Research Article
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Barok Müziğin Filmlerde Kullanımı ve De Wit’in “Keşiş ve Balık” Filmi

Year 2021, , 86 - 96, 15.04.2021
https://doi.org/10.32739/etkilesim.2021.7.119

Abstract

This paper investigates the purpose of using Baroque music in movies and its relationship with the visuals in films. After briefly defining the term Baroque in the context of art, the use of Baroque music in artistic movies by referring to previous academic research will be mentioned. In this way, a gap in the field will be filled as the scholars usually do research on music or classical music in films. Moreover, Baroque music usually serves as a background element or accompaniment for the visuals in the films rather than complete synchronization. Before reaching a general conclusion, Michel Dudok de Wit's awarded animated film The Monk and the Fish (1994) will be the main focus for here. Because in this film, a Baroque music piece, a modified version of Arcangelo Corelli's La Follia is mostly synchronized with the visuals.

Supporting Institution

Tomas Bata University

References

  • Adorno, T. and Eisler, H. (1947). Composing for the films. London: The Athlone Press. ISBN: 9780485121070.
  • Bordwell, D. (1985). Narration in the fiction film. USA: University of Wisconsin Press. ISBN-13: 978-0299101749. ISBN-10: 9780299101749.
  • Brownrigg, M. (2003). Film music and film genre (Unpublished Ph.D. thesis). Philosophy University of Stirling, UK.
  • Chattah, J. (2006). Semiotics, pragmatics, and metaphor in film music analysis (Unpublished Ph.D. thesis). College of Music the Graduate School of Florida State University, USA.
  • Chion, M. (1994). Audio-vision: Sound on screen. New York: Colombia University Press. ISBN: 0-231-07898-6. ISBN. 0-231-07899-4 (pbk.).
  • Cook, N. (1998). Analysing musical multimedia. New York: Oxford University Press. ISBN: 0-19-816737-7.
  • Duchting, H. (1997). Paul Klee: Painting music. Munich: Prestel. ISBN 978-3-791-4750-9.
  • Dudok, M. (1994). Scenes from “The Monk and the Fish”. Wanna Bana Animada (uploader). 14th January 2019. https://www.youtube.com/watch?v=ktGa0fS A6Gg&t =78s. 5 May 2020.
  • Eaton, R. M. D. (2008) Unheard minimalisms: The functions of the minimalist technique in film scores (Unpublished Ph.D. thesis). Faculty of the Graduate School of the University of Texas, USA.
  • Eisenstein, S. (1957). Film sense. New York: Meridian Books. ASIN: B0007EDFVA.
  • Gorbman, C. (1987). Unheard melodies. London: BFI Publishing & USA: Indiana University Press. ISBN: 0-253-20436-4 (pbk.).
  • Hillier, P. (1997). Arvo Pärt. New York: Oxford University Press. ISBN-10: 0198166168. ISBN-13: 978-0198166160.
  • Kandinsky, W. (1946). On the spiritual in art. New York City: The Solomon R. Guggenheim Foundation.
  • Lambert, G. (2004). The return of the baroque in modern culture. London: Continuum. ISBN 0-8264-6648-6.
  • Molinoff, S. (2009). A beautiful language. The Oxonian Review, 9(3), http://www.oxonianreview.org/wp/a-beautiful-language/. 21 May 2020.
  • Mollaghan, A. (2011). The musicality of the visual music film (Unpublished Ph.D. thesis). Department of Theatre, Film and Television Studies University of Glasgow, Scotland.
  • Morrel, B. (2015). How film and tv music communicate. Vol.3. https://www.academia.edu/12628840/How_Film_and_TV_Music_Communicate. 21 May 2020.
  • Nelson, N. (2015). Synaesthesia, harmony and discord in the work of Wassily Kandinsky & Arnold Schoenberg (Unpublished Master Thesis). Master of Arts, History of Art to the School of Humanities, University of Buckingham, UK.
  • Pontara, T. (2014). Bach at the space station: Hermeneutic pliability and multiplying gaps in andrei tarkovsky’s solaris. Music, Sound and the Moving Image. 8(1). doi:10.3828.
  • Stull, M. B. (2015). Understanding the leitmotif: From Wagner to hollywood film music. London: Cambridge University Press. ISBN: 978-1-107-09839-8.
  • Taylor, E. (1989). The AB guide to music theory. London: Associated Board of the Royal Schools of Music. ISBN-10: 1854724460. ISBN-13: 978-1854724465.
  • Vaubel, R. (2005). The role of competition in the rise of baroque and renaissance music. Journal of Cultural Economics, 29(277–297), 291-294. doi: 10.1007/s10824-005-0699-9.
  • Vickhoff, B. (2008). A perspective theory of music perception and emotion (Unpublished Ph.D. thesis). Department of Culture. Aesthetics and Media, University of Gothenburg, Sweden. ISSN: 1654-6261 ISBN 978-91-85974-06-1.

