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Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J

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Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J 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 )) $!"+-?!"!". // Medienwissenschaft, +K% !"!" /// ! Filmrezeption miDels Leitfadeninterviews zu ihrer >lmmusikalischen Cahrnehmung be- fragt0 )hre @ussagen wurden sodann miDels Rualitativer )nhaltsanal2se untersucht und – A – verglichen. Betrachtet man die 'rkenntnisse welche sich aus den Fergleichen der 6ezep- tionsanal2sen ergeben, so wird deutlich dass @bend Janine* Rezeption von Filmmusik: Eine bei der 6ezeption dieser beiden Filme die e9- empirische ntersuchung anhand der Filme tradiegetische Musik im Allgemeinen von "#er Pianist$ und "%itus$ unter &esonderer Be' :ersonen ohne ausgeprägte >lmische oder r(cksichti!un! der musikalischen Sym&olik* musikalische Forbildung recht unbewusst Aiss. Hamburg: <niversit(t Hamburg !"+, wahrgenommen wird0 Je mehr die musikalis- F))) -!M $+. 10; N<6LO0 che 'bene aber ihre 'ntsprechung auch in der Handlung selbst wieder>ndet desto eher ist +usammenfassun!: )nnerhalb der bisherigen auch bei ihnen ein Bewusstsein /ber die mit- Filmmusikforschung liegt der Fokus allzu o5 tels Musik transportierten Bedeutungsgehalte allein auf der Filmmusik selbst0 Aas 'rfassen gegeben. Grundsätzlich sind alle Befragten einer >lmischen @ussage sowie von Bedeu- dazu in der Lage sich weitergehende Gedan- tungsgehalten und Wirkungen der eingesetz- ken dar/ber zu machen, welche wesentlichen ten Musik erfolgt dabei aber immer durch den Botschaften durch die diegetisch eingesetzte 6ezipienten, der das Cahrgenommene in Be- Musik zum @usdruck kommen oder auch wie ziehung zu eigenen 'rfahrungen und 'rwar- diese Musik im Film eingesetzt ist0 Für ein tungen setzt0 7iel der vorliegenden <ntersu- tiefgreifenderes Ferständnis ist es allerdings chung war es deshalb tatsächliche Cahrneh- von entscheidender Bedeutung ob ein 7u- mungsweisen der 7uschauer in einem mög- schauer nachhaltige >lmische oder musikalis- lichst nat/rlichen 6ezeptionskonte9t zu erfor- che :rägungen in den 6ezeptionsprozess ein- schen. Anhand der Filmbeispiele Der Pianist bringt um somit /ber eine Uharakterisierung $!""!. von 6oman :olański und %itus $!""M. der Musik hinaus auch in der Musik liegende von Fredi M0 Murer wurde in einer Rualitati- 12mbolik und Bedeutungszusammenhänge ven Studie ermiDelt inwiefern der 7uschauer aufzugreifen. Aie mit steigendem Lebensalter insbesondere G/r den Handlungsverlauf be- gesammelten ;enntnisse und 'rfahrungen sonders bedeutsame Filmmusik wahrnimmt G/hren dabei nicht durchgängig zu <nter- sowie die darin zu verortenden Bedeutungs- schieden im 'rkennen musikalischer Bedeu- zusammenhänge erkennt und mit dem Ge- tungen, d/r5en aber einen nicht zu unter- schehen im Bild verknüp50 Aazu wurden zwei schätzenden 'influss besitzen. Ceiterhin zeigt Stichproben von 7uschauern in verschiede- sich unabhängig von den durch die 6ezipien- nen Altersgruppen $B/ngere und ältere 'r- ten eingebrachten 'rfahrungen, dass auch die wachsene) sowie eine kleine '9pertengruppe Struktur und Ferwendung der musikalischen herangezogen, um zudem zu untersuchen, in 'bene im Film selbst daf/r verantwortlich ist welchem Maße sich durch unterschiedliche in welcher Ceise die Bedeutungen wahrge- spezi>sche 'igenschaften, 'rfahrungen und nommen werden: 4ransportiert der Film seine Forwissen @uswirkungen auf das 'rkennen Botschaften, wie es bei %itus der Fall ist eher musikalischer Bedeutungen ergeben. Aie '9- im gesamt>lmischen ;onte9t und setzt die pertenbefragungen dienten dabei einerseits verwendete Musik in Beziehung zu einer /ber dazu die 'rgebnisse einer >lmischen