ABSTRACT
Besides the above tendencies, which in many ways determined both the intonational image and the characteristic genre and typological traits of film music in the '60s, that period was marked by the creation of number of works, truly innovative in spirit, which had a great influence on the style and treatment of sound in the cinema in subsequent decades. Among such films were Sergei Paradjanov's The Shadows of our Forgotten Ancestors (1964, composer Skorik) and The Colour of Pomegranates (1969, composer Mansuryan), Andrei Tarkovsky's Andrei Rublev (1966, 2 parts, composer Ovchinnikov), and Gleb Panfilov's picture No Ford in the Fire (1968, composer Bibergan). The extraordinary and unique talent of these directors, each of whom possessed his own artistic vision, was shown by the fact that they generated the musical ideas and directed the work of their composers. The magnetism of the personalities of Paradjanov, Tarkovsky, Panfilov, and the philosophic polysemy and originality of their designs, demanded adequate forms of expression and, as a result, cardinal reconsideration of the whole system of devices and techniques, and the creation of a unique sound aura and original stylistic models of sound and musical dramaturgy in their films.
