Abstract
This article examines Jerry Goldsmith’s soundtrack for the film Planet of the Apes (dir. Franklin J. Schaffner, 1968) as a parametrically organized musical system. The object of the study is the score of the soundtrack, while the subject is the hierarchy of musical parameters (timbre, rhythm, pitch organization, dynamics, spatial processing) and their functions in film dramaturgy. The methodology is based on an original system of parametric analysis that integrates musicological and audio engineering approaches and incorporates the concept of diegesis. The study demonstrates that timbre functions as the central parameter of the system: the use of non-standard instruments (cuíca, shofar, angklung, vibra-slap) and extended performance techniques constructs a sonic model of “otherness.” Rhythmic ostinato serves a structural function, while spatial processing (Echoplex, reverberation) operates as a semantic parameter distinguishing diegetic levels. A key analytical result is the interpretation of silence in the final credits as a concluding parameter of form rather than as the absence of music. The findings open new perspectives for applying the parametric method to the analysis of film music.