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Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)

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Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. Eine ganze 6eihe themenbezogener wissenschaftlicher 7eit- schri5en erscheint inzwischen weltweit, 4agungen und 8emenbände zur Film- und wei- ter zur „Medienmusik“ haben geradezu e9ponentiell zugenommen. Es deutet sich an, dass die in der Praxis von ;unst, <nterhaltung und 1piel längst zusammengewachsenen 1in- nesmodalitäten auch in der akademischen 6e=e9ion endlich die Beachtung als multimoda- le und s2nthetische ;unstform >nden, die sie verdienen ? in der @ufnahme eines Aiszipli- nengrenzen übergreifenden ProBekts0 Aie Menge der <ntersuchungen nachzuhalten, ist aufwendig und erfordert enormen 6e- cherche-@ufwand0 Cir biDen darum alle Nutzer_innen, uns auf 3bersehenes hinzuweisen, uns auf Be eigene Beiträge aufmerksam zu machen und uns spezielle bibliographische 1ammlungen zur FerG/gung zu stellen. Es ist geplant, das bibliographische ProBekt der „Bi- bliographie der Filmmusik“ fortzuschreiben, weil es ? auch aufgrund der multidiszipli- nären Beiträge ? zunehmend schwieriger wird das Feld in seiner ganzer Breite zu doku- mentieren. )n das Ferzeichnis sind Hinweise von Franz Ibermeier J/rg 1tenzl Colfgang 8iel und :eter Wegele eingegangen. Medienwissenschaft: Berichte und Papiere wird herausgegeben von Hans J. Wulff und Ludger Kaczmarek in Verbindung mit Anna Drum (Dresden), Sophie G. Einwächter (Marburg), Dietmar Kammerer (Marburg), Franz Obermeier (Kiel) und Sebastian Stoppe (Leipzig). Filmmusik* 'rgänzungen )) $!"+-?!"!". // Medienwissenschaft, +K% !"!" L// ! Rualitativer )nhaltsanal2se untersucht und verglichen. Betrachtet man die 'rkenntnisse welche sich aus den Fergleichen der 6ezep- tionsanal2sen ergeben, so wird deutlich dass – A – bei der 6ezeption dieser beiden Filme die e9- tradiegetische Musik im @llgemeinen von :ersonen ohne ausgeprägte >lmische oder @bend Janine* Rezeption von Filmmusik: Eine musikalische Forbildung recht unbewusst empirische ntersuchun! anhand der Filme wahrgenommen wird0 Je mehr die musikalis- "#er Pianist$ und "%itus$ unter &esonderer Be' che 'bene aber ihre 'ntsprechung auch in der r(cksichti!ung der musikalischen Sym&olik* Handlung selbst wieder>ndet desto eher ist Aiss. Hamburg: <niversit(t Hamburg !"+, auch bei ihnen ein Bewusstsein /ber die mit- F))) -!M $+. 10& N<6LO0 tels Musik transportierten Bedeutungsgehalte gegeben. Grundsätzlich sind alle Befragten +usammenfassun!: )nnerhalb der bisherigen dazu in der Lage sich weitergehende Sedan- Filmmusikforschung liegt der Fokus allzu oft ken dar/ber zu machen, welche wesentlichen allein auf der Filmmusik selbst0 Aas 'rfassen Botschaften durch die diegetisch eingesetzte einer >lmischen @ussage sowie von Bedeu- Musik zum @usdruck kommen oder auch wie tungsgehalten und Wirkungen der eingesetz- diese Musik im Film eingesetzt ist0 F/r ein ten Musik erfolgt dabei aber immer durch den tiefgreifenderes Ferständnis ist es allerdings 6ezipienten, der das Cahrgenommene in Be- von entscheidender Bedeutung ob ein 7u- ziehung zu eigenen 'rfahrungen und 'rwar- schauer nachhaltige >lmische oder musikalis- tungen setzt0 7iel der vorliegenden <ntersu- che :r(gungen in den 6ezeptionsprozess ein- chung war es deshalb tatsächliche Cahrneh- bringt um somit /ber eine Uharakterisierung mungsweisen der 7uschauer in einem mög- der Musik hinaus auch in der Musik liegende lichst nat/rlichen 6ezeptionskonte9t zu erfor- 12mbolik und Bedeutungszusammenhänge schen. Anhand der Filmbeispiele Der Pianist aufzugreifen. Aie mit steigendem Lebensalter $!""