A Cinema’s Female Worker in a Musical Key: Ana Satrova
Despite the remote origin of women in music, today the presence of names of women dedicated to musical composition remains limited in historiography. Also references to fi lm music composers are even more unusual, although cinema is probably the most important art in the 20th Century. According to t...
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| Format: | Article |
| Language: | Catalan |
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Consejo Superior de Investigaciones Científicas
2016-12-01
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| Series: | Anuario Musical |
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| Online Access: | http://anuariomusical.revistas.csic.es/index.php/anuariomusical/article/view/204 |
| Summary: | Despite the remote origin of women in music, today the presence of names of women dedicated to musical composition remains limited in historiography. Also references to fi lm music composers are even more unusual, although cinema is probably the most important art in the 20th Century. According to these circumstances, in this paper we propose an approach to Ana Satrova, a composer of original soundtracks who worked in the Spanish film area between 1969 and 1985. In this occasion, we offer a stylistic and visual studio about his first work in the Spanish cinema of Franco’s regime: Homicidios en Chicago (1969, José María Zabalza) |
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| ISSN: | 0211-3538 1988-4125 |