André VAN OEKEL, The Presence of Music in Cinema
Mr. Van OEKEL holds a master's degree and an agrégation in classical philology and musicology as well as a master's degree in communication from the Université Catholique de Louvain.
He also participated as a French-speaking representative at the European Seminar of Ancient Music at the College of Europe in Bruges, under the direction of Safford Cape, during three summer sessions, each lasting three weeks.
He published, in the Dictionnaire des Compositeurs belges de l’an 1000 à la fin du XXe siècle edited under the direction of Thierry LEVEAUX, 240 notes on the Middle Ages and the 15th century, 12 dossiers on composers in supplements to the newspaper Le Soir, and, in 2023, in collaboration with Dr. CLEMENS, a book titled Mozart, un autre regard, published by Editions du Panthéon in Paris, prefaced by José Van Dam.
Music has been associated with the history of cinema from the beginning: it illustrated what appeared on the screen during the silent film era, also covering the annoying noise of projectors. Composers were immediately solicited and some understood that a new opportunity for musical creation was opening up, and they ventured into it successfully.
With the advent of sound cinema, the nature and function of music evolved: its power of evocation and expression as well. It becomes one of the elements available to the director. Unlike opera, music is not predominant in cinema: it is one of the elements of the soundtrack, along with noises and voices.
Music can be the object or subject of a film, its presence in this case being obviously more predominant. But anyway, in cinema, music participates in the action and often acts unconsciously on the viewer.
Finally, as explained by Maurice JAUBERT, the father of French music in cinema, so much the better if film music can bring "a plus" to the history of music.
Where does it take place?
ULiège - Arlon Campus Environnement
Pl. des Chasseurs Ardennais
6700 Arlon
Belgique
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