Hansjörg Pauli

Hansjörg Pauli ( born March 14, 1931 in Winterthur, † February 15, 2007 in Locarno ) was a Swiss musicologist and writer. He is the author of several musicological essays and books, as well as a well-known explanatory approach to the function of film music, which is still taught today in music class of general-education schools, although the author in 1994 rejected it again.

Life

Paul studied at the Winterthur Conservatory (now the Zurich University of the Arts) and received private lessons from 1957-58 Hans Keller (1919 - 1985). In the fifties Pauli has also worked as a jazz pianist and music critic at the New Winterthur evening paper. From 1960 he worked as an editor at Radio Beromunster and, from 1965 to 1968 as Head of the Department of Music at Norddeutscher Rundfunk in Hamburg. 1987 doctorate Pauli of the University of Osnabrück.

Explanatory model for the function of film music

In his explanatory model, published in 1978 on the functioning of film music Pauli is an image and music scene functionally related. He identifies three "types" of film music: the paraphrasing, the counterpoint and the polarization.

Paraphrasing film music is consistent in its associative and / or emotional impact with the contents of the film image. To her include, inter alia, the technique of Mickey Mousing, a compositional technique of film music, which, as the name suggests, often used in cartoons. It includes a direct acoustic reproduction of products on the film image motion. One of the most famous examples of this technique, or for the technology of the Under scoring in general, is Max Steiner's film music for 1933 turned feature film King Kong and the white woman.

Contraindications puncturing end of film music creates a contrast to the images generated by the movie mood. A very typical example is a sequence from the published 1987 feature film Good Morning, Vietnam in which to images of war and destruction, sung by Louis Armstrong song What a Wonderful World (1968).

Polarizing film music creates an emotional reference for a content (more or less) neutral image. So it exists to create associations or arouse emotions, where the film image alone would not do this or only partially.

  • Film Music: Silent Film. Klett- Cotta, Stuttgart 1981, ISBN 3-129-36310-6
  • Who do you actually compose? Fischer 1982, ISBN 3-100-60601-9
  • Stanley Kubrick. Carl Hanser, 1989, ISBN 3-446-12639-2
  • Film music. A historical-critical demolition. In: H. -Chr. Schmidt ( ed.): Music in the mass media of radio and television. Perspectives and materials. Schott, Mainz, 1976, pp. 91-119. ISBN 3-7957-2611-5
  • Functions of film music. In: Helga de la Motte- Haber ( ed.): film and music. Schott, Mainz 1993
  • Hermann Scherchen 1891-1966. Kommissionsverlag Hug & Co., Zurich 1993 ( New Year's Journal of Music Society, Zurich, Vol 177)

Article

  • The Lamentations of Stravinsky. In: Tempo, New Series, 1958, No. 49, pp. 16/17 and 21-33
  • Hans Werner Henze Italian music. Notch, 1959, No. 25
  • Realization of the poetic intentions for the feeling. About Bernard Herrmann's music for the film "Citizen Kane". In: Hartmut Krones (ed.): Stage, film, space and time in the music of the 20th century ". Wiener Writings on style and performance practice, WIEN MODERN 3, Vienna / Cologne / Weimar, 2003
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