Billedskabende musik i audiodrama - En komparativ undersøgelse af musikkens narrative funktioner i et auditivt og audiovisuelt medie

Evocative music in audio drama - A comparative investigation of the narrative functions of music in an auditive and audiovisual media

Arendttorp-Lundbæk, Freja Sørensen ; Holm, Maia Lundqvist

4. semester

Musik (cand.mag.), Kandidat

2019

2019-06-03

121

Dette speciale undersøger, hvordan musik bidrager narrativt i et audiodrama sammenlignet med en film. Som empirisk grundlag analyseres Blizzards audiodrama “The Tomb of Sargeras” over for filmen “Warcraft”. Da der mangler specifik teori for auditive fortællemedier, anvendes Johnny Wingstedts ramme om narrativ musik i multimodale formater, suppleret af Andrew Crisells perspektiver på musik i auditive medier. Gennem en kvalitativ, komparativ analyse vurderes, hvilke narrative funktioner musikken udfører i de to formater. Undersøgelsen viser, at begge medier prioriterer følelser, men at audiodramaet oftere betoner karakterernes indre følelsesliv, mens filmen primært former stemning. Musikken i audiodramaet spejler desuden narrative bevægelser hyppigere end i filmen, hvilket kan gøre lytteoplevelsen mere levende. Analysen peger på, at flere af Wingstedts funktioner kun optræder i det ene medie; filmen anvender samlet set et bredere udvalg af funktioner, om end audiodramaet også rummer enkelte unikke funktioner. På baggrund af egne observationer identificeres et hul i teorien vedrørende spændingsopbygning og musikalsk progression. Forskellene forklares i lyset af de to mediers forskellige fortælleformer: Filmens audiovisuelle format muliggør større musikalsk kompleksitet, mens audiodramaet engagerer lytteren mere inkluderende og kreativt gennem forestillede billeder. Specialet foreslår derfor en justering af Wingstedts model, så den bedre passer til audiodramamediet.

This thesis examines how music supports narrative functions in an audio drama compared with a film. The empirical basis is Blizzard’s audio drama “The Tomb of Sargeras” and the film “Warcraft.” Due to a lack of medium-specific theory for auditory storytelling, the study applies Johnny Wingstedt’s framework on narrative music in multimedia, supplemented by Andrew Crisell’s perspectives on music in audio media. Through a qualitative, comparative analysis, it evaluates the narrative roles that music fulfills in both formats. The findings show that both media foreground emotion, but the audio drama more often emphasizes characters’ inner feelings, whereas the film primarily shapes mood. The audio drama’s music also mirrors narrative movements more frequently than the film’s, which can make the listening experience feel more vivid. The analysis indicates that several of Wingstedt’s functions appear only in one medium; overall, the film employs a wider variety of functions, although the audio drama also includes some unique ones. Based on the authors’ observations, the study identifies a theoretical gap concerning suspense and the progression of musical development. These differences are linked to divergent storytelling modes: the film’s audiovisual format affords greater musical complexity, while the audio drama invites more inclusive and creative engagement through imagined visuals. The thesis therefore proposes an adjustment of Wingstedt’s model to better fit the audio drama medium.

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Audiodrama ; Musik ; Narrativitet ; Visuelle billeder

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Vis denne rapport i AAU Studenterprojekter

Arendttorp-Lundbæk, Freja Sørensen:

• Evocative music in audio drama - A comparative investigation of the narrative functions of music in an auditive and audiovisual media (2019)

Holm, Maia Lundqvist:

• Evocative music in audio drama - A comparative investigation of the narrative functions of music in an auditive and audiovisual media (2019)