Supereroi e "supermusic" tra cinema e televisione

Uno sguardo storico-analitico

Abstract

The article explores the concept of supermusic, introduced by Stefani and Marconi (1992) and later developed by Philip Tagg, as a melodic and timbral category closely linked to the representation of heroism in music.

Rooted in late-Romantic melodrama and symphonic poems (Strauss, Holst, Wagner), supermusic found its full consecration in cinema with John Williams, who reinterpreted late-Romantic symphonic models and set the standard for comic book film scores, after early experiments in the 1940s with Superman and Captain Marvel shorts. In the 1980s and 1990s, Danny Elfman marked a turning point with Batman (1989), introducing darker and more unstable harmonies, while still drawing on the rhythmic drive of supermusic. Since then, film scores have oscillated between continuity (Alan Silvestri’s Avengers) and reinvention (Hans Zimmer’s The Dark Knight trilogy and Man of Steel).

Television, by contrast, long avoided supermusic, favouring songs or styles aligned with contemporary trends (funk, rock, pop), except for Superman-related productions. Only in the 1990s, with Batman: The Animated Series, and later with 21st-century superhero shows, did cinematic sonorities consistently appear on the small screen.

In conclusion, supermusic functions as a sonic code conveying power, heroism, and “seriousness,” marking not only characters but also the budget and target of the productions. While it once separated cinema from television and adult audiences from children, today it coexists with a variety of musical languages, expanding its spectrum without losing its core identity.