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Analytické Přístupy K Filmové Hudbě Na Příkladu Díla Vladimíra Síse

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Analytické Přístupy K Filmové Hudbě Na Příkladu Díla Vladimíra Síse MASARYKOVA UNIVERZITA Pedagogická fakulta Katedra hudební výchovy Analytické přístupy k filmové hudbě na příkladu díla Vladimíra Síse Disertační práce Brno 2019 Vedoucí práce Autor prof. Michal Košut, Ph.D. Mgr. Ondřej Musil Bibliografický záznam MUSIL, Ondřej. Analytické přístupy k filmové hudbě na příkladu díla Vladimíra Síse. Brno, 2019. Disertační práce. Masarykova univerzita. Vedoucí práce: prof. Michal Košut, Ph.D. Anotace Cílem práce je vytvoření kompilace různých přístupů k analýze filmové hudby. Předpokladem kvalitního hodnocení jsou nejen znalosti jejího vývoje, ale také její specifické funkce v rámci filmu, k nimž se řadí i rovina sémantická nebo psychologická. Vybraná teoretická východiska jsou poté konfrontována s výsledky analýzy hudebních filmů Vladimíra Síse. Dvoufázová analýza spočívá v hudebním a filmovém rozboru filmů a v jejich vzájemné komparaci s důrazem na změny funkce hudby a jejího obsahotvorného potenciálu. Výsledky analýzy poukazují jak na typické znaky hudebního doprovodu filmů, tak na jeho specifické užití v Sísových filmech. Významným výstupem práce je také její didaktický přesah. Včetně kapitoly o pedagogických aspektech filmové hudby je jím prostoupena i interpretace výsledků analýz. Výstupy práce proto mohou posloužit jak vědeckým, tak vzdělávacím účelům. Klíčová slova filmová hudba, hudební film, hudební analýza, filmová analýza, vizualizace, hudební vzdělávání, Vladimír Sís Abstract The aim of the thesis is to create a compilation of various approaches to film music analysis. A prerequisite for quality evaluation is not only the knowledge of its development, but also its specific functions within the film, which also include the semantic or psychological context. The selected theoretical background is then confronted with the results of the analysis of music films by Vladimír Sís. The two-stage analysis is based on both musical and film analysis and their mutual comparison with the emphasis on functional changes of music and its content-forming potential. The results of the analysis show the typical features of the musical accompaniment in films as well as its specific use in Sís’ films. An important output of the thesis is also its didactic use. Including the chapter on pedagogical aspects of film music, the interpretation of the analyzes’ results is also focused on its didactic potential. Therefore, the outputs of the work can serve both scientific and educational purposes. Keywords film music, music film, music analysis, film analysis, visualization, music education, Vladimír Sís Prohlášení „Prohlašuji, že jsem disertační práci vypracoval samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“ V Brně dne 30. dubna 2019 Ondřej Musil Poděkování Děkuji prof. Michalu Košutovi, Ph.D., za vedení práce, cenné rady, trpělivost a víru ve zdárné dokončení práce, dále Paulu Christiansenovi, Ph.D., za inspiraci a konzultace k anglické terminologii a filmovým referencím. Velký dík patří České televizi za laskavé poskytnutí archivních obrazových materiálů, bez nichž bych se při psaní práce neobešel, Mgr. Mileně Tomanové, Ph.D., za korekturu velké části textu, rodině a mým nejbližším za bezmeznou podporu a všem ostatním, kteří se jakkoli podíleli na zdárném dokončení práce. OBSAH Úvod ................................................................................................................................. - 7 - 1. Filmová hudba ....................................................................................................... - 11 - 1. 1. Nástin vývoje filmové hudby ............................................................................ - 11 - 1. 1. 1. Mezinárodní kontext .................................................................................. - 11 - 1. 1. 2. Domácí produkce ........................................................................................ - 35 - 1. 2. Žánrové a kompoziční pozadí filmové hudby .................................................. - 46 - 1. 3. Hudba ve spojení s obrazem ............................................................................. - 64 - 1. 4. Sémantické přesahy filmového doprovodu ....................................................... - 76 - 1. 5. Umělecké předpoklady filmové hudby ............................................................. - 91 - 1. 6. Hudba jako součinitel působení filmu ............................................................ - 103 - 1. 7. Filmová hudba ve vzdělávání ......................................................................... - 115 - 1. 7. 1. Kurikulární a institucionální zázemí ......................................................... - 115 - 1. 7. 2. Didaktická a metodická východiska ......................................................... - 122 - 2. Hudební film ........................................................................................................ - 132 - 2. 1. Životopisné filmy ............................................................................................ - 136 - 2. 1. 1. Příklady filmů a jejich didaktické uchopení ............................................. - 137 - 2. 2. Opera, opereta, muzikál .................................................................................. - 142 - 2. 3. Další filmové žánry ......................................................................................... - 147 - 3. Metodologie výzkumu ......................................................................................... - 151 - 3. 1. Předmět a cíl výzkumu ................................................................................... - 151 - 3. 2. Výzkumné otázky ........................................................................................... - 152 - 3. 3. Metody a kritéria analýz ................................................................................. - 153 - 4. Prezentace a analýza výzkumného materiálu .................................................. - 155 - 4. 1. Rhapsody in Blue ............................................................................................ - 155 - 4. 1. 1. Hudební analýza ....................................................................................... - 155 - 4. 1. 2. Filmová analýza ........................................................................................ - 166 - 4. 1. 3. Komparace a shrnutí ................................................................................. - 173 - 4. 2. Antonín Dvořák: Symfonie č. 9 e moll, op. 95. „Z Nového světa“ ................ - 175 - 4. 2. 1. Hudební analýza ....................................................................................... - 175 - 4. 2. 2. Filmová analýza ........................................................................................ - 192 - 4. 2. 3. Komparace a shrnutí ................................................................................. - 202 - 4. 3. Bohuslav Martinů: Otvírání studánek ............................................................. - 204 - 4. 3. 1. Hudební analýza ....................................................................................... - 204 - 4. 3. 2. Filmová analýza ........................................................................................ - 217 - 4. 3. 3. Komparace a shrnutí ................................................................................. - 226 - Závěr ............................................................................................................................ - 229 - Resumé ......................................................................................................................... - 232 - Summary ...................................................................................................................... - 233 - Zusammenfassung ...................................................................................................... - 234 - Prameny a literatura .................................................................................................. - 235 - Literární zdroje ......................................................................................................... - 235 - Internetové zdroje ..................................................................................................... - 241 - Partitury a audiovizuální zdroje ................................................................................ - 243 - Seznam notových ukázek ........................................................................................... - 244 - Seznam obrázků .......................................................................................................... - 246 - Příloha (DVD) ............................................................................................................. - 247 - ÚVOD Film a hudba představují dvě vzájemně se ovlivňující oblasti lidské tvůrčí činnosti. I když lze v tomto případě hovořit zároveň o dvou různých způsobech uměleckého vyjadřování, vystupuje audiovizuální charakter filmových produktů jako standard dnešní televizní a kinematografické produkce. Za stoleté působení filmového umění vznikla řada odborných i populárně-naučných publikací zabývajících se filmovou hudbou. Týkají se jak jejích vývojových proměn, tak hlubšího průzkumu mimohudebních charakteristik,
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