MÜZİKAL FİLM-KONSERİN EKRAN GÖSTERİMİNİN MODERN BİÇİMLERİNDE İLETİŞİM STRATEJİSİ

Öz

Bu çalışmanın amacı, Avrupa kültür geleneklerinde, özellikle Fransa (Paris) ve Avusturya’da (Viyana) akademik müzik sanatının ekran sunumu biçimi olarak film-konserin iletişim stratejisinin özelliklerini karşılaştırmak ve belirlemektir. Araştırmada, ses-görsel analiz, yapısal-kompozisyonel bir yöntem ve video sekansının mikroanaliz unsurları kullanılmıştır. Materyal, halka açık çevrimiçi erişimde bulunan konser etkinliklerinin (hem solo hem de topluluk performansları) ekran versiyonlarından oluşmaktadır. Çalışma, film-konserin belgesel ve sanatsal ifade ilkelerini bütünleştiren bağımsız bir medya çoğaltma biçimi olarak geliştiğini ortaya koymuştur. Tür yapısı, film çekimi, kurgu ve mekânsal çözümlerin yorumlayıcı faktörler olarak işlev görmesiyle, görsel dilin artan estetikleşmesini göstermektedir. Video montajının karakteri, açı seçimi, kare süresi ve ışık vurguları, performans alanının sanatsal organizasyonu için araçlar olarak işlev görür. Ekran formatı, müziğin algılanmasını yalnızca işitsel değil, aynı zamanda görsel bir deneyim olarak da etkileyerek; odaklanmış çerçeveleme, performans ayrıntılarına artırılmış erişim ve perspektif çeşitliliği yoluyla algıyı genişletmektedir. Analiz, konser filminin, kameranın sanatçı ve izleyici arasında aracı görevi gördüğü çok açılı, çok katmanlı bir yapı kazandığını göstermiştir. Sonuç olarak, izleyicinin rolü dönüşüme uğrar; doğrudan dinleyiciden, uzaktan da olsa görsel olarak etkileşimde bulunan bir katılımcıya dönüşür. Sonuçların pratik önemi, çağdaş müzik yönetimi, medya eğitimi ve akademik sanatın ekran sunumuna uygulanabilirliğinde yatmaktadır.

Anahtar Kelimeler

• Tür yapısı
• sanatsal düzenleme
• izleyicinin rolü
• müzikal iletişim
• konser filmi

COMMUNICATIVE STRATEGY IN MODERN FORMS OF SCREEN DEMONSTRATION OF A MUSICAL FILM-CONCERT

Öz

The aim of this study was to compare and identify the features of the communicative strategy of the film-concert as a form of screen presentation of academic musical art in European cultural traditions, particularly in France (Paris) and Austria (Vienna). The research employed audio-visual analysis, a structural-compositional method, and elements of microanalysis of the video sequence. The material comprised screen versions of concert events – both solo and ensemble performances – publicly available online. The study found that the film-concert has developed as an independent form of media reproduction that integrates principles of documentary and artistic expression. Its genre structure demonstrates the increasing aestheticisation of visual language, with filming, editing, and spatial solutions functioning as interpretative factors. The character of video montage, the selection of angles, frame duration, and the use of lighting accents act as tools for the artistic organisation of performance space. The screen format influences the perception of music not only as an auditory but also as a visual experience, enhancing audience reception through focused framing, improved access to performance details, and multiple interpretive perspectives. The analysis showed that the concert film acquires a multi-angle, multi-layered structure in which the camera serves as a mediator between performer and viewer. Consequently, the role of the viewer is transformed – from a direct listener to a remote yet visually engaged participant. The practical significance of the results lies in their applicability to contemporary music directing, media education, and the screen presentation of academic art.

Anahtar Kelimeler

• Genre structure
• artistic organisation
• role of the viewer
• musical communication
• concert film

Kaynakça

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