Musical Design of Film under Conditions of Technological Transformation of Cinematic Sound: Ukrainian and Foreign Experience
DOI:
https://doi.org/10.32461/2226-3209.2.2026.362402Keywords:
musical design of film, film music, cinematic sound, audiovisual art, technological transformation, digital editing, spatial sound, integrated soundtrack, Ukrainian cinemaAbstract
The purpose of the work is to determine the specific features of musical design of film under conditions of technological transformation of cinematic sound on the basis of a comparison between Ukrainian and foreign experience. Attention is focused on the influence of digital editing, electroacoustic processing, and spatial reproduction on timbre, texture, intonational organisation, genre-stylistic features, and functions of music, as well as on its interaction with speech, noise, pause, and the general sound structure of film. The methodology of the work combines historical-musicological, art studies, cultural studies, comparative, functional, and source-based analysis. The historical-musicological method is used to clarify changes in the functioning of film music; the comparative method is applied to compare Ukrainian material related to folkloric-intonational sources, national memory, and folk instrumental tradition with foreign studies of the integrated soundtrack, spatial sound, digital synchronisation, and audiovisual perception. Functional analysis makes it possible to characterise the emotional-psychological, compositional-structural, genre-stylistic, characterising, symbolic, memorial, ethnocultural, rhythm-forming, editing-organisational, and receptive action of music in film. The scientific novelty lies in substantiating musical design of film as an artistically, technologically, and communicatively mediated component of contemporary audiovisual art. The article proposes a comparison of Ukrainian and foreign scholarly experience, which reveals differences between folkloric-intonational, memorial, genre-stylistic, technological, and receptive approaches to the analysis of film music. Conclusions. The technological transformation of cinematic sound changes not only the methods of recording, editing, and reproducing music, but also the nature of its participation in the artistic organisation of an audiovisual work. Ukrainian experience actualises intonational continuity, song tradition, folk instrumental timbre, and cultural memory, whereas foreign experience deepens the analysis of the integrated soundtrack, spatial sound, digital editing, and the interaction of music with noise, speech, and pause.
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