{"title":"音乐也有特效","authors":"Julian Caskel","doi":"10.59056/kbzf.2023.17.p149-178","DOIUrl":null,"url":null,"abstract":"\nMusic as special effect: »perfect« and »imperfect« orchestral performances in fictional and documentary contexts: Musical cues both in fictional and documentary films are not only taken from recordings and performances. They are also part of the pre- and post-production and thus can be described as a specific form of a filmic special effect. Several examples are discussed in which an »imperfect« and a »perfectionistic« version of the same musical work are heard in filmic contexts. Theories of narration and diegetic music can be refined by a comparison of these intentionally produced examples of non-intentional musical errors. \n","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"23 5","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Musik als Special Effect\",\"authors\":\"Julian Caskel\",\"doi\":\"10.59056/kbzf.2023.17.p149-178\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nMusic as special effect: »perfect« and »imperfect« orchestral performances in fictional and documentary contexts: Musical cues both in fictional and documentary films are not only taken from recordings and performances. They are also part of the pre- and post-production and thus can be described as a specific form of a filmic special effect. Several examples are discussed in which an »imperfect« and a »perfectionistic« version of the same musical work are heard in filmic contexts. Theories of narration and diegetic music can be refined by a comparison of these intentionally produced examples of non-intentional musical errors. \\n\",\"PeriodicalId\":446915,\"journal\":{\"name\":\"Kieler Beiträge zur Filmmusikforschung\",\"volume\":\"23 5\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-09-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Kieler Beiträge zur Filmmusikforschung\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.59056/kbzf.2023.17.p149-178\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kieler Beiträge zur Filmmusikforschung","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.59056/kbzf.2023.17.p149-178","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Music as special effect: »perfect« and »imperfect« orchestral performances in fictional and documentary contexts: Musical cues both in fictional and documentary films are not only taken from recordings and performances. They are also part of the pre- and post-production and thus can be described as a specific form of a filmic special effect. Several examples are discussed in which an »imperfect« and a »perfectionistic« version of the same musical work are heard in filmic contexts. Theories of narration and diegetic music can be refined by a comparison of these intentionally produced examples of non-intentional musical errors.
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