Musik im/für den Film: Analyse, Methoden, Perspektiven
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- Subject according curriculum
- Musicology Seminar
- Teachers
- Johanna Jastrinsky
- Scope
- Wed. 15:30-17:30 (s.t.)
- Room
- BP 13 (Seminarraum Schulmusik)
- Duration
- 2 Semesterwochenstunden
- Description
"I have to see a definitive cut of the film before I even start thinking about the music, let alone writing it. After seeing the movie I tell the director what my feelings are and what I would like to do. [...] I have to trust a director and he has to trust the composer." This quote from composer Ennio Morricone describes the symbiosis of film and film music as well as the coexistence of directing and composing quite succinctly. However, film music basically means music in film, i.e. not music composed exclusively for film. It follows that pre-existent music can also play a role in films. In this course, we will examine film music - music in or for film.
The question of the relationship of music to other elements, such as sound, language and image, is one of the fundamental questions of any film music analysis. In addition, various analytical tools, methods, perspectives and research questions from various fields of research, such as popular music research, film music analysis, music history and music ethnography, are taken up and applied in practice in order to convey a more comprehensive understanding of the role and mechanisms of music in film. The first session serves to organize and plan the subsequent sessions.
- Literature
James BUHLER / David NEUMEYER & Rob DEEMER, Hearing the movies. Music and sound in film history, New York 2010; Hans EMONS, Für Auge und Ohr. Musik als Film oder die Verwandlung von Kompositionen ins Licht-Spiel, 2nd edition, Berlin 2012; Manuel GERVINK & Robert RABENALT, eds, Filmmusik und Narration. Über Musik im filmischen Erzählen, Marburg 2017 (Dresdner Schriften zur Musik, Vol. 6); Malte HAGENER & Volker PANTENBURG, eds, Handbuch Filmanalyse, Wiesbaden 2020; Pascal RUDOLPH, Präexistente Musik im Film. Klangwelten im Kino des Lars von Trier, Munich 2022; Michael WEDEL, Der deutsche Musikfilm. Archaeology of a genre 1914-1945, Munich 2007.
- Credits
- 2 Creditpoints
- Comments
The seminar is designed as a face-to-face seminar. It can be taken for 2 CP (attendance and presentation) or 3 CP (+ seminar paper). Proof of performance: Attendance and presentation 2 credits; with seminar paper 3 credits. The seminar takes place weekly.
- Modules
- Wahlmodul 1 Gesang, Wahlmodul Master Dramaturgie, Wahlmodul Master Oper, Musiktheoretisch-/wissenschaftliches Modul 2, Musiktheoretisches/Musikwissenschaftliches Wahlmodul Instrumental, Musikwisenschaft I Lehramt, Musikwissenschaft II Lehramt, Musikwissenschaftliches Modul 1 Kirchenmusik B, Musikwissenschaftliches Modul 1 Komposition/Musiktheorie, Musikwissenschaftliches Modul 1 Master, Musikwissenschaftliches Modul 2 Kirchenmusik B, Musikwissenschaftliches Modul 3 Komposition/Musiktheorie, Promotionsmodul, Wahlmodul freie Wahl (alle Studiengänge), Wahlmodul Lehramt