Творчість Володимира Гронського в контексті традицій української кіномузики

Янковська, Наталія Олександрівна

Творчість Володимира Гронського в контексті традицій української кіномузики

Янковська, Наталія Олександрівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2389

Date: 2017

Abstract:

У дисертації розглядається творчість відомого сучасного українського кінокомпозитора Володимира Гронського. Увагу зосереджено на індивідуальному стилеві митця, творця музики для кіно. Виходячи із теоретичного обґрунтування специфіки цієї музики, з’ясування методологічного підходу до її вивчення, а також традиційного досвіду функціонування музики в українському кінематографі, сформульовано основні творчі засади і принципи українського митця. Представлено результати багатоетапного аналізу музики Володимира Гронського до вибраних фільмів режисерів Олега Бійми і Михайла Іллєнка (аналіз музики на слух для з’ясування загальної музичної драматургії фільму і принципів поєднання музики з іншими елементами в ньому, аналіз партитури для конкретизації музичної мови, складання протоколів для унаочнення функціонування музики у фільмах). Узагальнено риси індивідуального стилю українського композитора, які виявляються в залежності від жанру фільму, його естетики і поетики, і характеризують митця як знавця і поціновувача традиційного досвіду компонування для кіно й водночас сміливого експериментатора згідно вимог і досягнень новітнього кінематографу

Description:

The thesis examined the work of the famous contemporary Ukrainian cinema composer Volodymyr Hronskyi. Attention is focused on the individual style of the artist, the creator of the music for films. Based on the theoretical study of the music specificity, clarifying of the methodological approach to its study and the traditional experience of Ukrainian music functioning in films, the creative principles and basics of the Ukrainian artist were formulated. It is alleged that music is an important part of cinema art. Its role eventually changed and became more complicated, showing its great expression potential and demonstrating a close relationship with the national culture. Music coexists and interacts on the screen with speech, noise, images within the same space. This should be considered, analyzing the artistic phenomenon of film music. From the musicological perspective, is important that film music is specific, created originally as functional and therefore requires a special approach to its interpretation. Theoretical provisions relating to the specific film music developed primarily by foreign film critics and musicologists and is related to its division into intraframe and voice-over, i.e. the music within the depicted world and music as accompaniment to cinema action, with models of relationships between music and cinema images when it goes about the maximum dependence of music on image and its independence, the interpretation of film music as media music, with cinematic-musical techniques, with considerations of film music system impact on a viewer. Considering these theoretical positions in the analysis of Ukrainian cinema music was primarily aimed at shaping of traditional practical tasks and functional tasks, which filmmakers placed on music so that to justify the traditional and the innovative nature of the works of prominent Ukrainian cinema composer Volodymyr Hronskyi. It was stated that Ukrainian music in the movie at all stages of its development played a crucial role and performed various functions. The traditions include: the important role of the song; spreading of the genre of melodrama; musicality thinking to reveal the plot on screen, building individual fragments, in the plasticity of frames; building a musical drama on the opposition and collision of contrasting musical images and use of leitmotifs; disclosure of dramatic conflicts with generalized symphony means; use of folk instruments and singing as a manifestation of spirituality; experimentation with sound using synthesizers; lyricism, saturated melodic line of film music. The main principles of the composer Volodymyr Hronskyi were highlighted: the movie is a total work of many other works; trust to “live instruments”, because every musician, conductor complements music with their talent, temperament, artistry; emphasis on music counterpoint regarding imagery; music theme has to be introduced gradually to work to a climax. Volodymyr Hronskyi builds logically consistent musical concept in the works with psychologically heightened content, identifying the talent of melodist, which was most notable in the films “The Sin”, “The Crime with Many Unknowns”, “The Trap”. These films combine the drama of the story with the psychological conflict, drawing attention to the inner world of the characters, melodramatic element. The plots of these films are musically dramatized considering other levels of the film as a synthetic product. The special features of musical drama in the film "Sin" refer to intertextual mixture of original music that is written for the movie with that of the opera “Longing” by Jacomo Puccini. Together with director, the composer set to music an important stage task of demonstrating the internal action of the film, depicting the flow of heroes’ inner drama. In the film “The Trap”, music serves as the narrator. In “The Crime with Many Unknowns”, it supports tense conflict and past criminal history roots. In collaboration with director M. Illienko, Volodymyr Hronskyi created the phonosphere of the film, reaching such a level of expression with his music that it sometimes dominates the visual level of imagery.

Show full item record