BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC
page 12 of 12
Table 3. FUNCTIONS OF ETHNIC MUSIC / ETHNIC MUSICAL ELEMENTS IN THE SOUNDTRACK COMPOSITION FOR “ARIZONA DREAM”
This table includes all compositions used in the film (Goran Bregovic’s original music, some early jazz and traditional Mexican music) and exemplifies different influences in Bregovic’s writing their function and comparative relationship to the other two types of music that feature in the film.
Type of function Functional track numbering/grouping 1. Source of ideas for the composer 2. Tools for different setting establishment 3. Tolls for the establishment of the conceptual basis
Mexican music is always used as source music and serves to establish geographic setting and to support the dramatic qualities of the scenes.
The large body of traditional Mexican Mariachi music used in the soundtrack establishes the conceptual proximity (Occidentalism) bringing the reality of the Arizona life
This music is briefly suggested as the radio or gramophone music in Elaine’s house, it supports the dramatic needs of the specific scenes in which it features as source music.
Conceptual proximity (Occidentalism) of the characters’ environment
Traditional Balkan music and its elements
Traditional elements used as linking motives between the original writing and the traditional musical arrangements in compositions with two distinctive stylistic sections (ie. 7/8 & 11/8, Death)
In Dreams the source of ideas comes from Orthodox church music.
Conceptual otherness (fantasy world) the ethnic metaphor expressed in the folkloric musical choices assists the uniqueness of the film’s fantasy aspect.
Bregovic’s recycled “White Button” music
1.GET THE MONEY
3. IN THE DEATH-CAR
Bregovic’s recycled rock materials from the Yugoslav band “White Button” exemplify that traditional music has always served as inspiration in writings of this band. Elements of folk influence are obvious in the melodic lines and the vocal aesthetic used in the chosen singing-style (particularly in “Get the Money”)
“TV Screen” and “Get the Money” are source music in the café scene – establishing the location specific setting
“TV Screen” and “Get the Money” are used as café music and are representative of Occidentalism, the reality of the minorities through Balkan rock metaphors.
“In the Deathcar” is transitional music between Axle’s reality and fantasy.
page 12 of 12
BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC - by Nela Trifkovic (Nela Trifković)