By Dean Duncan
From Chaplin’s great use of Wagner within the Gold Rush to the Bach chorale remaining Scorsese’s on line casino, classical tune has performed a desirable position in video clips.
Dean Duncan offers a clean severe survey of the aesthetics of classical tune in movie. Exploring tensions among excessive artwork and advertisement tradition, Duncan examines how administrators quote subject matters and classical passages in genres starting from the Soviet avant garde to Hollywood romances. Drawing on movie thought, musicology, and cultural feedback, he clarifies the connections among very varied artwork kinds.
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Extra info for Charms that soothe: classical music and the narrative film
The latest edition of the New Grove Dictionary (an institution to which we will return at length in the next chapter) has become positively—or at least partially—sympathetic toward film music, allowing its wide range of possibilities and acknowledging it as a worthy object of scholarly and musical attention. It even gives slight ground on the subject of source music. Given such advances in scholarship and interdisciplinary sympathy, we can see that difficult or confusing industrial circumstances have not kept us from a critical best-of-times, and in some ways have contributed to it.
Still, the auteurs themselves and their various expressions will also lead us to weighty aesthetical and historical questions that the industrial run-of-the-mill will seldom summon. Classical quotations frequently do the same, and can thus be seen as sharing the aims of the art film. They practically force these big issues— preenlightenment plenitude, individualistic ideologies, and the myth of the Romantic artist, formal fragmentations and the possibility of far-reaching reconciliations—into the customarily isolated, defensive precincts of romantic music and commercial film.
See for instance his comments on the relations between Mendelssohn’s incidental music to A Midsummernight’s Dream and Shakespeare’s play. Tovey, 1937, IV, 102–9. 8. Sandall, 1994, 19. 9. Gill, 1994, 3. 10. This idea was first and most influentially stated in London, 1936, 37. 11. The title of Claudia Gorbman’s Unheard Melodies: Narrative PLACE OF CLASSICAL MUSIC IN FILM STUDIES 31 Film Music is very suggestive of the subservient, even subjugated status of film music throughout the history of the medium.