Post Wagnerism's Meta Language in Modern Film Music | ||||
| مجلة علوم وفنون الموسيقى | ||||
| Volume 52, Issue 3, July 2024, Page 1357-1373 PDF (870.46 K) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/jfma.2024.292194.1890 | ||||
 View on SCiNiTO | ||||
| Author | ||||
Marwan Fawzi 
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| Helwan University | ||||
| Abstract | ||||
| This paper is trying to defy and oppose itself; actually, I am trying to prove my own hypothesis wrong. This hypothesis states that post Wagnerism is a revolt sharp reaction towards the creative doctrine of Richard Wagner, yet this paper is going to try proving that post Wagnerism, at least in the most loud and visible medium of composing, Film music is nothing but a creative recycling to the same doctrine. For all music history, film and art in general scholars the potent impact of Richard Wagner’s stylistic works film music is undeniable. Whether the early scores of the talking movies or at the height of commercial success of blockbusters in 80s and 90s till the present day as well. You can spot the “W” effect everywhere, orchestral triumphant passages, borrowed harmonic formations, usage of certain instruments in the orchestra. Even thinking of composing with that Grande architectural attitude thus, John Williams for example cannot deny the Wagner influence even if not visible at first glance, it’s there as an ingredient component of his writing technique. | ||||
| Keywords | ||||
| Film Music; Semiotics; Wagner; Film Score | ||||
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