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Eurasian music science journal

Abstract

The visual interpretation of the film image by means of musical art has developed into a special area of composer's creativity. Having applied significance, film music has developed certain tendencies and genre-style parameters, a complex system of functioning of its illustrative properties has developed. Accordingly, the spectrum of interaction between music and images is very wide and diverse. The technical features of the creation of a film work influenced the formation of new forms of interconnection of expressive means. Experience in applied genres has led to the formation in the Uzbek school of composition, a peculiar national style and artistic language, stylistics, innovations in the field of rhythm, texture, harmony, etc. designing new forms, timbres. The mutually enriching synthesis of arts created a wide field for the composer's imagination, for the expression of ideas and worldview positions, the announcement of innovative and civic positions. The role of music in a film production (animation) is determined not only by its aesthetic qualities, but also by the ability to interact with the video sequence. General trends, artistic style and characteristic features of music in animation in Uzbekistan are determined by the aesthetic orientation of creativity, reliance on traditional music and borrowing from it the principles of musical development (improvisational structure and meditative technique).

First Page

148

Last Page

157

References

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[9] Khvatova, S. (2018). Metodologicheskie podhodi k analizu muziki kino: o rabote po stilevim modelyam. [Methodological approaches to the analysis of cinema music: about work on style models]. Muzika v Prostranstve Mediakulturi [Music The Space of Media Culture]. p. 7.

[10] Shak, T. (2016). O smislovom mnogoobrazii citat v muzike kino [About the meaning of the variety of quotes in film music]. V Prostranstve Smislov: Tekst i Intertekst [In The Space of Meanings: Text and Intertext]. Petrozavodsk State conservatory after A. Glazunov. pp. 412–421.

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