Unformatted text preview: have the same requirements as naming themes. The final chapter discusses King Lear , Shostakovich’s final film score. In contrast to the other films analyzed in this dissertation, and to the vast majority of Soviet films in general, 3 the music for Lear contains no leitmotives, or even naming themes. Instead, recognition is achieved through such means as oppositions in instrumentation and melodic intervals. Similar to the other two films here, this film also begins and ends with the same, or very similar music. The audience does not know that the Main Title music belongs to the character of the fool until nearly 3 Other examples include the films scored by Prokofiev ( Alexander Nevsky , Ivan the Terrible, Parts I & II ) and Artemyev ( Solaris, Mirror ). 6...
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- Fall '13
- Literature, Sergei Eisenstein, Sergei Prokofiev, initial pitch level, original pitch level, discusses King Lear