‘실재’의 소리 : <솔라리스> 사운드스케이프와 ANS 신디사이저
Sound of the ‘Real’ : Soundscape of <Solaris> and ANS synthesizer
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Andrei Tarkovsky, who has been obsessed with the problem of salvation throughout his films such as <Andrei Rublyov>, <Stalkers>, <Solaris> and <Sacrifice>, often inserted religious music of Bach and Scarlati into the climax of his films. This classical religious music began to sound at the very moment the narrative stopped, allowing an another dimension of time to intervene on the surfice of screen. Considering Tarkovsky's this typical way of using music, the electronic sound inserted into "Solaris," a film adaptation of Stanislav Lem, seems very unusual for the director. In particular, Tarkovsky accepted music director Artemiev's proposal for the sound of the unknown planet Solaris and used the sound of ANS, an electronic music generator designed by Murzin. This kind of synthesizer, named ANS after the first name and surname of composer Skriabin, was actually created under the influence of Russian avant-garde musicians who, beginning their career with contemporary composers such as Skryabin, Lurie and Stravinsky, concentrated on music experiments during the revolutionary period. This paper investigates the experimental works of avant-garde musicians who tried to reproduce music outside of conventional music language, starting with the issue of musical representation of SF imagination, the process of developing electronic music as a musical ideal of materialism and technology in the early Soviet Union and further interpretates Tarkovsky’s film “Solaris” from the point of musical representation of the Real.
Abstract
Andrei Tarkovsky, who has been obsessed with the problem of salvation throughout his films such as <Andrei Rublyov>, <Stalkers>, <Solaris> and <Sacrifice>, often inserted religious music of Bach and Scarlati into the climax of his films. This classical religious music began to sound at the very moment the narrative stopped, allowing an another dimension of time to intervene on the surfice of screen. Considering Tarkovsky's this typical way of using music, the electronic sound inserted into "Solaris," a film adaptation of Stanislav Lem, seems very unusual for the director. In particular, Tarkovsky accepted music director Artemiev's proposal for the sound of the unknown planet Solaris and used the sound of ANS, an electronic music generator designed by Murzin. This kind of synthesizer, named ANS after the first name and surname of composer Skriabin, was actually created under the influence of Russian avant-garde musicians who, beginning their career with contemporary composers such as Skryabin, Lurie and Stravinsky, concentrated on music experiments during the revolutionary period. This paper investigates the experimental works of avant-garde musicians who tried to reproduce music outside of conventional music language, starting with the issue of musical representation of SF imagination, the process of developing electronic music as a musical ideal of materialism and technology in the early Soviet Union and further interpretates Tarkovsky’s film “Solaris” from the point of musical representation of the Real.
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