Theory of Film Music 1

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The history of film music extends to the beginnings of film but does not cover the entirely the history of sound film. At the moment of the start of film with sound there was a certain habit in the use of music film, which co-formed the creative procedures and expectations of the audiences. This first custom, is emphemeral and therefore is difficult to understand. It created the aesthetic requirement for the start of film music.

Music in film was at its beginnings the object of many experiments in which we will cover particular, Pudovinkin, Lang, and Claire. Some of these various film music styles, in spite of the theoretical attractiveness were not embraced as standards for use in film. As well we will be devoted to the beginning of the so called classic Hollywood style which eventually became the most influential and common manner of use of music in film. Then we will, in an outline, research the development of these early types of film music, their disappearance and re-birth. Part of the course will be a multitude of examples illustrating individual tendencies and aesthetic principles.

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1. Style and aesthetic requirement of film music. Survey and presentation of narrative music approaches with an emphasis on the romantic current of program music and older traditions of music forms.

2. Music in the silent film period

3. Beginnings of sound film I. Germany, Lang (M. Das Testament des Dr. Mabuse), Pabst (The Three Penny Opera).

4. Beginnings of sound film II. France

5. Beginnings of sound film III. The Soviet Union

6. Beginnings of sound film IV. USA

7. Classic Hollywood style I

8. Classic Hollywood style II.

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