Music in cinema and problems of synthesis of arts

Abstract

The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.