• Kathryn Kalinak

Unheard melodies: narrative film music by Gorbman, Claudia. Publication date 1987 Topics Motion picture music Publisher. Borrow this book to access EPUB and PDF files. IN COLLECTIONS. Books to Borrow. Books for People with Print Disabilities. Internet Archive Books. Scanned in China. Book Reviews. Claudia Gorbman. Unheard Melodies: Narrative Film Music. London: BFI Publishing; Bloomington, Indiana: Indiana University. Reviewed by Richard Littlefield. Music analysts who have ventured into film theory, only to be let down by anemic interpretations of film music, will find a refreshing.Missing.

Principles of Film Music

From Claudia Gorbman’s “Unheard Melodies: Narrative Film Music”. 1987, Indiana University Press.

I. ‘Invisibility’: The technical apparatus of nondiegetic film music must not be visible.

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II. ‘Inaudibility’: Music is not meant to be heard consciously. As such it should subordinate itself to dialogue, to visuals – i.e., to the primary vehicle of the narrative.

III. Signifier of emotion : Soundtrack music may set specific moods and emphasize particular emotions suggested in the narrative, but first and foremost is a signifier of emotion itself.

IV. Narrative cueing:

• Referential / narrative: music gives referential and narrative cues, e.g., indicating point of view, supplying formal demarcations, and establishing setting and characters.
• Connotative: music ‘interprets’ and ‘illustrates’ narrative events.

Kathryn Kalinak

V. Continuity: music provides formal and rhythmic continuity – between shots, in transitions between scenes, by filling ‘gaps’.

VI. Unity: via repetition and variation of musical material and instrumentation, music aids in the construction of formal and narrative unity.

VII. A given score may violate any of the principles above, providing the violation is at the service ot the other principles.

Cheers,

Alain