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BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC

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Table 2. ARIZONA DREAM

This table categorises compositions according to Neyrinck’s framework addressing their main musical characteristics and purposes in the given soundtrack. The table presents the following aspects of each composition: its source material (ethnic elements in original music or arrangements of traditional music), whether it features as source or background music and the three musical function of ethnic elements. These are: source of inspiration, tool of setting establishment and metaphors of the conceptual basis (proximity and distance) of the film characters This table contains only Goran Bregovic’s compositions, both his solo and collaborative work.*

Track list Ethnic elements or

Ethnic music Source or background

 Musical function

of ethnic music or elements  7/8 & 11/8 2 distinctive sections: 1st section-ethnic elements incorporated in composition

2nd section – an arrangement of a Serbian folk song Hajde Jano (Come Jana)

 

Background music 1.Conceptual source of ideas (provides a solid framework  for characterisation)

2.Conceptual distance exposed through ethnic musical metaphors (portrayal of the fantasy principle) Death this composition is a derivation of 7/8 & 11/8 2 distinctive sections: 1st section-ethnic elements incorporated in composition

2nd section – an arrangement of a Serbian folk song Hajde Jano (Come Jana)

 

Background music 1.Conceptual distance exposed through ethnic musical metaphors

2.symbolises the characters’ (Eskimo man and later Grace) struggles and Grace’s death

  Get the Money

 

Ethnic elements in a recycled rock composition

 

Source music

 1.Assisting dramatic needs of the scene

2.Establishing the location of the scene (bar)

3. Balkanised conceptual proximity (metaphor for refugees and misfits)  In the Deathcar

 

Ethnic elements in a recycled rock composition

 

Background music

 Transitional composition in the conceptual category –takes the characters (particularly Axel) from the proximity into their desired distance TV Screen

Ethnic elements in a recycled rock composition

 

Source music

 1.Assisting dramatic needs of the scene

2.Establishing the location of the scene (bar)

3. Balkanised conceptual proximity (metaphor for refugees and misfits) Dreams Ethnic elements and sacred Orthodox musical references in original composition

 

Background music 1.Assisting dramatic needs of the scene

2. Conceptual distance expressed through sacred Orthodox musical analogies

I have chosen to be specific about the work of Goran Bregovic, as the soundtrack for the film is a complex mixture of Bregovic’s music and traditional Mexican Mariachi repertoire. The compositon titled American Dreamers is omitted from research (both table and text) as it does not fit into any discussion category and it is used very minutely.

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[Articles] [Balkan as a Metaphore table of contents] [Balkan as a Metaphore intro] [Balkan as a Metaphore CHAPTER I] [Balkan as a Metaphore CHAPTER II] [Balkan as a Metaphore CHAPTER III] [Balkan as a Metaphore CHAPTER4] [Balkan as a Metaphore CHAPTER5] [Balkan as a Metaphore CHAPTER6] [Balkan as a Metaphore CHAPTER7] [Balkan as a Metaphore Table 1] [Balkan as a Metaphore Table 2] [Balkan as a Metaphore Table 3] [Research]

BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC -  by Nela Trifkovic (Nela Trifković)

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