[en] This Phd Dissertation explores the presence and functionality of music in the cinema of Ingmar Bergman. Such functionality has been analysed from several levels: dramatic, structural, narrative, aesthetic, symbolic, metatextual, emotional, etc. For this purpose, I have taken examples of the music contained in forty of the director?s films, from the pre-existing Classical Music to the original soundtrack. Regarding the pre-existing Classical Music, what stands out specially is the work of composers such as Johann Sebastian Bach and Fr?d?ric Chopin, besides Ludwig van Beethoven or Robert Schumann, among other important composers included by the filmmaker. As for the original soundtrack, Erland von Koch, Erik Nordgren and Lars Johan Werle stand out among others. This research has also worked on the interdisciplinary aspects through the music and its relation to Sociology, Psychology and Aesthetics, in specific feature films in which the script itself leads to these kind of reflections. In other chapters the role of the actor as a musical performer and the manner in which this fact is developed in cinema have been analysed, bearing in mind the important number of musicians that appear in this work. The several levels of relation between the diegetic and incidental (non-diegetic) types of music, and even the connections of some scenes with Opera, have been also taken into account. Some films were treated independently in a separate chapter, due to their particular aspects, as for example The Face (with all its interesting singularities) or Now About These Women (where we may find very deep reflections beyond its apparent lightness and comical characteristics).

[es] Esta Tesis Doctoral investiga la presencia y funcionalidad de la m?sica en el cine de Ingmar Bergman. Tal funcionalidad ha sido analizada desde diversos niveles: dram?tico, estructural, narrativo, est?tico, simb?lico, metatextual, emocional, etc. Para este prop?sito, he tomado ejemplos de la m?sica contenida en cuarenta de las pel?culas del director, desde la M?sica Cl?sica preexistente a la banda sonora original. Considerando la M?sica Cl?sica preexistente, destaca especialmente el trabajo de compositores como Johann Sebastian Bach y Fr?d?ric Chopin, adem?s de Ludwig van Beethoven o Robert Schumann, entre otros importantes compositores incluidos por el director de Cine. En lo que respecta a la banda sonora original, Erland von Koch, Erik Nordgren y Lars Johan Werle destacan entre otros. Esta investigaci?n tambi?n ha trabajado los aspectos interdisciplinares a trav?s de la m?sica y su relaci?n con la Sociolog?a, la Psicolog?a y la Est?tica, en largometrajes espec?ficos en los que el gui?n mismo conduce a este tipo de reflexiones. En otros cap?tulos han sido analizados el papel del actor como int?rprete musical y la manera en la cual este hecho es desarrollado en el cine, teniendo en cuenta el importante n?mero de m?sicos que aparecen en esta obra. Los diversos niveles de relaci?n entre los tipos de m?sica dieg?tica e incidental (no-dieg?tica), e incluso las conexiones de algunas escenas con la ?pera, han sido tambi?n tenidos en cuenta. Algunos films fueron tratados independientemente en un cap?tulo separado, debido a sus aspectos particulares, como por ejemplo El Rostro (con todas sus interesantes singularidades) o Esas Mujeres (donde podemos encontrar reflexiones muy profundas m?s all? de su aparente ligereza y caracter?sticas c?micas).