At the Open Day of the University of Vienna’s Department of Musicology, Francesco Finocchiaro and Henriette Engelke talked about silent film music, dwelling on music literature for cinematic use, performative practices, and critical reception. The pianist Elena Minetti played rare mood music pieces drawn from the Sam Fox Moving Picture Music (1913-14) by John S. Zamecnik.
“Greta spricht!” – In den 1930er Jahren revolutionierte der Tonfilm das Kino. Doch was bedeutete dieser Umbruch für die Filmmusik? Musikwissenschafter Francesco Finocchiaro sucht im journalistischen Diskurs der Stummfilm-Ära nach Antworten und macht seine Funde digital zugänglich.
Hanna Möller’s article on the FMJ Proejct is now available on Uni:View Magazin.
The FMJ Project has adhered to the Music Criticism Network.
The Music Criticism Network, managed by Massimiliano Sala, is a center for the dissemination and interaction of research groups and projects on music criticism. The Network organizes an annual international three-day conference. Furthermore, it provides a vehicle for the dissemination of scholarly works through the Music, Criticism, & Politics series (Brepols Publishers), as well as the Journal of Music Criticism.
The FMJ Project has been inserted into the Kulturerbe digital platform.
Kulturerbe digital is a project of EUBAM, a Working Group at the Institute for Museum Research – Preußischer Kulturbesitz, Berlin, devoted to European matters affecting libraries, archives, museums and monument protection.
Project Assistant Henriette Engelke presented the Research Poster Film Music as a Problem in German Print Journalism (1907–1930) at the Annual Conference of the Austrian Musicological Society 2017, in Vienna, University of Music and Performing Arts, November 22–25, 2017.
The Austrian newspaper Die Presse has just reported on the FMJ Research Project. See Ronald Posch’s Interview with Project Leader Francesco Finocchiaro:
Timothy Brock’s original score for the film Steamboat Bill Jr. by Buster Keaton and Charles Reisner (USA, 1928) has been presented at the Festival ‘Il Cinema Ritrovato’ in Bologna, on June 30th. The work is a true masterpiece, one of the most brilliant and fruitful examples of classic silent film rescored.
Brock’s score can be referred to as an inventory of irony in music: a well-studied balance of humor and melancholy that perfectly sums up the spirit of this film and, more in general, the genius of Buster Keaton.
Francesco Finocchiaro, Il genio di Buster Keaton e il fenomeno Timothy Brock, “Amadeus”, 3 luglio 2017