Spontaneously recorded music and natural noise, once they are chosen and ordered in a film’s soundtrack, acquire a dignity that was at first unexpected, entering into harmony, rivalry, and sometimes even conflict with the score composed for the film.
Between fake bad music created by a competent composer and real bad music appropriated in its raw state from the popular muse, between an impressionist nocturne for large orchestra and the authentic concerto of crickets and frogs, artificial music does not necessarily win out over the natural kind.
This according to “La musique prise dans le sujet, élement materiel du film et la musique composée pour le film, élément formel de l’œuvre d’art” by Roland Alexis Manuel Lévy, an essay included in Atti del secondo Congresso internazionale di musica (Firenze: Le Monniere, 1940, pp. 253–256; RILM Abstracts of Music Literature 1940-1).
Below, two short films present an opportunity to test Lévy’s hypothesis.
Related article: Cowshed soundscaping
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