Edited by Roberto Calabretto, Luca Cossettini and Donald Greig
This issue of Cinéma & Cie presents a collection of papers that share a common purpose of remodeling existent theories developed to analyse “art” music in order to reflect the current aesthetic and production context of film music. The thematic issue is a result of research done in the context of the PRIN2020 project “New music writing processes for cinema”, (P.I. prof. Roberto Calabretto. Progect number: 2020XWWY3M).
The study of the creative process of the new musical writing for cinema requires appropriate methods able to investigate how and to what extent the development of increasingly advanced technologies might have influenced composition paradigms.
At the same time, new technologies of sound design have presented new creative possibilities that still allow for the distinctive voices of individual composers to be heard. Direct contact between musicologists and film music composers together with industry professionals encourages more detailed analysis of topics not treated in existing literature.
Only by addressing specific aspects of more recent film music composition and production, and developing new analytical tools, can we historicize and fully understand the differences between the film music of the twentieth and the twenty-first centuries.