Soviet Film Music

By: Tatiana Egorova

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Hardcover | 23 December 1997 | Edition Number 1

At a Glance

Hardcover
326 Pages

Dimensions(cm)
23.39 x 15.6 x 1.91

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In the years 1917 to 1991, despite unfavorable prevailing conditions, there were outstanding achievements in the music created for the cinema in the Soviet Union. Perhaps in no other country was film music associated with so many distinguished composers: Sergei Prokofiev, Dmitry Shostakovich, Isaak Dunayevsky, Georgy Sviridov, Aram Khachaturian, Alfred Schnittke, Nikolai Karetnikov, Edward Artemyev, Edison Denisov, and Sofia Gubaidulina. They were ready to accept film directors' invitations because they considered the cinema to be a perfect laboratory for testing the concepts and themes for future operas, symphonies, oratorios, and other large-scale compositions. A remarkable characteristic of Soviet film music was the appearance of successful director - composer collaborations, such as the famous 'duets' of Eisenstein - Prokofiev, Kozintsev - Shostakovich and Tarkovsky - Artemyev. This fascinating volume is the first attempt at a historical analysis of Soviet film music - a unique and full

Industry Reviews

"Egorova deserves praise...a complex and fascinating subject....The book has some interesting insights." -Slavic Review "The first comprehensive survey covering cinema composers from the period 1917 to 1991....Egonova's book is worthwhile....Egorova's work pays off. As well as giving the enthusiast a valuable body of information, she inspires a desire to see and hear the films discussed." -The Moscow Times

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Introduction to the Series
List of Illustrations
Preface
Acknowledgements
1917-1941	p. 1
Music and silent cinema. The alternative: pianist versus composer	p. 3
Evolution from the silent to the sound film. The duality of music during this transitional period in film history	p. 13
General characteristics of the main types of musical dramaturgy in the 1930s and early '40s	p. 19
The symphonic type of dramaturgy	p. 21
The role of music in creating a mythicised image of socialism. Song in the service of ideology: the musical film comedies of Alexandrov and Pyriev	p. 31
The formation of other genres in musical cinema	p. 49
The development of film music in the cinema of the Soviet Republics	p. 53
Elaboration of the idea of sound-visual counterpoint in the film Alexander Nevsky	p. 59
1941-1958	p. 69
The fortunes of film music in the hard times of the War	p. 71
Problems of 'song' film	p. 79
Extending the bounds of the musical film: initial steps towards mastering the genres of film-opera and film-operetta	p. 89
A breakthrough in sound-visual cinema: Ivan the Terrible by Eisenstein and Prokofiev	p. 91
Music in the post-war cinema of the late forties and early fifties. The period of imposed compromise and conformism	p. 115
Crisis in the genre of musical comedy film	p. 117
Music in the role of step-daughter. Multiple music cliches in the genre biographical film	p. 121
Russian classical opera and ballet in the cinema of the '50s: new attempts at relationships	p. 125
The ideological function of music in the war film	p. 127
A wind of change: film music of the post-Stalinist period	p. 133
Music in screen versions of works from world literature	p. 137
1959-1969	p. 143
Change of fortune. New means of expression in the language of film music. Evolution from sound-musical illustration towards the creation of an integral film sound-world	p. 145
Song in the cinema of the '60s. Crystallization of a monothematic model in the musical drama of the song film	p. 151
The mixed and chamber types of musical dramaturgy	p. 157
Music by Nadezhda Simonyan and Dmitry Shostakovich in film versions of Chekhov and Shakespeare	p. 167
An upsurge of interest in musical cinema. Ways of solving the problem of 'cinema and opera'. Katerina Izmailova by Shostakovich and Shapiro	p. 185
The zenith of musical achievements in the directors' cinema of the '60s: music for the films The Shadows of Our Forgotten Ancestors, Andrei Rublev and No Ford in the Fire	p. 193
1970-1985	p. 211
The rise and fall of film music in the period of stagnation. The problem of choice: the semi-official film, the commercial 'hit' or auteur cinema	p. 213
Human tragedy as reflected in film music	p. 221
Extending the expressive means of film music. A search for new models of stylistic interaction between music and the other components of screen synthesis	p. 229
Breakthrough into the future: film music in the work of Artemyev, Schnittke and Gubaidulina in the 1980s	p. 249
The cinema musical: a change in orientation. A transition from the classics to the revue film and the musical. The First Soviet screening of a rock-opera	p. 259
1986-1991	p. 271
'Black wave' aesthetics and music. The crisis of film music under conditions of intellectual and spiritual depression in society, and the development of tough naturalist cinema in the period of the disintegration of the Soviet Union	p. 273
The innovative experiments of Alexander Sokurov and Andrei Chernykh: creating a multi-layered polyphonic sound score, and a 'musical' film without music	p. 281
Notes	p. 289
Filmography	p. 297
Index	p. 305
Table of Contents provided by Blackwell. All Rights Reserved.

Soviet Film Music

At a Glance

Hardcover

Industry Reviews

Shipping

How to return your order

Defective items

You Can Find This Book In

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