Portfolio of compositions: film re-scores. The Goddess(1934) Princess Iron Fan(1941)
Portfolio of compositions: film re-scores. The Goddess(1934) Princess Iron Fan(1941)
This thesis consists of an original composition portfolio and a commentary. There are ostensibly two works here, both re-scores of early Chinese films: a re-scoring of the seventy four minutes long Chinese silent film The Goddess (1934) and a re-scoring of the Princess Iron Fan (1941), the first Chinese full-length animated film which is seventy three minutes long.
My research has centred on the question: is there another viable approach to re-scoring a silent film besides what Kevin Donnelly1 sets out as either ‘purist’ (i.e. historically informed) or ‘novel’ (radically different to the film)? I place my own method between these two extremes, formulating what I call a ‘mixed model approach’ and through it I can explore and develop my own musical identity drawing on an eclectic and diverse range of musical styles, using a leitmotivic strategy within the architecture of both scores.
Cha, Yu-Ching
f12d778b-e6bb-470c-b50d-dc39e743cafa
August 2016
Cha, Yu-Ching
f12d778b-e6bb-470c-b50d-dc39e743cafa
Fisher, Andy
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Donnelly, Kevin
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Cha, Yu-Ching
(2016)
Portfolio of compositions: film re-scores. The Goddess(1934) Princess Iron Fan(1941).
University of Southampton, Faculty of Humanities, Doctoral Thesis, 391pp.
Record type:
Thesis
(Doctoral)
Abstract
This thesis consists of an original composition portfolio and a commentary. There are ostensibly two works here, both re-scores of early Chinese films: a re-scoring of the seventy four minutes long Chinese silent film The Goddess (1934) and a re-scoring of the Princess Iron Fan (1941), the first Chinese full-length animated film which is seventy three minutes long.
My research has centred on the question: is there another viable approach to re-scoring a silent film besides what Kevin Donnelly1 sets out as either ‘purist’ (i.e. historically informed) or ‘novel’ (radically different to the film)? I place my own method between these two extremes, formulating what I call a ‘mixed model approach’ and through it I can explore and develop my own musical identity drawing on an eclectic and diverse range of musical styles, using a leitmotivic strategy within the architecture of both scores.
Text
FINAL LIBRARY COPY Yu-Ching Cha PhD.pdf
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More information
Published date: August 2016
Organisations:
University of Southampton, Music
Identifiers
Local EPrints ID: 401677
URI: http://eprints.soton.ac.uk/id/eprint/401677
PURE UUID: c590efeb-ec49-4c13-8ee1-3cf3ef7e89b9
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Date deposited: 27 Oct 2016 15:16
Last modified: 15 Mar 2024 02:53
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Contributors
Author:
Yu-Ching Cha
Thesis advisor:
Andy Fisher
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