Constructions and transgressions of music in the series of historical background

Main Article Content

Teresa Piñeiro Otero

Abstract

Music plays an essential role in the viewing experience of the viewer. Although in the audiovisual story the image is the conscious focus of attention, music provides a series of effects, sensations or meanings that add value to the narrative and are projected as part of the visual discourse. Among the functions of audiovisual music stands out the one of creating convincing atmospheres of time or place. This function of "local color" acquires particular relevance in the series of epoch due to its possibility of giving realism to its setting. At a time when television productions have increased their technical and artistic quality, the selection / creation and use of music has acquired a special projection in the construction of the audiovisual story. In this sense, the object of the present work has been to make an approximation to the use of music in the previous time series, especially in regard to pre-existing themes. An approach that has allowed to point out different trends in the design of the scoring paying attention to their fidelity.

Downloads

Download data is not yet available.

Metrics

Metrics Loading ...

Article Details

How to Cite
Piñeiro Otero, Teresa. 2018. “Constructions and transgressions of music in the series of historical background”. Vivat Academia. Journal of Communication, no. 144 (September):95-110. https://doi.org/10.15178/va.2018.144.95-110.
Section
Research Articles
Author Biography

Teresa Piñeiro Otero, Universidade da Coruña

Degree in Advertising and Public Relations from the University of Vigo and a PhD in Communication from the same university. Professor at the Department of Sociology and Communication Sciences of the University of A Coruña. He has oriented his research towards the new sound manifestations in the network, as well as the new narratives in the field of convergence. In this line he has made a research stay on music in the series at the Costantini Sound Chair, of the University of Buenos Aires, with an Ibero-American Scholarship from Santander Universities.

References

Altman, R. (2007). Silent Film Sound. New York: Columbia University Press.

Brown, R. S. (1994). Overtones and Undertones: Reading Film Music. Berkeley: University of California Press.

Calderón, D.; Gustems, J. & Duran, J. (2016). La música y movimiento en Pixar: Las UST como recurso analístico. Vivat Academia. Revista de Comunicación, 136, 82-94. doi: https://doi.org/10.15178/va.2016.136

Chion, M. (1993). La audiovisión: introducción a un análisis conjunto de la imagen y el sonido. Barcelona: Paidós.

Copland, A. (1988). What to Listen for in Music. New York: McGraw-Hill.

Gorbman, C. (1980). Narrative Film Music. Yale French Studies, 60, 183-203. doi: http://dx.doi.org/10.2307/2930011

Grow, J. (2014). Blood Brothers: Inside the Music of 'The Knick'. Rolling Stone. Retrieved from https://goo.gl/Yv15sp

Jancovich, M. & Lyons, J. (2003). Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute.

Kelly, C. R. (2016). The Toxic Screen: Visions of Petrochemical America in HBO's True Detective (2014). Communication, Culture & Critique, 9(3), 1-19 (Early preview). doi: http://dx.doi.org/10.1111/cccr.12148

Lack, R. (1999). La música en el cine. Madrid: Cátedra.

Piñeiro Otero, T. (2016). Intentions and intersections of classical music in Bryan Fuller’s Hannibal (NBC). L’Atalante, 21, 177-189. Recuperado de https://goo.gl/3qXFph

Powrie, P. & Stilwell, R. (2006). Changing Tunes: The Use of Pre-existing Music in Film. Burlington: Ashgate Publishing Company.

Prendergast, R. (1992). Film Music, A Neglected Art. The history and techniques of a new art form, from silent films to the present days. New York: Norton.

Richardson, J. y Gorbman, C. (2013). The Oxford handbook of New Audiovisual Aesthetics. New York: Oxford University Press.

Samuels, D. W.; Meintjes, L.; Ochoa, A.M. & Porcello, T. (2010). Soundscapes: Toward a sounded anthropology. Annual Review of Anthropology, 39, 329-345. doi: http://dx.doi.org/10.1146/annurev-anthro-022510-132230.

Schafer R. M . (1993). The soundscape: our sonic environment and the tuning of the world. Rochester: Destiny Books.

Schwachter, J. (2010). The Sounds of ‘Boardwalk Empire’. Altantic City Weekly. Retrieved from https://goo.gl/1djX3s

Torelló, J. & Duran, J. (2014). Michel Chion in Audio-Vision and a practical approach to a scene from Andrei Tarkovsky’s Nostalghia. L'Atalante, 18, 111-117. Retrieved from https://goo.gl/d7PV3x

Visa Barbosa, M. (2011). Claves del éxito del personaje psicópata como protagonista en el cine. Vivat Academia. Revista de Comunicación, 116, 40-51. doi: https://doi.org/10.15178/va.2011.116

Whiteley, S. (2004). ‘Introduction’, en Whiteley, S., Bennett A. & Hawkins, S. (Eds.). Music, Space and Place: Popular Music and Cultural Identity (pp. 2-8). Aldershot: Ashgate.

Whittaker, Tom (2012). Mobile soundscapes in the quinqui film, In L. Shaw & R. Stone, (Eds.). Screening songs in Hispanic and Lusphone Cinema (pp.98-113). Manchester, Manchester University Press.

Winters, B. (2010). The non-diegetic fallacy: Film, music, and narrative space. Music and Letters, 91(2), 224-244. doi: 10.1093/ml/gcq019

Wright, R. (2003). Sore vs. Song: Art, Commerce, and The H Factor in Film and Television Music. In I. Inglis, I. (Ed.). Popular Music and Film (pp. 8-21). London: Wallflower Press.