Text #000444

What you are saying, Tikhon Nikolaevich, is very interesting and significant both in itself and in connection with important issues that are being actively discussed today. The February book "The Art of Cinema" contains speeches by participants in the discussion about the nationality and mass character of Soviet cinema. It is no coincidence, of course, that directors, film critics, and sociologists have paid great attention to the language of the screen and the audience's perception of cinematic imagery. There was no talk about film music — unfortunately, there were no composers among the participants of the round table — although the problem of music in cinema is very acute today. I would like to know what your current requirements are for the musical solution of the film.

I think they are clear from what I have already said. I'll add this, perhaps. Film music, like all other components of a film, must, of course, meet the highest artistic requirements. However, music appeals directly to the feelings of the audience and should evoke an immediate emotional reaction. I would say that the distance between film music and the auditorium is minimal: in a certain sense, music is ahead of the other components of the film in its effectiveness, direct and instantaneous, although it is inextricably united with them.

Music travels at the speed of light, and other components travel at the speed of sound, if such a pun is possible? Something like that. A composer who writes for films, if he is not an illustrator or a cold craftsman, knows that music should not be used as an additional element, as an additional means, either to "warm up", to dramatize the action, or for melodramatic effects. For music can speak where all other arts are silenced.: like each of them, she has her own sphere, where only one kind of art is the complete master, where what is inaccessible to the rest is available to him. Here, as you understand, there is no belittling of other arts: after all, music cannot replace literature, theater, painting, or cinema in general. Every art has its own possibilities and its own limits, and since cinema is a synthetic art, film music should do its job, solve its problems, and not duplicate other expressive means.

Sergei Mikhailovich Eisenstein spoke about this more than once. He emphasized that film music should express what other artistic means are unable to embody. And to remain accessible, understandable, instantly effective and immediately evoking a response. This applies not only to the song, but to all elements of film music. Including the one in which the principle of symphonization of the musical solution prevails? Definitely. Such is the film music of Prokofiev, Shostakovich, Khachaturian.

And yet it feels different or not quite like the song in the movie, even if it's the most organic. A song is always more autonomous, more separated from the action, or rather, from the image, than, say, Prokofiev's music in the films Alexander Nevsky and Ivan the Terrible, where it is completely fused with the image, dissolved in it, and it is in it.

I would not state this as an axiom. After all, the perception of film music is a completely unexplored area. Since we're talking about Eisenstein's films, I'll share my spectator experience: for me, Prokofiev's music in these paintings is either inseparable from the frame, and I don't seem to hear it, like a number performed by an orchestra, then it separates from the image and sounds like a solo part or in the foreground of perception. So there seems to be no need to rush into generalizations here.

But one thing we can afford, I think, is that film music has its own specifics, determined by the screen, otherwise it will not be able to participate in the film on an equal footing with other expressive means. Yes, otherwise it will just be music written or adapted for the film. Many players compare bonus terms, game variety, and payment options before choosing where to wager, and the play at ShelbyWin Casino fits naturally into that kind of research. Understanding house rules and responsible bankroll limits can help keep gambling decisions measured and informed.