{"id":23404,"date":"2022-04-27T00:00:00","date_gmt":"2022-04-26T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2022\/04\/27\/musique-et-cinema\/"},"modified":"2024-08-15T09:45:08","modified_gmt":"2024-08-15T07:45:08","slug":"musique-et-cinema","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2022\/04\/musique-et-cinema","title":{"rendered":"Musica e cinema"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/760px-Affiche_de_film__L.htmlcharsetutf-8\" alt=\"\" width=\"554\" height=\"448\" \/><figcaption class=\"wp-caption-text\">Particolare della locandina del film \"L'assassinio del Duca di Guisa\" del 1908. Fonte : <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Affiche_de_film_%C2%AB_L%27Assassinat_du_Duc_de_Guise_%C2%BB.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia commons<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>J\u00e9r\u00f4me Rossi, specializzato da circa quindici anni nello studio della musica per film e autore di numerose partiture per il cinema e la televisione, presenta un vasto panorama delle possibilit\u00e0 di analisi della musica per film, includendo i principali metodi utilizzati in questo campo dalla musicologia e dalla semiologia musicale. L'approccio avviene a diversi livelli: la percezione da parte del pubblico e le associazioni di idee, il ruolo narrativo della musica, la sua interazione con altre fonti sonore (voce, rumore) o la scenografia, ecc. Gli aspetti da affrontare sono innumerevoli, dalle ragioni della presenza o dell'assenza della musica all'impatto drammatico di una discrepanza tra musica e immagine, dalle questioni terminologiche all'uso di opere preesistenti. I musicisti possono essere particolarmente interessati alla descrizione delle procedure di strutturazione formale (micro e macro), alla gestione della tensione e del rilassamento, all'organizzazione dei parametri musicali e al loro significato contestuale, o all'uso dei leitmotiv. Basata su un'ampia selezione di circa 550 film, questa nuova imponente opera di sintesi di Sym\u00e9trie, pubblicata nell'ambito della serie 20-21 dedicata alla musica degli ultimi 100 anni, far\u00e0 la gioia dei cinefili che desiderano comprendere meglio le funzioni della musica in relazione all'immagine.<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/05_crit_buch_Mettraux1-1.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>All'inizio della storia del cinema, molte produzioni si ispirarono immediatamente all'arte teatrale, per quanto riguarda la gestualit\u00e0 e la mimica degli attori, le scenografie e i costumi e i soggetti ripresi. Poich\u00e9 all'epoca non esisteva la tecnologia del sonoro cinematografico, ogni accompagnamento musicale veniva eseguito dal vivo. Fondato nel 1908, Le Film d'art gir\u00f2 scene storiche e teatrali e commission\u00f2 le prime composizioni scritte espressamente per i film (tra cui quella di Saint-Sa\u00ebns per <em>L'assassinio del Duca di Guisa<\/em>), che spesso assomigliavano alla musica di scena tradizionale e non avevano nulla a che vedere con le partiture che sarebbero state create nell'era del cinema sonoro. Pubblicata dalle Editions l'\u0152il d'Or, questa raccolta di studi sui legami tra teatro, musica e cinema nella Francia precedente la Prima Guerra Mondiale comprende anche una serie di documenti (una filmografia del Film d'Art, con alcune sinossi, una corrispondenza del suo direttore, una sceneggiatura inedita di Mounet-Sully, ecc.) Il libro, riccamente illustrato, \u00e8 accompagnato da due DVD contenenti 20 film restaurati (tre dei quali con versioni moderne dell'accompagnamento musicale originale).<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/05_crit_buch_Mettraux2-1.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>J\u00e9r\u00f4me Rossi: L'Analyse de la musique de film, 732 p., \u20ac 48,00, Editions Sym\u00e9trie, Lyon 2021, ISBN 978-2-36485-100-9<\/em><\/p>\n<p>De la sc\u00e8ne \u00e0 la pellicule, Th\u00e9\u00e2tre, musique et cin\u00e9ma autour de 1900, a cura di R\u00e9my Campos, Alain Carou, Aur\u00e9lien Poidevin, 328 p., 2 DVD, \u20ac 39,00, Editions l'\u0152il d'Or, Paris 2021, ISBN 9782490437122<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Analisi della musica da film, accompagnamento sonoro agli albori del cinema: il rapporto tra musica e settima arte \u00e8 stato recentemente oggetto di due libri.<\/strong><\/p>","protected":false},"author":1,"featured_media":23405,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This 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