Arvo Pärt's Pre-Existing Music in Film
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Eesti Muusika- ja Teatriakadeemia Kaire Maimets-Volt Vahendades ‘Üht(sust)’: Arvo Pärdi valmismuusikast filmis Eesti Muusika- ja Teatriakadeemia Väitekirjad 4 Tallinn 2009 Estonian Academy of Music and Theatre Kaire Maimets-Volt Mediating the ‘idea of One’: Arvo Pärt’s pre-existing music in film Estonian Academy of Music and Theatre Dissertations 4 Tallinn 2009 Estonian Academy of Music and Theatre Dissertations 4 Layout: Katrin Leismann This research has been supported by targeted financing grants SF0152156s02 and SF0150004s07 from the Estonian Ministry of Education and Research. Estonian Academy of Music and Theatre Department of Musicology Rävala pst. 16 Tallinn 10143 Supervisor: Professor Jaan Ross, Estonian Academy of Music and Theatre and University of Tartu Reviewer: Professor Philip Tagg, University of Montreal Preliminary reviewer: Professor Peeter Torop, University of Tartu The date of defence: 6 May 2009 Copyright Kaire Maimets-Volt, 2009 ISSN 1736-0714 ISBN 978-9985-9797-6-1 Printed by AS Võru Täht, Oja 1, Võru 65609 Table of Contents 0. Introduction ............................................................................................................ 9 0.1. Aims ................................................................................................................ 12 0.2. Structure and methodology ........................................................................... 17 1. Settling the score ................................................................................................... 25 1.1. Fundamentals of film music analysis ............................................................ 26 1.1.1. Music as a filmic means of expression ............................................... 28 1.1.2. Interpreting pre-existing classical music in film ................................ 31 1.2. How film music works ................................................................................... 42 1.2.1. Regarding the nature of film experience in general ........................... 44 1.2.2. Regarding the content of film narrative ............................................. 46 1.2.3. Regarding narrative structure ............................................................. 48 1.3. Conclusions .................................................................................................... 52 2. Emotion and meaning in Arvo Pärt’s tintinnabuli music .................................. 54 2.1. The constructional essence of tintinnabuli ................................................... 57 2.2. Für Alina and Spiegel im Spiegel: musical attributes .................................... 59 2.2.1. Discrepancies in the perception of each tintinnabuli-composition .................................................................... 68 2.2.2. Similarities in the perceptions of both tintinnabuli-compositions .................................................................. 70 2.3. Conclusions .................................................................................................... 71 3. Analysing musical multimedia ............................................................................. 75 3.1. Analysis of pre-existing music in film as integrated artistic multimedia text (I): Heaven........................................................................... 76 3.1.1. Tintinnabuli-musical cues in the film ................................................ 77 3.1.2. A view from conceptual perspective: Return to innocence ............... 94 3.1.3. Summary of the functions of the tintinnabuli music in the film ...... 99 3.2. Analysis of pre-existing music in film as integrated artistic multimedia text (II): Gerry .......................................................................... 109 3.2.1. Tintinnabuli-musical cues in the film .............................................. 111 3.2.2. A view from conceptual perspective: Passage into (hu)manhood in despair of uniqueness ..................... 121 3.2.3. Summary of the functions of the tintinnabuli music in the film .... 126 3.3. Conclusions .................................................................................................. 135 4. Ways of worldmaking ......................................................................................... 139 4.1. Mediating the “sphere of beyond” ............................................................... 141 4.1.1. Wit: Television film in a fashion of theatrical experience ............... 146 4.1.1.1. A lesson learned, a lesson missed ........................................ 148 4.1.1.2. Stillness of time.................................................................... 152 4.1.1.3. Little allegory of the soul ..................................................... 155 4.1.1.4. A very short commentary on tintinnabuli music in the film ............................................................................. 159 4.1.2. Bella Martha: European romantic tragicomedy with a gastronomic twist ................................................................... 159 4.1.2.1. To kill a lobster ..................................................................... 160 4.1.2.2. Reconciliation ...................................................................... 162 4.1.2.3. A very short commentary on tintinnabuli music in the film ............................................................................ 163 4.1.3. Swept Away: B movie with modest artistic aspirations ................... 164 4.1.3.1. Love in paradise ................................................................... 164 4.1.3.2. What, no happy ending?...................................................... 167 4.1.3.3. A very short commentary on tintinnabuli music in the film ............................................................................. 170 4.2. Conclusions .................................................................................................. 170 4.3. Implications for further research ................................................................ 173 5. Conclusions: Facing the music ........................................................................... 185 5.1. Main contributions ...................................................................................... 191 Kokkuvõte ................................................................................................................. 195 References .................................................................................................................. 205 Scholarly publications ......................................................................................... 205 Miscellaneous critical materials .......................................................................... 211 Audiovisual sources ............................................................................................. 216 Recordings of music ............................................................................................ 217 Index .......................................................................................................................... 218 Appendix 1. Free descriptions of tintinnabuli music as concert music ............... 225 App. 1.1. Für Alina experienced as concert music ............................................ 225 App. 1.2. Spiegel im Spiegel experienced as concert music ................................ 229 Appendix 2. Free descriptions of tintinnabuli music as film music ..................... 232 App. 2.1. Tintinnabuli music experienced in Heaven ....................................... 232 App. 2.2. Tintinnabuli music experienced in Gerry .......................................... 234 App. 2.3. Tintinnabuli music experienced in Wit ............................................. 237 App. 2.4. Tintinnabuli music experienced in Swept Away ............................... 237 Acknowledgements It takes a village to raise a child, and it takes an entire team to produce a PhD disserta- tion. I extend my deepest gratitude to my teachers, professors and mentors in the aca- demic world, who have directly or indirectly guided me towards this publication: Jaan Ross, Toomas Siitan, Urve Lippus, Kerri Kotta, Merike Vaitmaa, Kristel Pappel, along with my other colleagues and fellow students at the Estonian Academy of Music and Theatre; Peeter Torop and Mihhail Lotman at the University of Tartu; Vicki Stroeher and Rosalyn W. Floyd at the Augusta State University (Georgia, USA); Vivian Tordik, Kalle Loona and Mari Karm at the Tartu H. Eller Music School; and Mare Teearu at the Tallinn Music High School. In addition I am indebted to Avo Sõmer, Tiina Zobel, Ruth HaCohen and Eero Tarasti, whose caring attention and professional or personal advice has been invaluable. I am grateful to my friends who, on numerous evenings, have suddenly found themselves listening to my spontaneous lectures illustrated by many audio and audiovisual examples: Elin Sütiste, Kadri Rehema, Agnes Aljas and Kristjan Raba. Thanks are also due to Sulev Teinemaa and Lauri Kärk who helped me to acquire some of the films, Riho Esko Maimets who took on the task of editing my English, and Katrin Leismann who prepared the final layout. I dedicate this work to the One who has always been there for me – my family, my fortress. “Tintinnabuli-Stil, das ist ein Gebiet, auf dem ich manchmal wandle, wenn ich eine Lösung suche, für mein Leben, meine Musik, meine Arbeit. In schweren Zeiten spüre ich ganz genau, daß alles, was eine Sache umgibt, keine Bedeu- tung hat. Vieles und