Hansjörg Pauli

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Hansjörg Pauli (born March 14, 1931 in Winterthur ; † February 15, 2007 in Locarno ) was a Swiss musicologist and writer . He is the author of several musicological essays and books as well as a very well-known explanatory approach to the function of film music, which is still taught today in music lessons in general schools , although the author rejected it again in 1994.

Life

Pauli studied at the Winterthur Conservatory (today: Zurich University of the Arts ) and received private lessons from Hans Keller (1919–1985) from 1957–58 . In the 1950s, Pauli also worked as a jazz pianist and music critic for the Neuen Winterthurer Abendblatt. From 1960 he worked as an editor at Radio Beromünster and, from 1965–1968, at Norddeutscher Rundfunk in Hamburg as head of the music department. In 1987 Pauli received his doctorate from the University of Osnabrück.

Explanatory model for the effect of film music

In his explanatory model for the effects of film music, published in 1978, Pauli functionally relates the image and music of a scene. He names three "types" of film music: paraphrasing , counterpointing and polarization .

Paraphrasing film music corresponds in its associative and / or emotional effect with the content of the film image. It includes the technique of Mickey Mousing , a composition technique of film music that, as the name suggests, is often used in cartoons. It contains a direct acoustic replica of the movement on the film image. One of the best-known examples of this technique, or of the technique of underscoring in general, is Max Steiner's score for the 1933 feature film King Kong and the White Woman .

Counterpointing film music creates a contrast to the mood created by the film images. A very typical example of this is a sequence from the 1987 film Good Morning, Vietnam , in which the song What a Wonderful World (1968) sung by Louis Armstrong is played along with images of war and destruction .

Polarizing film music creates an emotional reference for a content-wise (more or less) neutral picture. So it exists to create associations or to arouse feelings where the film image alone would not do this or only to a limited extent.

Books

  • Film music: silent film. Klett-Cotta, Stuttgart 1981, ISBN 3-129-36310-6
  • Who are you actually composing for? Fischer 1982, ISBN 3-100-60601-9
  • Stanley Kubrick. Carl Hanser, 1989, ISBN 3-446-12639-2
  • Film music. A historical-critical outline. In: H.-Chr. Schmidt (Ed.): Music in the mass media, radio and television. Perspectives and materials. Schott, Mainz 1976, pp. 91-119. ISBN 3-7957-2611-5
  • Features of film music. In: Helga de la Motte-Haber (Ed.): Film and Music. Schott, Mainz 1993
  • Hermann Scherchen 1891-1966 . Kommissionsverlag Hug & Co., Zurich 1993 (New Year's Gazette of the Allgemeine Musikgesellschaft Zürich, vol. 177)

items

  • On the Threni by Stravinsky . In: Tempo, Neue Reihe , 1958, No. 49, pp. 16/17 and 21–33
  • Hans Werners Henze Italian music . Notch, 1959, no.25
  • Realization of the poetic intentions for the feeling. About Bernard Herrmann's music for the film "Citizen Kane" . In: Hartmut Krones (Ed.): Stage, Film, Space and Time in the Music of the 20th Century . Viennese writings on stylistics and performance practice, WIEN MODERN 3, Vienna / Cologne / Weimar, 2003

Web links

Individual evidence

  1. ^ Carlo Piccardi: Hansjörg Pauli. In: Historical Lexicon of Switzerland . March 17, 2011 , accessed June 16, 2019 .
  2. ↑ cf. Schmidt, Christoph: Film music as an aesthetic object - Aesthetic formation with film music (PDF; 207 kB) . In: Ludwigsburg Contributions to Media Education , 2005, No. 7, p. 2
personal data
SURNAME Pauli, Hansjörg
BRIEF DESCRIPTION Swiss musicologist and writer
DATE OF BIRTH March 14, 1931
PLACE OF BIRTH Winterthur
DATE OF DEATH February 15, 2007
Place of death Locarno