Tarkovsky’s commentary of music and noise and their essential and inessential importance in the context of film highlights it’s their ability to colour or recolour scenes emotionally and contextually. The approach of extenuating and hyperbolising naturalistic sounds exaggerates possibly a relatively tame atmosphere to create a whole new feeling of the environment entirely.
On the contrary, the minimal or zero use of sound, noise or music in a particular seen can have the absolute same effect of hyper focusing the attention of the viewer onto what’s unfolding.
“I find music in film most acceptable when it is used like a refrain.” (Tarkovksy 158)
The action or non action of refrain allows a scene to breathe, a pause of intent, and creates raw clarity in which the silence is part of the dialogue itself.
In reflection to me own re-scoring of the ending scene of Justin Kurzels Snowtown, with its naturalistic setting, a darkening city evening, and a sense of impending violence, I will approach sound and music elements with subtlety and the action of intentional momentary pause at the forefront. I am inspired by Tarkovskys understanding of the impact and psychological power sound and music has as an influence on our interpretations. The sensitivity of our perception is a gift of the viewer and creator when it comes to art that intends to move the soul.