In this article, the author analyzes substantial functions of sounds in Thomas Mann's short story «Death in Venice» and in Luchino Visconti's film of the same name. The terminology of cinema dividing a soundtrack into three main spheres (noise, speech and music) is applied to the analysis of the features of the short story's sound narrative. The relationship between sound and the visual and semantic structure of these works is considered and F. Nietzsche's terminology designating Apollonian, Dionysian and Socratic type of culture is used in its analysis. In sound images, Thomas Mann in his short story creates the sphere of Dionysian which absorbs the hero by the end of the story. In the Italian director's film, the sound is mostly diegetic, while the non-diegetic one performs the function of harmonizing the hero's relations with the world, i.e. it possesses the Apollonian potential.
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