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From the very beginning of cinema, music has played a crucial role in filmmaking, yet it is often viewed by critics as a low-grade art form. Most film score composers have classical training and create music for both film and concert halls. The roots of film music can be traced back to the romantic musical era, positioning symphonic film scores as a form of program music influenced by visual narratives rather than traditional subjects like poetry or landscapes. Film music does not need to be subordinate to its film; a well-crafted score can enhance a film's impact through its unique musical language. Despite its significance, film music is still not fully recognized as a distinct genre worthy of regular concert performances. Prejudices persist, labeling it as overly simplistic, industrial, and cliché-ridden. This volume explores the nature of film music and its relationship with classical music. It examines contemporary perceptions of film music, its potential to stand alone in concert settings, and its connections to other musical genres from the 19th and 20th centuries. Contributions from various experts enrich this exploration, shedding light on the evolving status of film music.
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Film in concert, Sebastian Stoppe
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- Année de publication
- 2014
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