Soviet Film Music / Edition 1

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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

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Editorial Reviews

Slavic Review
Egorova deserves praise...a complex and fascinating subject....The book has some interesting insights.
Moscow Times
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.
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Product Details

  • ISBN-13: 9783718659111
  • Publisher: Taylor & Francis
  • Publication date: 12/1/1997
  • Series: Contemporary Music Studies Series
  • Edition number: 1
  • Pages: 326
  • Product dimensions: 6.14 (w) x 9.21 (h) x 0.69 (d)

Table of Contents

Introduction to the Series
List of Illustrations
Pt. 1 1917-1941 1
1 Music and silent cinema. The alternative: pianist versus composer 3
2 Evolution from the silent to the sound film. The duality of music during this transitional period in film history 13
3 General characteristics of the main types of musical dramaturgy in the 1930s and early '40s 19
4 The symphonic type of dramaturgy 21
5 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 31
6 The formation of other genres in musical cinema 49
7 The development of film music in the cinema of the Soviet Republics 53
8 Elaboration of the idea of sound-visual counterpoint in the film Alexander Nevsky 59
Pt. 2 1941-1958 69
9 The fortunes of film music in the hard times of the War 71
10 Problems of 'song' film 79
11 Extending the bounds of the musical film: initial steps towards mastering the genres of film-opera and film-operetta 89
12 A breakthrough in sound-visual cinema: Ivan the Terrible by Eisenstein and Prokofiev 91
13 Music in the post-war cinema of the late forties and early fifties. The period of imposed compromise and conformism 115
14 Crisis in the genre of musical comedy film 117
15 Music in the role of step-daughter. Multiple music cliches in the genre biographical film 121
16 Russian classical opera and ballet in the cinema of the '50s: new attempts at relationships 125
17 The ideological function of music in the war film 127
18 A wind of change: film music of the post-Stalinist period 133
19 Music in screen versions of works from world literature 137
Pt. 3 1959-1969 143
20 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 145
21 Song in the cinema of the '60s. Crystallization of a monothematic model in the musical drama of the song film 151
22 The mixed and chamber types of musical dramaturgy 157
23 Music by Nadezhda Simonyan and Dmitry Shostakovich in film versions of Chekhov and Shakespeare 167
24 An upsurge of interest in musical cinema. Ways of solving the problem of 'cinema and opera'. Katerina Izmailova by Shostakovich and Shapiro 185
25 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 193
Pt. 4 1970-1985 211
26 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 213
27 Human tragedy as reflected in film music 221
28 Extending the expressive means of film music. A search for new models of stylistic interaction between music and the other components of screen synthesis 229
29 Breakthrough into the future: film music in the work of Artemyev, Schnittke and Gubaidulina in the 1980s 249
30 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 259
Pt. 5 1986-1991 271
31 '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 273
32 The innovative experiments of Alexander Sokurov and Andrei Chernykh: creating a multi-layered polyphonic sound score, and a 'musical' film without music 281
Notes 289
Filmography 297
Index 305
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