The Use of Baroque Music in Films and De Wit's “The Monk and The Fish”

Year 2021, , 86 - 96, 15.04.2021
https://doi.org/10.32739/etkilesim.2021.7.119

Abstract

This paper investigates the purpose of using Baroque music in movies and its relationship with the visuals in films. After briefly defining the term Baroque in the context of art, the use of Baroque music in artistic movies by referring to previous academic research will be mentioned. In this way, a gap in the field will be filled as the scholars usually do research on music or classical music in films. Moreover, Baroque music usually serves as a background element or accompaniment for the visuals in the films rather than complete synchronization. Before reaching a general conclusion, Michel Dudok de Wit's awarded animated film The Monk and the Fish (1994) will be the main focus for here. Because in this film, a Baroque music piece, a modified version of Arcangelo Corelli's La Follia is mostly synchronized with the visuals.

References

  • Adorno, T. and Eisler, H. (1947). Composing for the films. London: The Athlone Press. ISBN: 9780485121070.
  • Bordwell, D. (1985). Narration in the fiction film. USA: University of Wisconsin Press. ISBN-13: 978-0299101749. ISBN-10: 9780299101749.
  • Brownrigg, M. (2003). Film music and film genre (Unpublished Ph.D. thesis). Philosophy University of Stirling, UK.
  • Chattah, J. (2006). Semiotics, pragmatics, and metaphor in film music analysis (Unpublished Ph.D. thesis). College of Music the Graduate School of Florida State University, USA.
  • Chion, M. (1994). Audio-vision: Sound on screen. New York: Colombia University Press. ISBN: 0-231-07898-6. ISBN. 0-231-07899-4 (pbk.).
  • Cook, N. (1998). Analysing musical multimedia. New York: Oxford University Press. ISBN: 0-19-816737-7.
  • Duchting, H. (1997). Paul Klee: Painting music. Munich: Prestel. ISBN 978-3-791-4750-9.
  • Dudok, M. (1994). Scenes from “The Monk and the Fish”. Wanna Bana Animada (uploader). 14th January 2019. https://www.youtube.com/watch?v=ktGa0fS A6Gg&t =78s. 5 May 2020.
  • Eaton, R. M. D. (2008) Unheard minimalisms: The functions of the minimalist technique in film scores (Unpublished Ph.D. thesis). Faculty of the Graduate School of the University of Texas, USA.
  • Eisenstein, S. (1957). Film sense. New York: Meridian Books. ASIN: B0007EDFVA.
  • Gorbman, C. (1987). Unheard melodies. London: BFI Publishing & USA: Indiana University Press. ISBN: 0-253-20436-4 (pbk.).
  • Hillier, P. (1997). Arvo Pärt. New York: Oxford University Press. ISBN-10: 0198166168. ISBN-13: 978-0198166160.
  • Kandinsky, W. (1946). On the spiritual in art. New York City: The Solomon R. Guggenheim Foundation.
  • Lambert, G. (2004). The return of the baroque in modern culture. London: Continuum. ISBN 0-8264-6648-6.
  • Molinoff, S. (2009). A beautiful language. The Oxonian Review, 9(3), http://www.oxonianreview.org/wp/a-beautiful-language/. 21 May 2020.
  • Mollaghan, A. (2011). The musicality of the visual music film (Unpublished Ph.D. thesis). Department of Theatre, Film and Television Studies University of Glasgow, Scotland.
  • Morrel, B. (2015). How film and tv music communicate. Vol.3. https://www.academia.edu/12628840/How_Film_and_TV_Music_Communicate. 21 May 2020.
  • Nelson, N. (2015). Synaesthesia, harmony and discord in the work of Wassily Kandinsky & Arnold Schoenberg (Unpublished Master Thesis). Master of Arts, History of Art to the School of Humanities, University of Buckingham, UK.
  • Pontara, T. (2014). Bach at the space station: Hermeneutic pliability and multiplying gaps in andrei tarkovsky’s solaris. Music, Sound and the Moving Image. 8(1). doi:10.3828.
  • Stull, M. B. (2015). Understanding the leitmotif: From Wagner to hollywood film music. London: Cambridge University Press. ISBN: 978-1-107-09839-8.
  • Taylor, E. (1989). The AB guide to music theory. London: Associated Board of the Royal Schools of Music. ISBN-10: 1854724460. ISBN-13: 978-1854724465.
  • Vaubel, R. (2005). The role of competition in the rise of baroque and renaissance music. Journal of Cultural Economics, 29(277–297), 291-294. doi: 10.1007/s10824-005-0699-9.
  • Vickhoff, B. (2008). A perspective theory of music perception and emotion (Unpublished Ph.D. thesis). Department of Culture. Aesthetics and Media, University of Gothenburg, Sweden. ISSN: 1654-6261 ISBN 978-91-85974-06-1.
There are 23 citations in total.