und mu- den gesamten Film verlaufenden 'ntwick- sikalischen Filmanal2se hinsichtlich der Frage lung so haben die /beraus Film- oder Musik- zu validieren, was bzw0 wie rezipiert werden erfahrenen nicht unbedingt einen Forsprung könnte0 Andererseits lieferten sie einen er- wenn es um die angemessene )nterpretation gänzenden Fergleich mit den zwei 7uschauer- der >lmmusikalischen Bedeutung eines einge- gruppen bei der Beantwortung der Frage was setzten Musikst/cks geht0 Der Pianist stellt bzw0 wie tatsächlich rezipiert wird0 @lle :ro- hingegen ein Beispiel G/r einen Film dar in banden wurden direkt nach der Beweiligen Filmmusik* 'rgänzungen )) $!"+-?!"!". // Medienwissenschaft, +K% !"!" L// V dem sich die Bedeutung der Filmmusik oft- @chmetšin )lmir @zatovib* Muzykal2ny0 mini' mals aus ihrer Ferwendung in der Beweiligen malizm v sovremennom amerikanskom nezavi' 1zene ergibt& gerade bei solcher >lmmusikali- simom kinemato!ra,e Ncdefghij klmein scher Ferwendung sind bestehende >lmische copgqris* 3456789:;6< =>;>=89>5= ? @A?' oder musikalische 'rfahrungen /beraus n/tz- BC=C;;A= 8=CB>78;@7A= ;C58?>@>=A= 7>;C' lich um tiefergehende 'insichten zu erlan- =8DAEB8FCO0 NM0@0-@rbeitO 1ankt-:eterburg: gen. Je eher die Bedeutsamkeit eines einge- 1ankt-:eterburgskiB Sosudarstvenn2B <niver- setzten Musikst/cks durch ihre Ferbindung sitet Magisterskaja programma tMuz2kal'naja zum gesamten Handlungsverlauf geprägt ist kritikav !"+# K% 10 $MasterXs 1tudies..; N<6LO0 desto eher ist auch die entsprechende )nter- pretation ohne direktes 'rkennen des Cerks, „Musikalischer Minimalismus in der zeitge- d0 h0 rein /ber dessen Uharakter und somit im nössischen amerikanischen )ndependent- Sinne eines Anklangs, möglich0 Kinematographie.“ )n k2rill0 Schri50 ? The dissertation e9plores the manifestations of minimalism in music in @bhervW 1Wverine L Binh ENgu2enO 4Nrong] L several e9amples of independent American Moure José $sous la dir0 de.* Musi-ues de films: >lms $G Serious Man N<1@ !""K Airectors: nouveau/ enjeu/* Rencontre sensi&le entre deu/ 'than Uoen, Joel Uoen] and The Iard N<1@ arts* Bruxelles: Les )mpressions Nouvelles !"+" John UarpenterO.0 The dissertation !"+- !"V 10 $Uaméras subjectives.. shows the ways of usage of the music in the La musiRue au cinéma semble en pleine phase >lm and the problem of correspondence of de mutation, et les Ruestions RuXelle soulève minimalist aesthetics to the basic concepts of passionnent autant les cinéphiles Rue les the >lms in Ruestion. mélomanes: doit-on préférer les partitions 1nhalts(&ersicht: 'inG/hrung / V0 ? +0 Musikali- originales ou les musiRues prWexistantes Z des scher Minimalismus im Kino L +#0 ? !0 Ameri- chansons pour commenter lXaction ou des can )ndependent Uinematograph2 L -"0 ? V0 scores pour se fondre dans les images Z com- Musikalischer Minimalismus in Filmen. ? Fa- ment a WvoluW la musiRue >lmée RuXen est-il zit / M% ? 6eferenzliste / %" ? Anhänge / %+0 de ses succès et de ses impasses, de ses con- ventions et de ses audaces Z :our 2 répondre cet ouvrage a convoRuW des spWcialistes inter- @ckermann 7eno* 6ocking the culture indus- nationau90 Uhercheurs infatigables, mais aus- tr2Lperforming breakdown0 :ink Flo2dXs He si amateurs passionnés, ils ouvrent de nou- Iall and the termination of the postwar era0 velles perspectives en interrogeant les [uvres )n* Popular Music and Societ) V, + !"+! 10 +? elles-mêmes, anciennes ou rWcentes, pour !V0 RuXelles rWvèlent leurs secrets et leurs trésors. The article offers a conte9tual interpretation Au cinéma populaire américain et de lXindus- of :ink Flo2dXs The Iall. )t proceeds from the trie boll2woodienne BusquXau9 exemples plus h2pothesis that as a multi-media arti>ce con- cinéphiliRues de
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