The research results will lead to different kinds of research products, in both digital and printed formats.
Preliminary research results and in-depth studies of representative topics of the journalistic discourse on film music will be discussed at international conferences, such as the Transnational Opera Studies Conference (Bern, July 2017), the International Music Theory Conference (Vilnius, November 2017), and Musical Moments Conference (Salzburg, March 2018).
Among others, this project intersects with the following topics: a) the critical debate concerning the mechanization of musical instruments in film projections; b) the questions arising from film adaptations of opera and the pluri-medial combination of cinema and music theatre; c) the notion of film rhythm and the dichotomy small-scale rhythm vs. macro-rhythmic (or Eurhythmie) in the film theory and practice of the twenties; d) the relationship of critical activity and compositional practice when it comes to authors like Kurt Weill and Paul Dessau.
The comprehensive investigation of these and other related topics will lead to a monographic treatise on the aesthetics of film music in the silent era. The manuscript will be submitted to a peer-reviewed publisher by the end of the research project.
The digital repository will constitute the documentary section of this aesthetic investigation. It will be operative and accessible online after the evaluation of a pilot phase in the third year of activity. Aside from being hosted on the server of the University of Vienna, a link to the research infrastructure will also be available on major reference websites for both musicology and film studies (such as institutional sites and reference portals).
F. Finocchiaro, Musical Modernism and German Cinema from 1913 to 1933, Basingstoke, Palgrave Macmillan, 2017 [in press]
F. Finocchiaro, Modernismo musicale e cinema tedesco nel Primo Novecento, Lucca, LIM, 2017
F. Finocchiaro, “Musica organica versus musica meccanica”. Un’antitesi metaforica nel dibattito musicale fra le due guerre, in Musica e metafora: storia analisi ermeneutica, edited by F. Finocchiaro and M. Giani, Torino, Accademia University Press, 2017, pp. 117–153
F. Finocchiaro, The ‘Vindobona-Collection’ of the Universal Edition, “Music and the Moving Image”, IX n. 3, Fall 2016, pp. 38–56.
F. Finocchiaro – H. Engelke, Arias and Ensembles in the Film Adaptations of Operas: a Case Study in Silent and Early Sound Cinema, Musical Moments Conference, Salzburg [March 8–10, 2018]
F. Finocchiaro, ‘Der absolute Film’: The Role of Musical Metaphors in the Aesthetic Manifesto of Abstract Cinema, Symposium Novembergruppe, Dessau [March 2–3, 2018]
F. Finocchiaro – H. Engelke, Film Music as a Problem in German Print Journalism (Poster Session), Austrian Society for Musicology, Vienna [November 22–25, 2017]
F. Finocchiaro, “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s, 17th International Music Theory Conference, Vilnius, November 8–10, 2017
F. Finocchiaro, Cinema and Musical Theatre in the Weimar Republic: Two Case Studies, 2nd Transnational Opera Studies Conference, Bern, July 5–7, 2017
F. Finocchiaro & L. Izzo, ‘Metropolis’ di Fritz Lang: la città del futuro nell’età del jazz, International Conference When Jazz Meets Cinema, Lovere (BG), May 5–7, 2017.
F. Finocchiaro,“Il cinema parlante”. Spunti per una drammaturgia della voce da Fritz Lang a Terrence Malick, International Conference La voce mediatizzata, IULM University, Milan, October 27, 2016.
R. Posch (Interview): Die Vollendung des Worttondramas im Stummfilm, «Die Presse-Zeitung», September 30, 2017
Il cinema ritrovato, “Amadeus”, June 2017, pp. 82–85
Radio Interview at RAI Radio3 Suite (May 31, 2017).