La forma di una musica narrativa: Hans Zimmer, The Patricide, dalla colonna sonora del film Gladiator

This study is based on the assumption that there is consistency of signification between movie narration and the music which was created for it, and that such consistency allows the integration of the languages interacting in the movie and their confluence into a multiple composed object. The composition of film music has the task of adjusting its form (the linear sequence of its parts) and its emotional contents to the needs of a narrative structure already defined. The aim of the present analysis is to examine how a film music (The Patricide, music composed by Hans Zimmer for the movie Gladiator) can maintain the formal requirements of a musical autonomy, and later, how, thanks to its autonomy, could enrich the meanings of the narrative.