Total views : 243

Specific Features of Background Music in Films Illustrated by the Example of Motion Picture “Jambyl”.


  • Kazakh National Academy of Arts named after T. Zhurgenov, Almaty, Kazakhstan


Objectives: The objective of this study is to identify the key specific features and significance of background music in cinematography by the example of Kazakhstani motion picture “Jambyl”. Methods/Statistical Analysis: Methodological basis of the investigation is represented by the method of scientific observation and analysis. Applying deduction as scientific method of obtaining knowledge, the significance of music in the segmented parts of the film has been rationalized by determining the types of the background music functions. Applying the method of formalization, the background music has been represented as musical notation in order to document the materials for further practical use. Findings: The study proves that background music in Kazakhstani films represents separate specimens of art that are of paramount importance for creating the artistic expressiveness of a film. Illustrated by the example of the fundamental analysis of motion picture “Jambyl”, such artistic artifacts of background music as symphony, chorus and sounds of dombra have been identified together with multiple songs and recitatives. The study determines such specific features of film music as the ways of its interaction with the picture (diegetic and non-diegetic techniques and their original synthesis), variations of the instrumental arrangements. It has been found that the principal methods of developing the background music are represented by the citation method and by the method of stylization (pasticcio). The functional specifics of the background music from film “Jambyl” have been systematized: Illustration, characterization, comments, dynamicizing, symbol, contrast, revealing emotional moods of the protagonist and characters, leitmotif. The musical materials from film “Jambyl” were recovered from the archives, reconstructed and put down on the musical staff for the first time ever. Improvements/ Applications: The results can be used for investigating musical culture of Kazakhstan and for developing academic courses on the history of film music and on the artistic legacy of M. Tulebayev.


Background Music, Cinematography, Film Music, Language of Cinema, Musical Art, Runtime.

Full Text:

 |  (PDF views: 247)


