motown songs due to the popularity of the hit film The Big Chill as well as advertising and licensing strategies inspired by it. In previous decades, however, Motown was used to dramatize onscreen representations of Black male film characters' emotional experiences of aspiration and resilience. This article explores how 1960s Motown songs came to be employed in two motion pictures--Nothing But a Man and Cooley High--to represent particular notions of everyday Black life, and then provides an industrial backdrop for why such cinematic uses of Motown came to effectively be replaced by invocations of white nostalgia. By analyzing the uses of Motown music within film narratives and the industrial conditions through which such licensing took place, this study goes beyond the formal analysis of film music in order to demonstrate how the act of licensing popular songs for film participates in the making of songs' social, cultural, and political meanings. In so doing, this article shows how the material conditions of licensing music for film shape what and whose experiences of popular music are able to be represented onscreen. [ABSTRACT FROM AUTHOR]

This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to examine how sound is used in the filmic exploration of the boundaries between the human and the alien (the unknown). More particularly, we are interested in the role that human voice-like and human vocal sounds can play in this divide, as we believe manipulations with such audible qualities contribute greatly to the emotional dimension of cinematic stories of otherworldly encounters. For that purpose, we concentrate on Denis Villeneuve’s Arrival (2016) and its soundtrack composed by Jóhann Jóhannsson, who resorts to different singing practices and vocal techniques to accompany a story charting the territories between the human and the alien.

A notable stylistic element of 2001: A Space Odyssey (1968) is the innovative use of classical music, which, isolated from dialogue or sound effects, possesses an autonomous dimension of meaning. Borrowing Michel Chion’s concept of “anempathetic music”, we posit that two musical pieces—the Also sprach Zarathustra fanfare and the Blue Danube waltz—have very specific narrative and formal functions, to be analyzed here in terms of Lacan’s concepts of the imaginary and the symbolic, the gaze, suture, spectatorship, and the Kantian sublime. We aim to address and build on Annette Michelson’s formulation, in her seminal criticism, that 2001 is a film of cognitive restructuring and redefinition of cinema’s “shape of content”, through the role of music.

This article offers a close analysis of the 1968 'soundtrack' LP Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS) by the French saxophone player Barney Wilen. The theme of the LP is Italian racing driver Lorenzo Bandini's death in a motor racing accident at the Grand Prix Automobile de Monaco in 1967. The article also discusses the visual dimension of the work; image materials were originally to have been presented with the recording to make Auto Jazz a multi-media experience. We tend to associate the late 1960s with revolutionary jazz, free jazz and experiments with jazz form and Auto Jazz: Tragic Destiny of Lorenzo Bandini is certainly 'far out'. Jazz music at this time took on revolutionary tendencies both aurally and ideologically. However, it is not the politics of such countercultural acts that the recording expresses but rather (as a unique soundscape with elements of musique concrète) the emotional impact of a tragic real-life event through organized sound. The article examines the context for the LP: the development of 'new wave' cinema and use of jazz in this form, the concurrent revolution in modern jazz and contemporary experimental music and the form of 'expanded cinema' (Youngblood 1970) that Auto Jazz: Tragic Destiny of Lorenzo Bandini was conceived to a contribution to. [ABSTRACT FROM AUTHOR]

The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century. Статья посвящена телевизионному фильму «Безымянная звезда» (1978, режиссер М.М. Козаков, композитор Э.В. Денисов) как одному из немногих примеров экранного искусства, где музыка не просто поддерживает повествование, но выходит на первый план киноленты, становясь одним из её персонажей. Поэтому естественно, что фильм М. Козакова – Э. Денисова в данной статье рассмотрен сквозь призму его музыкальной концепции. В фокусе внимания оказываются некоторые индивидуальноавторские особенности, характеризующие киномузыку Денисова. В числе главных — принципиальная установка композитора на интеграцию музыки в единый текст кинопроизведения, непосредственным образом влияющая на его образно-стилевые характеристики и поэтику в целом. В этом русле анализируются различные интерпретации сюжета (точнее, основных его линий — встречи главных героев, открытия новой звезды и т.д.), имеющие существенные расхождения в текстах разных авторов и непосредственных участников съемочного процесса; главные смысловые точки, подчеркнутые в фильме ключевыми словами («вокзал», «дизель-электропоезд» и т.п.); наконец, звуковой и музыкальный дизайн картины, создающий единую линию повествования. Обнаруживается особая роль звуковых деталей (шум поезда, вокзальный колокол и т.д.), сопровождающих повествование и придающих ему особую тщательность и достоверность. Отмечается, что драматургическим центром фильма становится импровизированное исполнение Симфонии, сочиненной одним из главных персонажей — учителем музыки Удрей. Значимость этого произведения в контексте повествования чрезвычайно велика: с Симфонией связаны решающие повороты сюжета, в ней соединяются интонации и лейтмотивы, определяющие общий эмоциональный тон картины. Эдисону Денисову удается в точности воспроизвести замысел Удри, создав детализированный интонационно-тематический профиль Симфонии, чему способствовала и искусная темброво-ритмическая дифференциация. Кроме того, он выстраивает музыкальную драматургию таким образом, что в момент звучания Симфонии актуализируются смысловые доминанты фильма, воплощенные в системе его главных звукообразов (тема Города, тема Моны и др.). В определенном смысле можно утверждать, что в этом фильме музыка становится чем-то бо́льшим, чем саундтрек в привычном понимании этого слова: она является неотъемлемой частью сюжета, проникает в реплики героев (повторяющееся упоминание английского рожка или рассказа о строении Симфонии). Во многом благодаря музыке, вносящей в действие фильма новые подтексты, романтическая комедия предстает как сложное неодноплановое произведение, обнаруживая непривычную грань творческого дарования одного из самых убежденных композиторов-авангардистов XX века.

