Skills of Music Selection in Kurdish Cinematic Films

Samedar Mohammed  Taha; Nasser Hashem  Badan

doi:10.33899/frj.v2i2.61704

Skills of Music Selection in Kurdish Cinematic Films

Section: Article

Issue

Vol. 2 No. 2 (2025): Volume 2 Issue 2

Pages

101-116

Keywords:

Skills, Selection, Cinematic Films, Kurdish

Abstract

Over the history of cinema, numerous experiences have accumulated in composing music for films, evolving from live accompaniment in silent cinema to becoming an organic component that contributes to shaping meaning and generating emotion. This study aims to analyze the skills involved in selecting and employing film scores in Kurdish cinema by examining compositional methods, strategies of integrating audio and visual elements, and the extent to which this contributes to creating a distinct auditory identity that reflects the cultural and emotional themes of Kurdish films. The significance of this research lies in its contribution to providing a scientific framework that documents a marginalized cinematic experience and reveals the potential of music in constructing meaning within the Kurdish context. The first chapter presents the methodological framework, including the research introduction which addresses the role of music in shaping audiovisual discourse and raises the central research question: What are the artistic skills required for selecting music in Kurdish cinematic films? And how can their level be assessed within the general artistic and cultural framework? The second chapter, the theoretical framework, consists of four main sections: the first discusses the development of cinematic music and its stages of aesthetic transformation; the second examines the essential components in composing and preparing film scores; the third focuses on the perspectives of prominent directors regarding film music; and the fourth provides an overview of the history of Kurdish cinema. The third chapter details the research procedures, adopting the descriptive analytical method and analyzing a sample from the film Zagros, selected for its distinctive dramatic tone and precise use of Kurdish music within a European narrative structure. The fourth chapter is dedicated to presenting and discussing the findings.

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