An Appreciation of Film Music (2007)
(Parts I & II, English, 2006-2007, 28 Pages)
Author: Payman Akhlaghi
Original Graduate Paper Toward Degree of PhD in Composition
Independent Research Study
Excerpts of a Projected Book on the Subject
Fall 2006 - Winter 2007, UCLA
Free to Read on Scribd
(*) Full bibliography is missing from this version.
Filmmakers and composers discussed or referenced in part include:
Sergei Eisenstein, Andrei Tarkovsky, Ingmar Bergman, Alfred Hitchcock, Claude Lelouch, Fritz Lang, Ennio Morricone, Sergei Prokofiev, Bernard Herrmann, Franz Waxman, Gabriel Yared, et al. A comparison of different cinematic adaptations of Hamlet, as well as a commentary on Eisenstein's experience with Kabuki theater are included.
(*) Excerpts:
[1] Chapter 1
Yellow Wails of the Meadow
In 1928, Sergei Eisenstein (1898-1948) wrote in praise of the Japanese Kabuki for its integration of the different sensory and intellectual elements of theater into a cohesive artistic entity, one that if perceived as it had been instinctually intended, would induce a unified emotional and dramatic effect in the audience. There, he spoke of “a monism of ensemble”, where “sound-movement-space-voi ce … do not accompany (nor even parallel) each other, but function as elements of equal significance.” The Kabuki artist employed the theater as a quasi-synesthetic medium, building “his summation to a grand total provocation of the human brain, without taking any notice which of these several paths he is following.” As he observed, for example, once a character moved to the fore of the stage, ever further away from a surrendered castle, his movement was conveyed and accentuated in four stages of removal: [...]
[2] The Lives of the Others (Das Leben der Anderen)
This film is one of the latest examples of an essentially prominent role for the music in the plot. As part of the story, a young playwright has just finished reading a seemingly published score by Edition Peters—in reality, an original composition by the film’s composer—at the piano. The score was a farewell gift to him from a fellow East German intellectual, before his committing suicide. The cover of the score reads in German, “Sonata for a Good Man”. In lines that directly reflect the Platonic argument on the purifying effect of music on the young souls, the character turns to his lover and asks her rhetorically, “How could anyone who truly hears this music be a bad person?” Unbeknownst to him, this moment has just been shared by another person, a Stasi surveillance officer who has been monitoring their apartment in secret. The music becomes a catalyst of transformation, and afterwards, [...]
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(*) Payman Akhlaghi is a composer, pianist, and piano teacher, who offers piano lessons -- and lessons in composition and sightsinging -- in Western Classical and Pop, as well as Persian music, covering the Greater Los Angeles area, including Beverly Hills, West LA, Santa Monica, Brentwood Culver City, Encino, and their surrounding neighborhoods. Payman holds a BA and an MA both in Music (Composition) from UCLA, and he's currently working on his dissertation toward the degree of PhD, also in Composition. For information on lessons at your home, or performance engagements, please call:
(310) 208-2927
or send an email to
Piano Lessons Covering the Greater Los Angeles Area
Classical, Pop, Film, Persian Music
Solo Piano Performance at Private Recitals, Weddings, Receptions, etc.
پیمان اخلاقی آهنگساز، پیانیست و آموزندۀ فن نوازندگی پیانو، مقیم لس آنجلس است. پیمان دارای مدارک لیسانس و فوق لیسانس در رشتۀ آهنگسازی از یو سی ال ای است، و در حال حاضر مشغول کار بر تز دکترای خویش در همین رشته است. در صورتی که مایل به کسب اطلاعات بیشتر پیرامون تدریس در منزل خود و یا ارائۀ برنامه در کنسرت ها و مراسم عروسی یا اردوور هستید، لطفا با شماره تلفن یا ایمیل زیر تماس حاصل کنید:
(310) 208-2927
[Payman Akhlaghi, (Peyman Akhlaghi), پیمان اخلاقی, Akhlagi, Aklagi, Aklaghi]
[Classical Music, Aacademic Paper, Graduate Studies, Free to Read]
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