Research Results

6-f992_no13_02-1-copia
Jede Woche Musik, Berliner Tageblatt, 15 January 1927 (Staatsbibliothek zu Berlin – Preußischer Kulturbesitz)

The research findings 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 have been 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 in authors like Kurt Weill and Paul Dessau.

The comprehensive investigation of these and other related topics will lead to a monographic treatise on the historical aesthetics of film music in the silent era, which is expected for 2020.

The digital open access repository FMJ Archive constitutes the documentary section of this aesthetic investigation. Aside from being hosted on the server of the University of Vienna, a link to the database will also be available on major reference websites for both musicology and film studies (such as institutional sites and reference portals).

 

Digital Products

FMJ Archive, edited by Francesco Finocchiaro, DOI 10.25365/phaidra.38

 

Publications

F. Finocchiaro, “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s. In Ratio versus Intuitio, «Principles of Music Composing», XVII, 2018

F. Finocchiaro, “Der absolute Film”: Über die musikalischen Metaphern im ästhetischen Manifest des abstrakten Films. In Novembergruppe 1918: Studien zu einer interdisziplinären Kunst für die Weimarer Republik, edited by Nils Grosch, Münster, Waxmann, 2018, pp. 181–193.

F. Finocchiaro, Musical Modernism and German Cinema from 1913 to 1933, Basingstoke, Palgrave Macmillan, 2017

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.

 

Conference Papers & Presentations

F. Finocchiaro, Aporien der Filmrestaurierung: Die musikalischen Dokumente der Stummfilm-Zeit zwischen Medienarchäologie und Marktgesetzen, Austrian Musicological Society, Vienna, 6–8 December 2018

F. Finocchiaro – H. Engelke, Film Music as a Problem in German Print Journalism (Project Presentation), Jahrestagung der Gesellschaft für Musikforschung, Universität Osnabrück, September 25–28, 2018

H. Engelke, „Kriegsecho in der Kinomusik“: Zur Rolle der Musik im filmjournalistischen Diskurs, Symposium “Der erste Weltkrieg in der musikwissenschaftlichen Forschung”, Jahrestagung der Gesellschaft für Musikforschung, Universität Osnabrück, September 26, 2018

F. Finocchiaro, Film Music as a Problem in German Print Journalism (Poster Session), International Association of Music Libraries, Archives, and Documentation Centres, Leipzig, July 22–27, 2018

H. Engelke, (Wie) Kann man Oper verfilmen? – Kritische und künstlerische Statements aus der ersten Hälfte des 20. Jahrhunderts, “Film Musik Kontexte. Intermediale Referenz in audiovisuellen Medien”, XIII. Symposium zur Filmmusikforschung, Johannes-Gutenberg-Universität, Mainz, June 21–23, 2018

H. Engelke, Die hybride Stellung der Musik zu den Opernverfilmungen der Stummfilmzeit, “Viele Wege, viele Ziele? – Methodische und akademische Praktiken in den Popular Music Studies”, 3rd IASPM D-A-CH Collegium Musicum Populare, University of Vienna, May 25–26, 2018

F. Finocchiaro, Arias and Ensembles in the Film Adaptations of Operas: Some Preliminary Reflections, Musical Moments Conference, University of 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 3, 2018

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.

 

Public Communication

H. Möller (Interview): Eine laute Revolution,«Uni-View Magazin», March 7, 2018

R. Posch (Interview): Die Vollendung des Worttondramas im Stummfilm, «Die Presse-Zeitung», September 30, 2017

F. Finocchiaro, Lo schermo in piazza, “Amadeus”, June 2017, pp. 82–85

Radio Interview at RAI Radio3 Suite, May 31, 2017.