ISSN 1992­5514 (Print) / 2618­0987 (Online) / сс. (pp.) 191–198 УДК 008:7+78.041/.049+791.43/.45 DOI: https://doi.org/10.31500/1992-5514.16.2020.205257 Polina Kharchenko Поліна Харченко Candidate of Sciences in Pedagogy, Associate Professor, Senior кандидат педагогічних наук, доцент, старший науковий Researcher, Academic Secretary of Theory and History of Arts співробітник, учений секретар відділення теорії та історії Department, National Academy of Arts of Ukraine мистецтв Національної академії мистецтв України e-mail: [email protected] orcid.org/0000­0001­9466­5350 Principles of Functional Classification of Music in Cinema Принципи функціональної класифікації музики в кіно Abstract. The article deals with the basic principles of the functional classification of music in contemporary cinema, with the use of new technologies in the process of creating music for movies, and innovations introduced by modern film composers. The basic prin­ ciples of functional classification of music in modern cinema should be considered with regard to systemic, socio­cultural approaches, to the latest developments in cinema studies and musicology, as well as comparative­historical and logical­analytical methods. The main principles of sound and image interaction in cinema are established, being: mutual reinforcement and counterpoint between sound and visual components in film drama, consistency and logic in the development of the storyline and unfolding of the concept of the film, harmonization or intensifying the interaction between the inner sense and perception of this sense by the recipients. The main func­ tions of music in cinema are defined: managing emotions; intensifying artistic communication; creation of intertextuality within the work; “background” support of the main plot line; combining the other components of the structure of the screenplay, including parts of the storyline. Nowadays, the following basic models of interaction of music with a plot function in cinema: illustrative, con­ trast, synchronous, communicative and structural. The basic principles and functions of music in modern cinema, caused by the de­ velopment of compositional practice and changes in filmmaking technologies, are substantiated. The functions of music in cinema determine the certain models of interaction sound and visuals on screen. Keywords: film scoring, principlesand functions of music in cinema, structural components of a film, tasks of film composer, models of film music. Problem statement. Music has always been and re­ First dubbed the “Great Mute” (till the very event mains an integral element of cinema: as an art, based of October 1927 that finally provided cinema its language on time and on the process of coming into being [16], it and sound), cinema was subsequently described as “deaf ”, organically, naturally enters on­screen reality. Artistic syn­ as contemporary theoretician and cinema practitioner Michel thesis, characteristic of cinema, is defined by the very na­ Chion points out [2]. The space on the screen is alienated ture of its language, which lays foundation for the power­ from the audience, the film narrative is subject to perma­ ful impact on the emotions and feelings of the perceivers nent inner reflection and self­sufficiency. According to Iryna and determines unique nature of this art and explains its Zubavina, when sound effects augmentedthe existing inven­ rapid incorporation into the global culture. Since the ear­ tions of silent films, particularly in the field of montage deci­ ly years of cinema and until now the musical component sions during the process of producing a picture, that marked of the soundtrack has been in the focus of attention of both changes in the correlation between temporal and spatial fac­ cinema scholars and practitioners. Film score has certain tors in cinema [12, p. 152–153]. Undoubtedly, these changes meaning for the narrative, has its specific functions, result­ made a significant impact on development of music in cinema ing from the main objectives of interaction with the viewer, and on modifying its functions. its aim and means. The first musical instruments that were played during As it is generally known, the first decades of cinema were the screenings, were aimed to stifle the noise of the pro­ marked with it’s relative silence; relative, because since the in­ jectors; they were mostly compilations: during the picture vention of cinema there were constant, random and often shows live musicians improvised freely on the well­known mostly unsuccessful experiments, aimed to produce sound themes and performed numerous potpourri. Later on, in or­ for the visible picture; also, screenings were accompanied der to increase the influence of the storyline on the viewers by noise and sound effects. (that eventually affected picture shows’ attendance) the film Художня культура. Актуальні проблеми. Вип. 16. Ч. 1. 