What is the Musivisual Language?

  Is music a language?. If so, is there own unique language of film music?


  For over a century, film and other media (television, video or multimedia) have developed a language of communication that has been included alongside the music specifically applied to these means of expression. During this time audiovisual music has developed a code themselves in relation to the image you give a new product, the brainchild of multidisciplinary interaction. 

 

  In this work, Alejandro Román proposes incorporating content and the presence of this justification no longer so new musical language that aptly named "Language Musivisual" in a total integration of sound elements with specifically visual. The book explores aspects of semiotics and meaning of this language in relation to the items provided in the image, to develop later, from this semiotic approach, the existence of an aesthetic also own original music and film that with their strengths and weaknesses, must always pose new challenges in creating new forms of aesthetic expression abandoning stereotypes for greater musical originality, but never losing the justification in the image. 


The Book

  The composer Alejandro Román presents and explores this theme in his book "The Musivisual language, semiotics and aesthetics of Film Music", a work complete and didactic.

 

  The book combines known examples of the big screen with abundant quotations and theoretical information, this work becomes perfect material for those readers who want to deepen the audiovisual composition, the movie lovers or those who simply want to go beyond the popcorn.


  Although sometimes film music is forgotten, Alejandro Román remember to us that the score is much more than an accompaniment, is a real language (the musivisual language), that "completes what is lacking in the film", "a value added to the image "," a folk art that has been influenced in one's evolution of cinema "and, of course," has a very specific technique "that tries to unravel along these pages.

 

  The author includes many graphs, summary tables, images, scores and examples that make it more attractive and straightforward approach to this complex and difficult subject. Through analysis of four scores of film music ( "The Others", by Alejandro Amenabar's "Vertigo," Alfred Hitchcock's "The Bridges of Madison County" by Clint Eastwood and "The Draftsman's Contract, Peter Greenaway's ) exemplified the issues raised, bringing the composer, scholar and lover of film music, this exciting topic.