Tecniche di sincronizzazione nella musica per film di Angelo Francesco Lavagnino: una prospettiva musicologica
Music composition in Italian film production of the 1950s demanded high levels of ‘performance’: composers had to keep to tight schedules, the whole process of scoring, recording and synchronizing taking approximately 4-6 weeks. A. F. Lavagnino developed special techniques aimed at speeding up and increasing the efficiency of his film scores. Drawing on archival music sources, I focus on Lavagnino’s synchronization techniques by discussing his approach to sync points. I focus on his score for the mainstream film The Naked Maja (H. Koster 1958), and on some sequences that were affected by production changes soliciting the composer for readjustments. The comparison with the working process in Othello (O. Welles 1952) allows me to pinpoint significant traits of the evolution in Lavagnino’s approach to film throughout the 1950s.
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