  • Egorova TK. Theoretical aspects of film music study. Moscow: Mediamuzyka; 2014.
  • Monk-Turner E, Toussaint J, Wyatt A, Dempsey E, Weddle J, Reaves M. The depiction of communication technology in film: Differences by gender and across time 1970-2010. London: Technology in Society; 2014.
  • Nedlina VE. M. Tulebayev. Film music maker. Motion picture “Jambyl”. Mukan Tulebayev and modern music culture (Proceedings of International Scientific and Practical Conference Dedicated to 100th Anniversary of M. Tulebayev). Almaty; 2013.
  • Balazs B. Sieben Marchen. Moscow: Iris Press; 2013.
  • Moussinac L. Leon Moussinac. Moscow: Press-book; 2012.
  • London K. Film music. Moscow-Leningrad: Iskusstvo; 1937.
  • Frid EL. Russian music literature. Leningrad: Music; 1992.
  • Gustyakova DYu. Transformation of artistic images in classical opera as a result of interpretation activities. Moscow: Bulletin of Moscow State University of Culture and Arts; 2013.
  • Lozon J, Bensimon M. Music misuse: A review of the personal and collective roles of “problem music”. Aggression and Violent Behavior; London. 2014.
  • Erlmann V. Music: Anthropological aspects. International Encyclopedia of the Social and Behavioral Sciences. 2nd ed. Amsterdam; 2015.
  • Clarke E, DeNora T, Vuoskoski J. Music, empathy and cultural understanding. Physics of Life Reviews; Amsterdam. 2015.
  • Donnelly KJ. How far can too far go? Radical Approaches to Silent Film Music. London: Palgrave Macmillan; 2016.
  • Honegger A. On music art. Leningrad: Musika; 1979.
  • Prokofyev SS. Autobiography. Moscow: Press-book; 2012.
  • Artyunov DA. Aram Khachaturyan: Life and Work. Moscow: Slovo; 2014.
  • Lukyanova NV. Dmitriy Dmitriyevich Shostakovich. Moscow: Gamma Press; 2014.
  • Nogerbek BR. National cinematograph of Kazakhstan. Cinema encyclopedia of Kazakhstan. Almaty: Atamura; 2010.
  • Abikeyeva G. Cinema and cultural influence in Central Asia. Reserve Stock; Saint-Petersburg. 2009.
  • Itemgenova BU, Raimbergenov AI. Principal trends of development of modern art in Kazakhstan in the 20th century. World of Science, Culture, Education. Gorno-Altaysk; 2014.
  • Tuyakbayeva AS, Urazbayeva SN. Spiritual culture of the Kazakh people in films. IJST. 2016 Jun; 9(21).
  • Uskembaeva RM, Zhanysbekova ET, Saparbaeva KJ. Myth and Kazakh Mythology: Retrospective analysis and prospects of research. IJST. 2016 Jun; 9(22).
  • Bogdanova K, Nikolosi R, Murashova Yu. Jambyl Jabayev: Adventures of Kazakh akyn in Soviet country: Articles and proceedings. Moscow: New Literature Review; 2013.
  • Delyuk L. Photogenicy of cinema. Moscow: Press-book; 2012.
  • Aparicio M, Figueiredo P, Raposo F, De Matos DM, Ribeiro R, Marujo L. Summarization of films and documentaries based on subtitles and scripts. Pattern Recognition Letters; Amsterdam, 2016. DOI: 10.1016/j.patrec.2015.12.016.
  • Hart A, Kerrigan F, Vom Lehn D. Experiencing film: Subjective personal introspection and popular film consumption. International Journal of Research in Marketing; Amsterdam. 2016.
  • Da Silva WL. Listenings of the image: The resultants of sound in the semiotic components of the visual language. Discursos Fotograficos; Londrina. 2014.
  • Hryukin DA. Soviet Production Film” as Genre Phenomenon of the Soviet Cinema of the 1970s: Cinematography Specifics and Formal Features. Historic and Social Thought; Krasnodar. 2016.
  • Tsetsura K, Bentley J, Newcomb T. Idealistic and conflicted: New portrayals of public relations practitioners in film. Public Relations Review; London. 2015. Available from: 29. Eliashberg J, Hennig-Thurau T, Weinberg ChB, Wierenga B. Of video games, music, movies and celebrities. International Journal of Research in Marketing. Amsterdam. 2016.
  • Juslin PN, Sloboda JA. Music and emotion. The Psychology of Music 3rd ed. Amsterdam. 2013.
  • O'Brien Ch. Film History. International Encyclopedia of the Social and Behavioral Sciences. 2nd ed. Amsterdam. 2015.
  • Niebling L. The category of music film. Wiesbaden: Springer Fachmedien Wiesbaden; 2016. DOI: 10.1007/978-3-658-10896-0_2.
  • Siebers J. The Utopian function of film music. London: Palgrave Macmillan; 2014.
  • Ciric M. Music as word: Film music - superlibretto? Muzikologija; Belgrade. 2013.
  • Doudpota ShM, Guha S, Baber Ju. Mining movies for song sequences with video based music genre identification system. Information Processing and Management. London. 2013. DOI: 10.1145/2237827.2237829
  • Cosci M. Acts of wisdom and trust: Sheets, Tapes and Machines in Egisto Macchi’s Film Music Composition. Musica e Tecnologia; Florence. 2015.
  • Juslin PN. From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions. Physics of Life Reviews; Amsterdam. 2014.
  • Backstrom P. The intermedial cluster: Ake Hodell’s Laegsniff. Acta Universitatis Sapientiae: Film and Media Studies; Transylvania. 2015. DOI: 10.1515/ausfm-2015-0003.
  • Shinhong M. The effect of musical activities program on parenting stress and depression – Focused on housewives with preschool children. IJST. 2016; 9(29). DOI: 10.17485/ijst/2016/v9i29/94752.


  • There are currently no refbacks.

Creative Commons License
This work is licensed under a Creative Commons Attribution 3.0 License.