Details

Primary Language Turkish
Subjects Communication and Media Studies
Journal Section Research Articles
Authors

Ersin Ertan 0000-0002-0348-9089

Publication Date April 15, 2021
Published in Issue Year 2021

Cite

APA Ertan, E. (2021). The Use of Baroque Music in Films and De Wit’s “The Monk and The Fish”. Etkileşim(7), 86-96. https://doi.org/10.32739/etkilesim.2021.7.119
AMA Ertan E.The Use of Baroque Music in Films and De Wit’s “The Monk and The Fish.” Etkileşim. April 2021;(7):86-96. doi:10.32739/etkilesim.2021.7.119
Chicago Ertan, Ersin. “The Use of Baroque Music in Films and De Wit’s ‘The Monk and The Fish’”. Etkileşim, no. 7 (April 2021): 86-96. https://doi.org/10.32739/etkilesim.2021.7.119.
EndNote Ertan E (April 1, 2021) The Use of Baroque Music in Films and De Wit’s “The Monk and The Fish”. Etkileşim 7 86–96.
IEEE E. Ertan, “The Use of Baroque Music in Films and De Wit’s ‘The Monk and The Fish’”, Etkileşim, no. 7, pp. 86–96, April 2021, doi: 10.32739/etkilesim.2021.7.119.
ISNAD Ertan, Ersin. “The Use of Baroque Music in Films and De Wit’s ‘The Monk and The Fish’”. Etkileşim 7 (April 2021), 86-96. https://doi.org/10.32739/etkilesim.2021.7.119.
JAMA Ertan E. The Use of Baroque Music in Films and De Wit’s “The Monk and The Fish”. Etkileşim. 2021;:86–96.
MLA Ertan, Ersin. “The Use of Baroque Music in Films and De Wit’s ‘The Monk and The Fish’”. Etkileşim, no. 7, 2021, pp. 86-96, doi:10.32739/etkilesim.2021.7.119.
Vancouver Ertan E. The Use of Baroque Music in Films and De Wit’s “The Monk and The Fish”. Etkileşim. 2021(7):86-9.