МУЗИЧНИЙ ЛЕЙТМОТИВ У КІНОФІЛЬМІ: ОСОБЛИВОСТІ ТЛУМАЧЕННЯ, ФУНКЦІЇ, СЕМАНТИКА

Abstract

The cinematic fiction literature is not too straightforward, as such research requires a specific interdisciplinary approach. Accordingly, some of the narrow aspects of cinema and music are limited to individual works. There are no specific monographic studies on musical leitmotif in cinema, but some Ukrainian scholars (O. But, O. Litvinova, M. Rudakevich, L. Ryazantsev, G. Filkevich, N. Yankovska) have paid attention to this issue in the context of their larger-scale studies.If you refer to foreign literature, traditionally the connoisseur of cinema is called Polish researcher Zofia Lissa. Among modern scientists, the most highly professional contribution to this field was made by Russian researcher Tatiana Shak.The leitmotif principle of musical characterization is borrowed by cinematography in operatic dramaturgy, where it is one of the fundamental ones.Taking into account the basis of the musical-academic tradition and peculiarities of modern-practical application, the musical leitmotif in cinema will be considered a theme or a fragment that sounds at least three times throughout the film, embodying stable semantics — character image, idea, event, phenomenon, phenomenon, event, phenomenon.T. Shak was the first to carry out the classification. The initial principle of classification is an element of musical language, capable of being a representative of a topic-idea. Thus, the author identified seven classification groups of leitmotif.The first group is the leitmotif-complex. This is the largest part of all musical keynotes. The representation function is equally distributed between the main elements of musical language: melody, harmony, rhythm, texture, timbre.The second group — leitmelody. It is a unanimous musical theme in which the melody line is the main expressive means.The third group is leitharmony. It is an individualized musical material with a representative function of harmony and a secondary role of melody. The main expressions of leitharmony are harmony, intervals, chords, harmonic turns, frets, modulations.The fourth group is leitrhythm. The individuality of such musical themes is determined by the rhythmic originality. The visual context in which they function is related to the reproduction of movement, work, pursuit, active action, dance.The fifth group is leittexture. These are topics whose expressiveness is manifested primarily in the aspect of organizing musical texture.Sixth group — leittimbre. This is a type of theme, the individual appearance of which is created mainly by timbre features.The seventh group is the leitmotif-sonor. A representative feature of the theme is the background characteristic, the color of the sound.The screen image of a leitmotif from one or another group is determined by many parameters, first of all the genre of the film, the director’s handwriting, the style of the composer.The leitmotif, like in general of music in cinema, can exist in two basic modes: in frame and voice-over.Based on the analysis of dozens of motion pictures, T. Shak determines the functions that can be performed on the screen by the music leitmotif: 1) information: notification of the appearance of a character, status, event, phenomenon; 2) characteristic: a meaningful complement to the visual image (national, social, emotional and other characteristics); 3) form-making: integration of the video series through music; 4) function of development: transformation of the leitmotif; 5) dramaturgy: expression of the main idea, concept of the work, reflection of the features of the plot and patterns of film dramaturgy, when dramaturgy of musical leitmotifs increases with the dramaturgy of media text.The leitmotif of Davy Jones, who appears in the second and third parts of the Pirates of the Caribbean, is selected for analysis. Hans Zimmer’s leitmotifs made it possible to enclose a wide variety of moods, states, concepts into one musical theme. The leading role in this is the arrangement of the Dave Jones keynote, represented by the sound of a mechanical music box, gentle string sound, human vocalism, confident-decisive organ, pathetically-aggressive orchestra tutti. But all variants are united by the phenomenon of the heart of Davey Jones — a real physical organ; «broken» heart; a synonym for a loving soul; a paired heart-shaped medallion; the captain as the heart of his ship.The leitmotif in the film fulfills all its functions: it announces the appearance of Davy Jones (scene with Calypso); his visual appearance was meaningful (first conversation with Jack; playing organ; scene with Lord Beckett); composite footage, integrate video footage (transition from Calypso’s story to an episode of naval battle); portrayed important dramatic nodes of the film (Theft of the Key; The Calypso Scene; The Final Episode). The function of development, as a transformation of the leitmotif, was originally founded: with each new musical theme, the viewer receives new impressions and additional puzzles to the overall portrait of Davy Jones, aware of the different facets of his character’s development.An exemplary leitmotif organically combines conciseness and maximum content.