意大利著名“电影音乐成分分析理论”应用试微——以电影《海上钢琴师》音乐为例

发布时间：2018-05-17 16:40

本文选题：克雷莫尼尼和卡诺 + 音乐成分分析理论　；参考：《交响-西安音乐学院学报》2010年04期

【摘要】：电影音乐作为一种多重音乐成分交互下的结晶体,单纯靠话语评论和情感交流等常规的职能分析,常常会忽略躲闪于音乐内核中的隐喻。意大利人克雷莫尼尼和卡诺的"音乐成分分析理论"给我们打开了一个不同于以往的全新的认识视角,借用该理论从四个常模功能:话语交流功能、行为和运动功能、情感表达功能、社会交互功能,对电影音乐大师莫里康宁指导下的作品《海上钢琴师》的音乐内核进行分析可以发现,电影音乐诞生于影片内核,音乐只有与影像配合时,其所内包的具象隐喻才更容易被表达。电影音乐既能唤醒观众的情绪同步,又能给观众提供情绪解读、交流、宣泄、交互等外包服务,从而生产出具有丰富延展性的听觉审美体验。
[Abstract]:Movie music, as a kind of crystallization under the interaction of multiple musical components, is usually ignored by the conventional functional analysis such as discourse review and emotional communication. The Italian Cremonini and Cano's "Music component Analysis Theory" opens up a completely new perspective of understanding from four normal functions: speech communication function, behavior function and motor function. Emotional expression function, social interaction function, the analysis of the music kernel of the film music master Morri Corning's work "the Marine pianist" can be found that the film music is born in the film core, and the music only matches with the image. The figurative metaphors contained in them are more easily expressed. Film music can not only awaken the emotional synchronization of the audience, but also provide the audience with emotional interpretation, communication, catharsis, interaction and other outsourcing services, so as to produce a rich auditory aesthetic experience.
【作者单位】：陕西师范大学教育学院;
【分类号】：J617.6

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