2020 • 191 • Artistic Culture. Topical issues. Vol. 16. No. 1. 2020 Polina KHARCHENKO Principles of Functional Classification of Music in Cinema scoring was established. Commissioned by the production Analysis of recent research works and publications. studios or directors who had an option to choose the most The features of semiotics, semantics and structure of the films, “apt” tracks out of the samples, proposed by the compos­ as well as film scores, have been studied by the scholars from ers who often remained unknown, scores were subsequently the various fields of the humanities. Studies by the scholars performed by the soloists, small ensembles and later on— since the 1920s till the 1960s (Grigori Aleksandrov, Sergei by symphonic orchestras. Eisenstein, Vsevolod Pudovkin regarding sound in pictures; Film scores of the time were performed without re­ Aleksei Losev—regarding the philosophy of music; and Yuri hearsals, literally “reading from the sheet”. Thus,the tradition Lotman regarding aesthetics and semiotics of cinema) set of musical accompaniment to the motion pictures was estab­ ground for researching the functional features of the film lished: the scores of the musical pieces that were to accompa­ scores. T. Korganov and I. Frolov [13], Z. Lissa [15], and John ny the premieres in the big cities’ movie theaters, were passed Howard Lawson specifiedthe elements of structure of a film, forward to the provincial towns; the performers usually got the functions of film scores, defined developmental stages them right before the screening. Film scores gradually won of theory and history of cinema, as well as those of sound films. admirers among the viewers and proponents of sound in di­ Daniel Banda et José Moure [1], Gilles Deleuze [10], recting. Hence, historically, at first film scores originated out Jean Mitry [20], and Ukrainian researchers V. Horpenko [9], of practical necessity (a need to stifle the unwelcome noise) I. Zubavina [11; 12], O. Musiienko [21; 22], H. Chmil and from the desire to intensify the influence of the screen and N. Korabliova [31] revealed the form of synthesis of arts art on the viewers. in contemporary cinematography, showed the influence Sound era in cinema had a rocky start, as the silent mov­ of modernism, avant­guarde, and postmodernism on the main ies were already acclaimed, had certain semantic uniqueness, genre and style characteristics of the films fromthe second were established and successful in operating its artistic means, half of the twentieth century, as well as the stages of evolution for instance, unique methods and techniques of montage. of audiovisual culture. The genre nature of film scores, its im­ Such notable figures as Alfred Hitchcock and Charlie Chaplin agery and styles, its ties with the drama theatre were covered shared certain doubts regarding the prospects and significance by N. Tarshis [25] and H. Filkevych [26]. Worth mentioning of sound in cinema; later on they changed their mind in favor is their opinion that music as a sublimation of the spiritual ex­ of the sound. All around the world directors Jean­Luc Godard, perience of humankind should be a spiritual center of both David Griffith, Oleksander Dovzhenko, Sergei Eisenstein, dramatic play and film narrative [25, p. 6–12]. Lev Kuleshov, Sergei Parajanov, Vsevolod Pudovkin, com­ Among the studies on contemporary film scores, their posers Isaak Dunayevsky, Edmund Meisel, Sergei Prokofiev, evolution and interpretations by performers, on the inter­ Aram Khachaturian, and Dmitri Shostakovich experiment­ play between classical and contemporary composing prac­ ed in adding sound to the picture, that also resulted in nu­ tices there should be mentioned the publications by Kathryn merous academic studies on the features of cinematic lan­ Kalinak [6], Mervyn Cook [5], David Neumeyer [7], Michel guage. In that way illustrative and counterpoint functions Chion [2; 3; 4], as well as the study by Matt Schrader [33]. of the scores were established [26; 27]. The latter generalizedthe legacy of the composers for US fic­ Eventually, scores archives emerged, where the music tion films and initiated and published a number of interviews was preserved and cataloged according to its nature, tempo, with contemporary composers: Mark Mothersbaugh, Randy and genre. Later on such cataloging lost its significance: re­ Newman, John Powell, Mervyn Warren, James Cameron, cording technologies developed, as well as the new genres and Quincy Jones. S. Khvatova, Ye. Shevliakova [28], of symphonic and subsequently—electronic scores; the styles, A. Chernyshov, [29; 30], and T. Shak [32] published valu­ trends and