The article is devoted to the question of the categories of the epic as part of the theoretical paradigm of contemporary musicology. It is proven that nowadays there are many books, magazines and articles about the epic genre of music. The concept of a soundtrack that appeared in the 1950s is highlighted of XX century. The compilation of songs "Carmina Burana", which became the reason for the appearance of the music for the trailers was investigated. It has been established that since the 90s of the XX century, the first companies that were engaged in the creation of music for trailers began to appear - "Globus" and "Inmediate Music". It is determined that the first studio album of the group "Globus" was "Epicon". It is noted that video games belong to epic music. It has been studied that epic soundtracks are most often used in video games with the plot of war, confrontation and battles. It is noted that Jeremy Soule, who gained fame thanks to the game series "Elder Scrolls" and "Harry Potter" is the most famous composer of orchestral music video games. The importance of music is emphasized for the video games of the famous American composer Garry Schyman. Emphasis is placed on the talented works of German instrumentalist Hans Zimmer. It is noted that the music is epic and cinematic. Samples of the musical epic of Ukrainian composers are highlighted. Explored Japanese anime style animation. Revealed that talented artists receive the MTV Video Music Awards every year. [ABSTRACT FROM AUTHOR]

Music is a central element of film, and in the case of The Lord of the Rings (2001-2003) and The Hobbit (2012-2014), it played a defining part in the shaping of Tolkien's adaptation to cinema. Nonetheless, attention to the soundtrack has often bypassed the pop songs released with each film of both trilogies. This chapter intends to analyse one of these songs, 'I See Fire', by Ed Sheeran, released for the last but one of these films, The Desolation of Smaug (2013). [ABSTRACT FROM AUTHOR]

The purpose of this essay is to highlight and comment on the importance of musical presence within Jennie Livingston's documentary film Paris is Burning (1990), a pivotal film of the cinematographic moment of New Queer Cinema. Despite multiple analyses, from Judith Butler in Bodies That Matters (1993) to Peggy Phelan in Unmarked: The Politics of Performance (1996), there is a lack of literature regarding the narrative, performative and resilient potential of its soundtrack. The essay proposes a new methodological approach by presenting, following a brief historical framework, the audiovisual analysis of three thematic nuclei. The first object of study is the resilience of the pre-existing songs that compile the Paris Is Burning soundtrack, both for their trans-genre nature and for the high number of beats per minute that distinguishes them. Subsequently, a spatial and sound tripartition is proposed which initially diversifies the collective queer minority environments from the heteronormal, cis-gender, collective ones and afterward from the individual queer ones; also determining how Realness compare itself with urban and sound spatiality. Moreover, a new suggestion about the bequest of Paris is Burning on a cinematographic, musical and performative level has been pointed out.

This article presents a taxonomic proposal for the semiotic and aesthetic classification of the elements of the soundtrack, this instrument is developed through the theoretical contributions of the cinematographic sound of Chalko (2014), Chion (1993), Jullier and Rodríguez (2007), Bordwell and Compson (2003), Rodríguez Bravo (1998), the semiotics of the cinematographic language of Saussure and Peirce and in turn will be complemented by the contributions from the theories of Ensestein (2004); this taxonomy is used punctually in an exercise of cinematographic analysis to the feature films Los hongos (Ruiz Navia, 2014), Las tetas de mi madre (Zapata, 2015) and Los nadie (Mesa, 2016). [ABSTRACT FROM AUTHOR]

This article is, a part of a larger chapter, which treats the analysis of also other drama soundtracks, with various plots, directing visions and kinds of typologies in order to draw a line between the conventions and codes in music. Still, it is hard, since the final result is mostly an eclecticism between program music, large types of audio layouts, applied accordingly to the script and the personal craft of the composer. I identified some general approaches in drama film music, such as: the large usage of strings, or the highlight of melodic parameter, the minor keys and so on. I believe, for a composer it is essential to know the tools one needs to choose before writing music for a film. Even more, the codes found in an soundtrack are necessary because of the fact that they „talk" about the composer s style, his trademark. [ABSTRACT FROM AUTHOR]

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the early 1990s the “trendy drama” became part of Korean TV programming. Mainly focused on a younger audience, it not only showed the modern urban life style of its protagonists searching for love, but also integrated newly composed pop music into the series, first as theme songs and later by playing musical pieces at crucial moments in the developing relationships of the young couples. This article analyzes the crucial part these songs play both in marketing a Korean series (or K-Drama), as well as in the development of its narrative, exemplified by the musical concepts of three recent series, Dokkaebi: The Lonely And Great God (2016-2017), While You Were Sleeping (2017) and Because This Is My First Life (2017). Similar to the concept of a leitmotif, once established as a song for a character, a couple or a mood, pop songs are used throughout the run of a series. They, therefore, add a new layer of meaning to a scene, not only through lyrics and music, but especially by referring to past developments and incidents, thus holding the whole series together and giving it an individual character.