Към дефинирането на екранната музика
On the definition of screen music

Summary/Abstract: This article is part of a recently accomplished collaborative research project entitled Music in the Screen Text, realized by a Study Group with the Music Department at the Institute of Art Studies. Having in mind the fact that the subject is less developed in both Bulgarian musicology and Bulgarian film studies, the article introduces some basic theoretical issues concerning aspects of screen music as a particular component within the multiple cinematographic phenomenon observed in the field of cinema, television, music video, etc. Main issues discussed here relate to: 1) the origin of the relationship between music and film screen, based on the logics of time and motion – categories that are equally essential to the arts of music and the moving image; 2) the functional theory of film music; 3) the concept of diegesis which points to the specific nature of film narrative (and respectively, the latter’s components) differing from other narrative forms; 4) methodological perspectives in the study of audiovisual matters. The terminological discussion refers to observations, systematised in works by film music theorists such as Zofia Lissa, Philip Tagg, Alexander Chernyshev, Tatiana Shak, among others. However, it is argued that there is no universal film theory that exhausts all aspects of the cinematographic phenomenon. Instead, there are many works whose coherence dwell on a variety of theoretical matters. This state of affairs does not exclude theories concerning screen music. More over, the interdisciplinary profile of the subject can hardly be locked in any universal theory valid to all possible dimensions of music as a component within the synthesis of screen text.

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