Música clásica, serious music o música culta en la serie de televisión: Merlí. Ni graffiti del presente, ni estampita del pasado.

• MILLÀ, Marta ^[1]
  1. [1] Universidad de Salamanca

     Universidad de Salamanca

     Salamanca, España

     
• Localización: Popular Music Research Today: revista online de divulgación musicológica, ISSN-e 2659-6482, Vol. 1, Nº. 1, 2019, págs. 89-102
• Idioma: español
• Títulos paralelos:
  • Classical music, serious music or cultured music in the television series: Merlí. Nor graffiti of the present, neither holy card of the past
• Enlaces
  • Texto completo
• Resumen
  • español

    Análisis del uso de la música llamada clásica o culta en la serie de público juvenil, Merlí. Cada capítulo está dedicado a un filósofo y, a través de las clases de filosofía y de las estrategias del profesor de dicha asignatura van surgiendo las vivencias y las emociones entre los alumnos. La expresividad, descripción y narratividad que los espectadores podemos percibir mediante la música son analizadas a través de secuencias nucleares en cada capítulo. La popularización de la música de Bach o Chopin, entre otros compositores, nos llega a través de un formato audiovisual que convierte dicho género en un rasgo diferencial de dicha serie frente a otras.

  • English

    In the research field on audiovisual media, we can see how the classical music is often used to illustrate images. We could take as an example some advertisements, films or documentaries which use this musical genre with a significant and evocative purpose. However, in some cases where the audiovisual is aimed at a target audience that does not show an explicit interest in classical music, it may surprise the power of attraction and the significant change it brings to images or video sequences.In this article, I propose an analysis of the use of classical music through various sequences of the television serie Merlí in its first season of broadcasting. Between a Prelude, in which I introduce elements that musical designer should consider before editing the sound, and a Postlude, in which I develop the conclusions of the study, I analyse the expressive use and narrative use of classical from different types of video montage. To develop this analysis, I not only delve into each of the sequences in Merlí in relation to the symbiosis “image-classical music” but I also include the development of the script within a TV serie whose target or main target audience are adolescents or young people. In short, discover how classical music is no longer “stamp of the past” or “graffiti of the present.”