!. von 6oman :olański und %itus $!""M. gesammelten ;enntnisse und 'rfahrungen von Fredi M0 Murer wurde in einer Rualitati- G/hren dabei nicht durchgängig zu <nter- ven Studie ermiDelt inwiefern der 7uschauer schieden im 'rkennen musikalischer Bedeu- insbesondere G/r den Handlungsverlauf be- tungen, d/r5en aber einen nicht zu unter- sonders bedeutsame Filmmusik wahrnimmt schätzenden 'influss besitzen. Ceiterhin zeigt sowie die darin zu verortenden Bedeutungs- sich unabhängig von den durch die 6ezipien- zusammenhänge erkennt und mit dem Ge- ten eingebrachten 'rfahrungen, dass auch die schehen im Bild verknüp50 Aazu wurden zwei Struktur und Ferwendung der musikalischen Stichproben von 7uschauern in verschiede- 'bene im Film selbst daf/r verantwortlich ist nen Altersgruppen $B/ngere und ältere 'r- in welcher Ceise die Bedeutungen wahrge- wachsene) sowie eine kleine '9pertengruppe nommen werden: 4ransportiert der Film seine herangezogen, um zudem zu untersuchen, in Botschaften, wie es bei %itus der Fall ist eher welchem Maße sich durch unterschiedliche im gesamt>lmischen ;onte9t und setzt die spezi>sche 'igenschaften, 'rfahrungen und verwendete Musik in Beziehung zu einer /ber Forwissen @uswirkungen auf das 'rkennen den gesamten Film verlaufenden 'ntwick- musikalischer Bedeutungen ergeben. Aie '9- lung so haben die /beraus Film- oder Musik- pertenbefragungen dienten dabei einerseits erfahrenen nicht unbedingt einen Forsprung dazu die 'rgebnisse einer >lmischen und mu- wenn es um die angemessene )nterpretation sikalischen Filmanal2se hinsichtlich der Frage der >lmmusikalischen Bedeutung eines einge- zu validieren, was bzw0 wie rezipiert werden setzten Musikst/cks geht0 Der Pianist stellt könnte0 Andererseits lieferten sie einen er- hingegen ein Beispiel G/r einen Film dar in gänzenden Fergleich mit den zwei 7uschauer- dem sich die Bedeutung der Filmmusik oft- gruppen bei der Beantwortung der Frage was mals aus ihrer Ferwendung in der Beweiligen bzw0 wie tatsächlich rezipiert wird0 Alle :ro- 1zene ergibt& gerade bei solcher >lmmusikali- banden wurden direkt nach der Beweiligen scher Ferwendung sind bestehende >lmische Filmrezeption miDels Leitfadeninterviews zu oder musikalische 'rfahrungen /beraus n/tz- ihrer >lmmusikalischen Cahrnehmung be- lich um tiefergehende 'insichten zu erlan- fragt0 )hre @ussagen wurden sodann miDels Filmmusik* 'rgänzungen )) $!"+-?!"!". // Medienwissenschaft, +K% !"!" L// V gen. Je eher die Bedeutsamkeit eines einge- kritikav !"+# K% 10 $MasterXs 1tudies..; N<6LO0 setzten Musikst/cks durch ihre Ferbindung „Musikalischer Minimalismus in der zeitge- zum gesamten Handlungsverlauf geprägt ist nössischen amerikanischen )ndependent- desto eher ist auch die entsprechende )nter- Kinematographie.“ pretation ohne direktes 'rkennen des Cerks, d0 h0 rein /ber dessen Uharakter und somit im )n k2rill0 Schri50 ? The dissertation e9plores Sinne eines Anklangs, möglich0 the manifestations of minimalism in music in several e9amples of independent American >lms $G Serious Man N<1@ !""K Airectors: @bhervW 1Wverine L Binh ENgu2enO 4Nrong] L 'than Uoen, Joel Uoen] and The Iard N<1@ Moure José $sous la dir0 de.* Musi-ues de films: !"+" John UarpenterO.0 The dissertation nouveau/ enjeu/* Rencontre sensi&le entre deu/ shows the ways of usage of the music in the arts* Bruxelles: Les )mpressions Nouvelles >lm and the problem of correspondence of !"+- !"V 10 $Uaméras subjectives.. minimalist aesthetics to the basic concepts of the >lms in Ruestion. La musiRue au cinéma semble en pleine phase 1nhalts(&ersicht: 'inG/hrung / V0 ? +0 Musikali- de mutation, et les Ruestions RuXelle soulève scher Minimalismus im Kino L +#0 ? !0 Ameri- passionnent autant les cinéphiles Rue les can )ndependent Uinematograph2 L -"0 ? V0 mélomanes: doit-on préférer les partitions Musikalischer Minimalismus in Filmen. ? Fa- originales ou les musiRues prWexistantes Z des zit / M% ? 6eferenzliste / %" ? Anhänge / %+0 chansons pour commenter lXaction ou des scores pour se fondre dans les images Z com- ment a WvoluW la musiRue >lmée RuXen est-il @ckermann 7eno* 6ocking the culture indus- de ses succès et
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