El compositor Isidro Maiztegui en el cine de Juan Antonio Bardemla funcionalidad narrativa de la música en "Muerte de un ciclista"

Abstract

The composer Isidro B. Maiztegui began his career in the world of film music in Argentina during the so-called classic period of Argentine cinema (1933-1950). Maiztegui moved to Spain in the decade of the fifties where he worked on more than thirty films and short-films directed by the most important filmmakers of the time, such as A. Momplet, J º Mª Forqué, Nieves Conde, L. Klimovsky and Mur Oti. Among them is Juan Antonio Bardem was the most outstanding, with whom Maiztegui maintained a close professional relationship. In this paper, we will firstly examine the stylistic versatility that the composer makes evident in Bardem's filmography, through his participation in Felices Pascuas, Cómicos, Muerte de un ciclista, Calle Mayor, La venganza, Sonatas, and Los inocentes. Secondly, we will focus on Muerte de un ciclista (1955)- one of the most representative films of the director in particular and Spanish cinema in general. For a more detailed analysis of the relationship between visual and musical discourse, we will focus on Muerte de un ciclista (1955), one of the most representative films of the director in particular, and Spanish cinema in general. For that purpose, we will approach the analysis of the musical soundtrack considering two large sections: the morphosyntactic and the semantic. In other words, we will analyze the semiotic and meaning relations which are established from the interaction with the image and the internal narrative structure of the film once the fundamental parts that structure the musical text are established