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1

FOLKLÓRNE PRVKY VO FILMOVEJ HUDBE ŠIMONA JUROVSKÉHO

100%
Gotthardtová K.
Musicologica Slovaca
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2018
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vol. 9 (35)
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issue 2
271 – 300
EN
This paper is devoted to the film music of the Slovak composer Šimon Jurovský (1912– 1963), in the context of the film music composed in Slovakia from the 1940s to the 1960s. A closer analysis is made of selected films, in which Jurovský used musical elements taken from the folk milieu: Varúj! (1947), Pole neorané (1953), Žena z vrchov (1955), Posledná bosorka (1957), Zemianska česť (1957). The musical analysis addresses the treatment of folk songs and the use of musical means which introduced a folk idiom into film music. Attention is drawn to the connections of music with image and the characterisation of individual characters using folklore elements (musical motifs, songs, musical instruments).
2

'FIERY RIVERS'. ANALYSIS OF THE FILM MUSIC

88%
Lexmann J.
Musicologica Slovaca et Europaea
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2006
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vol. 25
239-272
EN
The only sound of the artistic documentary 'Fiery Rivers' is music. It represents real sounds, in its final version it works as timbre music, and functions on both the artistic and stylistic levels. The organization of tone source is dodecaphonic, atonal; the position, the instrumentation, and colouring sense of sequence of the intervals are determined in the composition of the sound cluster groups. Picture and music in the film work analogously on the principle of the intermodal and synesthetic qualities.
3
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ENNIO MORRICONE, ITALSKÝ WESTERN A POPULÁRNÍ ŽÁNRY. SKLADATEL V SOCIOKULTURNÍM A PRŮMYSLOVÉM KONTEXTU ITALSKÉ KINEMATOGRAFIE 60. – 70. LET

75%
Švabenický J.
Slovenské divadlo (Slovak Theatre)
|
2015
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vol. 63
|
issue 2
140 - 153
EN
This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyses music styles, genres and levels that the composer used in his compositions for popular genres such as western all'italiana (western in the Italian style), spionaggio all'italiana (spy film in the Italian style), guerra all'italiana (war film in the Italian style), giallo all'italiana (detective film in the Italian style) or poliziesco all'italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience.
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