{"title":"放射性音乐:希尔杜尔的怪异机构Guðnadóttir为电视剧《切尔诺贝利》创作的音乐","authors":"Tore Størvold, J. Richardson","doi":"10.5406/musimoviimag.14.3.0030","DOIUrl":null,"url":null,"abstract":"Abstract:The acclaimed television miniseries Chernobyl (2019) features an eerie soundtrack that musicalizes the silence of radioactivity. Hildur Guðnadóttir’s score is composed of field recordings from a nuclear power plant, treated and fitted together in ways that blur the lines between music and sound design. The immersive qualities of the soundtrack provide television audiences with new means of sensing the invisible ecological consequences of human activity.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"88 1","pages":"30 - 45"},"PeriodicalIF":0.5000,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Radioactive Music: The Eerie Agency of Hildur Guðnadóttir’s Music for the Television Series Chernobyl\",\"authors\":\"Tore Størvold, J. Richardson\",\"doi\":\"10.5406/musimoviimag.14.3.0030\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:The acclaimed television miniseries Chernobyl (2019) features an eerie soundtrack that musicalizes the silence of radioactivity. Hildur Guðnadóttir’s score is composed of field recordings from a nuclear power plant, treated and fitted together in ways that blur the lines between music and sound design. The immersive qualities of the soundtrack provide television audiences with new means of sensing the invisible ecological consequences of human activity.\",\"PeriodicalId\":41714,\"journal\":{\"name\":\"Music Sound and the Moving Image\",\"volume\":\"88 1\",\"pages\":\"30 - 45\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2021-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Sound and the Moving Image\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/musimoviimag.14.3.0030\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Sound and the Moving Image","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/musimoviimag.14.3.0030","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
Radioactive Music: The Eerie Agency of Hildur Guðnadóttir’s Music for the Television Series Chernobyl
Abstract:The acclaimed television miniseries Chernobyl (2019) features an eerie soundtrack that musicalizes the silence of radioactivity. Hildur Guðnadóttir’s score is composed of field recordings from a nuclear power plant, treated and fitted together in ways that blur the lines between music and sound design. The immersive qualities of the soundtrack provide television audiences with new means of sensing the invisible ecological consequences of human activity.
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