This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.

This chapter presents the form of the Analytical Short Film (ASF), its functions for communication, education and research and criteria for its validity. Embedded is a fundamental reflection about the relations between something whole and its parts to give reasons for dealing with blurredness in both, practice in lessons and video practice.

The thesis analyses film music and its use in Music lessons in the first grades of Primary school. The theoretical section focuses on characteristics, types and specifics of film music. It also briefly elaborates on the history of film music, both Czech and worldwide, and contains information about life and work of significant musical composers from this focus area. This section also analysis the approach to including film music in education for the first grades in Primary school, with respect to the curriculum framework and musical textbooks. Practical part consists of methodical material, in which film music is integrated into Music lessons in the first grade of Primary school. Methodical material is divided into chapters based on Primary school grades. KEYWORDS film, music, film music, music education, first grades of Primary school, methodology of music education

Arbetets fokus är på atonalitet och tonalitet och hur dessa tonspråk påverkar fyra individer med en musikutbildning känslomässigt. Frågeställningens bakgrund består av tre grundparametrar som belyser känslor, tonal och atonal musik samt hur olika tonspråk tolkas till visuell media. En audiovisuell artefakt har skapats bestående av två olika kompositioner; en atonal och en tonal komposition som sedan har synkroniserats med en egen producerad kortfilm. Undersökningen har sedan genomförts med ett test där fyra respondenter fick lyssna och titta på den audivisuella artefakten. Detta test följdes sedan upp med en semi-strukturerad intervju som behandlade de fyra respondenternas upplevda känslor och deras förhållande till känslospektrumet; ångest, spänning och oförmågan av att slappna av. Utifrån resultatet av undersökningen påvisades en skillnad i upplevda känslospektrum mellan den respondent som besatt en erfarenhet och en vana av atonal musik och de övriga respondenterna. Det intressanta i denna upptäckt handlar om möjligheten att det inte är utbildning i sig som är avgörande för hur olika individer tolkar olika tonspråk, utan att en väg för att uppskatta atonal musik är en kombination av erfarenhet, vana och utbildning, för att kunna skapa en förmåga att se bortom generella stereotyper för musik. I en framtida och mer omfattande undersökning skulle ett fokus kunna läggas på de centrala begreppen erfarenhet och vana inom målgruppen utbildade; för att undersöka närmare om dessa upptäckter stämmer eller om det är tillfälligheter för denna studies resultat. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p><p>There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.</p>

Cette version du mémoire a été tronqué des éléments de composition originale. Une version plus complète devrait être rendue disponible sous peu pour les membres de la communauté de l’Université de Montréal. / Ce mémoire est une comparaison sonore de 4 adaptations cinématographiques du même roman: L'Invasion des profanateurs (1955) de Jack Finney. J’y parle de la technologie audio que chacun des films a employé. J’essaye de comprendre et de démontrer comment cette évolution technologique a pu contribuer à faire évoluer différents aspects sonores tels que le style musical, le foley, et le design sonore. J’ai d'abord comparé les 4 films de manière plus général en me concentrant sur les thèmes musicaux, l’utilisation du foley pour faire peur, le Jump Scare et le design sonore. Ensuite, je me suis concentré sur 4 scènes communes que j’ai analysé plus en détail. Ce mémoire donne une vision partielle de l’évolution sonore dans les films de sciencefiction. / This Thesis is a sound comparison between four movies inspired by the same novel : The Body Snatchers (1955) by Jack Finney. I talk about the audio technology that each movie used and how it has contributed in the evolution of the musical style, the foley, and the sound design. At first, I compare the 4 movies in a general way : the musical themes, the use of the foley to scare the audience, the Jump Scare, and the sound design. Then, I chose 4 common scenes that I analyze more in details. This thesis gives a partial view of the evolution of sound in science fiction movies.

Диссертация посвящена актуальной и мало разработанной теме, касающейся современной киномузыки, осмысленной в свете проблемы диалога и взаимодействия элитарной и массовой культур. В работе дается анализ философских,_социологических, культурологических трудов по избранной проблематике. Большое внимание уделено анализу специфики музыки в современном массовом кино (преимущественно в зарубежном) и сделаны выводы о различных путях диалога и взаимодействия элитарной и массовой культур и об использовании музыки в концептуальном, жанрово-стилевом и техническом аспектах. Работа содержит самостоятельный проект «ParkScreen», касающийся деятельности Екатеринбургского парка культуры и отдыха им. В. Маяковского (ЦПКиО), в котором автор предлагает возвратиться к традициям летних концертов и киносеансов, объединяюших интересы людей разных поколений, в целях культурного отдыха и культурного обмена внутри Уральского региона. / The dissertation is devoted to a topical and poorly developed topic related to modern film music, comprehended in the light of the problem of dialogue and interaction between elite and mass cultures. The work provides an analysis of philosophical, sociological, culturological works on the selected problems. Much attention is paid to the analysis of the specifics of music in modern mass cinema (mainly in foreign cinema) and conclusions are drawn about various ways of dialogue and interaction between elite and mass cultures and about the use of music in conceptual, genre-style and technical aspects. The work contains an independent project "ParkScreen" concerning the activities of the Yekaterinburg Park of Culture and Leisure named after V. Mayakovsky (Central Park of Culture and Leisure), in which the author proposes to return to the traditions of summer concerts and film shows, uniting the interests of people of different generations, for the purpose of cultural recreation and cultural exchange within the Ural region.

Die theoretische Auseinandersetzung mit Musik vergangener Epochen löst in Schule und Musikhochschule selten Begeisterung aus. Zu weit scheint sie wegzuführen von den typischen Hörgewohnheiten und der Musizierpraxis junger Menschen. Doch gerade populäre Gegenwartsmusik bietet eine Vielfalt an Möglichkeiten, Schüler*innen und Studierende an Inhalte von Musikwissenschaft und historisch informierter Musiktheorie heranzuführen, denn Rock, Pop und Filmmusik beziehen sich durch Zitate, tradierte Wendungen und Topoi auf Jahrhunderte europäischer Musikgeschichte. Vor dem Hintergrund der nahezu unbegrenzten medialen Verfügbarkeit von Werken verschiedenster Epochen und Stilrichtungen ergeben sich in diesen Genres zahllose Möglichkeiten der Kombination solcher Elemente. Historische Bezüge in aktueller Musik beinhalten die Chance, junge Menschen für musikalische Strukturen und ihre historischen Dimensionen zu sensibilisieren. Darüber hinaus bietet die Verschmelzung kontrastierender stilistischer Merkmale innovatives Potenzial für das Live-Arrangement mit leistungsheterogenen Gruppen. Anhand kurzer Beispiele werden Einsatzmöglichkeiten populärer Titel in der Unterrichtspraxis vorgestellt. / Theoretical study of the music of past epochs rarely triggers great enthusiasm at schools or conservatories. It seems to lead away from the typical listening habits and musical practices of young people. But contemporary popular music provides many opportunities to introduce students into essential fields of musicology and historically informed music theory. Rock, pop and film music relate to centuries of European music history by using citations, inherited idioms, and topoi. Against the background of unlimited availability of compositions of different epochs and styles in the media, countless opportunities to combine such elements can be observed in these genres. Historical references in current musics provide the chance to sensitize young people for musical structures and their historical dimensions. Furthermore, the fusion of contrasting stylistic characteristics bears innovative potential that teachers can use for live arrangement in school classes and groups with heterogeneous capabilities. This article introduces opportunities of integrating popular titles into teaching practice on the basis of short examples.

As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.

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Text in English / India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)