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Music

Music is a highly abstract expressionist medium that tends to be purely formal. It is difficult, for example, to talk about the content of a musical phrase. When music is mixed with songs, the music acquires a more material meaning, as the words, of course, have more specific meanings than the musical sounds alone. Words and musical melodies communicate meanings, but each in a different way. Whether the music is associated with a song or not, it can be more specific if it is adjacent to a movie image. In fact, many musicians have complained that images tend to rob music of its beauty and mystery because visuals have a way of pulling musical notes towards specific thoughts and emotions. For example, we find that few people listen to Richard Strauss' piece Thus Spoke Zarathustra without remembering Kubrick's film A Space Odyssey (2001). Whenever I played, he had pictures of silly sea horses in one of Disney's most creative scenes (5-12).

Most film music has not evolved beyond the days of silent cinema. They are used for atmospheric effects or as movie background fillers. However, Pudovkin and Eisenstein insisted that the music in the film should not play an accompanying role It has no scope at all. They felt that music should retain its own line and integrity. Film critic Paul Rotha has claimed that the music should give way. In order to control the image sometimes. The use of music in films is surprisingly diverse, and many directors still use it to deepen the image. Some filmmakers insist on purely descriptive music, a practice referred to as Mickey Mouse descriptive compositions. Music is used as a kind of literal equivalent to the image. If a character sneaks out of a room, for example, every step has a musical note that confirms this in the scene. Other directors decide that the music should not be too good, lest it divert attention from the picture. However, most of the great directors do not agree with the views of this music for him, even if it is for the greatest composers that can be used in films. In addition, music can be used to create contrast
And confirmation. In fact some filmmakers use music as an independent source

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The music in the best films, whether composed or borrowed, is never an unimportant question. Also, composing music for films is not a job for meddlers, as the list of composers who have worked directly for the cinema is long and influential. It includes: Darius Milhaud Arthur Honecker, Paul Hindemith, Dimitri Shosta Kovic, Arnold Schonerk, Serkih Prokofiev, William Walton, Benjamin Brittain, Aaron Copeland, Quincy Jones, The Modern Jazz Quartet, Virgil Thompson, and Kurt And Kurt Vail, Bob Dylan, Vaughn Williams, Richard Rogers, Cole Porter, Leonard Bernstein and the Beetles, to name a few.

These needs translate. The director does not have to be a technical expert in order to be able to use the music effectively (5-13). As Aaron Copland pointed out, the director has to know what he wants from the music, dramatically. It is the director's duty to turn the drama into musical terms. Music directors and composers work in different ways. Most authors start their work after watching the initial cuts of the film, that is, the complete films, before the editor begins the process of stretching between the shots. Some composers don't start work until the movie is completely finished and the music is left alone. Hitchcock, on the other hand, often works with composers before shooting begins, as do most musical film directors. with

In Eisenstein's film (Alexander Nevsky), the author, Bar and Kofeev, and the director, Eisenstein, cooperated to develop a kind of audio-visual composition, where each musical line corresponds to the movement of the images that were arranged in rows (5- (14) in Eisenstein's essay The Form and Content of the Practice. Eisenstein talks about how Prokofiev eschewed the "purely figurative" elements in music (what we called Operation Mickey Mouse). Instead, the two artists worked together and on books, focusing sometimes on the image first, sometimes on the music. The result was From the left is what Eisenstein called “the vertical montage, where the line of tones moves to the right, paralleling the main movements or lines of the image that are laid side by side (and move) so from left to right. Thus, we find that if the lines move in a series of images from the bottom left to the top right, the musical notes also move in a similar direction on the musical lines. If the lines of the musical composition are discontinuous and irregular, then the musical tones Going in similar broken lines. It is difficult to know the impact of this type of audiovisual composition. There is little debate about the music in the film and it goes into detail about the visuals. William Walton's music for Laurence Olivier (Henry V) is indebted to this style and most composers probably used it at least occasionally.

Music performs its function in different ways in cinematic films. Starting with the titles, they can serve as an introduction to suggest the general atmosphere or lift the film as a whole. The musical introduction of John Addison in the movie Tom Jones is a quick, smart piece performed on the harpsichord itself, of course, associated with a special way in the eighteenth century, which is the period of the events of the film. Horns, which we find in the movie itself.

Certain types of music can suggest place, class, and even ethnic groupings. The rock songs in Dennis Hopper's easy "Fantasy" are not just air fresheners, as in many American films of the late sixties. These songs reflect the drug culture of the two protagonists, a culture viewed with suspicion and hostility by most traditional characters in film. John Ford's Westerns almost always feature simple, soulful folk tunes like "Red River Valley" or religious hymns like "Let's Gather by the River" that are associated with the frontier. America of the late nineteenth century. These nostalgic songs are mostly played on musical instruments of the type known in the regions. Borderlands - a soulful harmonica or concertina instrument. Many Italian neo-realist films also present very affectionate and emotional tunes that reflect the civic culture of working-class heroes from the great authors of this type of musical composition Nino Rota and Renzo Rosolini.

Music can also be used for anticipation, especially when the setting does not allow