Intro to Film Soundtracks PDF

Intro to film soundtracks September 6, 2024 12:45 PM 1st time - no music showing of the sign as an intro, the fidgeting for her ring, the facial expression. the suit up scene builds suspense as they prepare to go. the gum spit out shows hes the more reckless character. facial expression shows n...

Intro to film soundtracks September 6, 2024 12:45 PM 1st time - no music showing of the sign as an intro, the fidgeting for her ring, the facial expression. the suit up scene builds suspense as they prepare to go. the gum spit out shows hes the more reckless character. facial expression shows nerves. 2nd time - with sound sign ocean view colour tv good luck apollo 13 - interesting how it rhymed, no music at the shower in the beginning focusing on her emotions, as soon as she leans back it starts. very heroic and somber music. each moment in the ready room is kinda like a character descriptor for them. que a loud pick up at the cameras then it gets a bit quieter as it leads through cue - piece of music in a film score no music during shower scene small intimate scene music would risk over-dramatizing leave “space” for what follows. After this scene music continues for several minutes through the launch scene music is there to push us back, distance us so we don't relate it exactly to our world and where its put makes us feel what they want us to feel. if music is too often is suddenly becomes meaningless, music needs meaning, it needs space to be most effective where music isn't can be as important as where it is music fades in under shower scene - smooth transition movies can be choppy and music can smooth those transitions and make the jumps more normal, fun fact the lady in the movie did lose the ring in real life and critics judged him for adding that before they knew it was true. notice the music build before the scene with the cameras on them and the people, another choppy transition that was turned smooth with the swell. only keep music off if you wanna scare the audience with sudden jumps such as horror movies - alien reference instruments used was brass and those are used for heroism, military, sacrifice synthesizer bass - technology and unhuman ideas or uses style of this piece- protestant hymn, faith, sacrifice, corral very church like reflecting on the time period. designed to be sung by the congregation and the build is simple and full of patterns tempo- slow, restrained, controlled, professional all indicators on tone and the tempo sits at steady adagio to commit to the vibe of rehearsal and knowing music texture changes at the end of the scene, it uses chimes and higher strings to feel lighter and airy to contrast the professionals to just the people the viewers the unknowing What is a movie? Narrative - tells a story “suspension of disbelief” you accept whatever the filmmaker has made is real as a way to immerse myself and do not do something to remind me its not, such as minor errors and product placement, no mics. it takes you out of the movie, but if we agree to this why is music there music isnt there in real life on random sets music makes things click, we look for patterns and compels our emotions when watching something inherently fake, it calls on something in a certain part of our minds 4 functions of music 1. Music can create a more convincing atmosphere of time and place historical, cultural, geographic but its based on western conceptions it can be racist its crash. using a piece of music can just set you for where you are, who is there, what it does - cliches may be used and are damaging but less now thank goodness 2. music can underline or create emotional/psychological refinements supports the emotional tone of the scene provinces insight into the unspoken thoughts of a character or the unseen implications of a situation such as hamlet soliquy so instead of that it'd be music, give us context clues that we don't have beforehand and doesn't normally align with characters reactions 2. music can provide a sense of continuity in a film structure of music “smoothes over” the discontinuous chaotic nature of the film. everything matters, nothing is done by mistake, all things are done for a reason. plot points are used by the smaller details we see. music is used to make these cuts smooth, they glue everything together that are too choppy and too hard to follow without the music - like a montage using music over it so it looks less insane 3. 3. Music can provide the underpinning for the theatrical buildup of a scene and then round it off with a sense of finality music can affect the “pacing” of a scene. it matches the vibe, it adds to the rollercoaster aka film, the bigger the moment the bigger 4. the music, the music comes down to match the less intense moments, small instrumentals, tempo, ect. designed to know cues, excitement to calm, intensity, ect. Examples of the functions Raiders of the Lost Ark - Indiana jones f3 rapid change of location from tibet to egypt - music is continuous throughout to help the transition and keep it smooth f1 change in note choice signals change in location - the move to egypt means a change in key to match the setting f4 change from action to quiet dialog - music brings the action sequence to a close, big moment calmed down by the music so people understand its a calming moment coming up after everything happened Alien Resurrection f4 - music reinforces the change from slow moving dialog to chaotic action - then slows the pace leading up to the conclusion of the scene f2- music “catches” calls reaction on hearing Ripleys name - foreshadowing the connection between them the music waits, it doesn't happen when you want it to, its slow and cold, the music hits when she hits and everything is distorted and the music is 3 sections, when she hits him and the music hits. the second is when Ripley catches the ball and the aggressive music starts, its cold and harsh music to drive home the point she's no longer human, it connects with each moment then right after its a lot of building before her final moment then nothing to hear the swish of the basketball through a chain net. lots of foreshadowing with the music. Musical themes - melody's we get a theme song (major) we get love theme, basic strings (major) calming theme (minor) these two are major scales then the 3rd theme transitions to a alter scale, c harmonic minor scale. scale to differentiate the area and the vibe, major appealing and popular you hear it you get a popular good reaction as the major scale is supposed to make you feel. the second scale is to go to snake charmer and the minor scale gets you to react differently and it gets quieter and slower rhythm to calm us and get us ready for the conversation coming in Talking about film music September 12, 2024 4:25 PM EVALUATING A SCORE: How do we talk about what we hear? Diegesis: - The world of the narrative. All characters, events, etc depicted, suggested, or described. Diegetic Music / Source Music: - music whose source is within the Diegesis. - heard both by the characters within the narrative and the film audience. - also known as “source music,” “direct music,” or “foreground music.” Functions include: establishing time and place, creating a sense of “realism and immediacy,” offering ironic comment. Nondiegetic Music / Score: - heard by the film audience only. - Referred to as the “score,” “underscore,” or “background music. - Normally originally composed for the specific film (original score). Soundtrack: collection of preexisting popular songs Example of preexisting music: Platoon (1986) Composer: George Deleure, also includes Samuel Barber’s Adagio for Strings (1938). Also used in The Elephant Man (1980) and Sicko (2007). Adapted Score: all preexisting music adapted for the film. Example: The Sting (1973) Music of Scott Joplin, adapted by Marvin Hamlisch. Compiled Score: all preexisting music, used without adaptation. 2001: A Space Odyssey (1968), Compiled from the works of R. Strauss, J Strauss, etc... Describing the Music: Style: what type of music has the composer chosen? what type of instruments? how do these choices relate to the film as a whole? Concept: Is the music used in a consistent manner throughout the film? What is accompanied? What is left without accompaniment? What “motivates” the music? Action, characters, events, objects, flashbacks, etc... Conceptual Approaches: Most film music will fall somewhere between two extremes: 1. Playing the Drama music attempts to reinforce primarily emotional elements within the narrative. 2. Hitting the Action music accents visual events. Musical Characteristics: 1. Melody or Theme - Considered the most “recognizable” music element for western ears. - Do characters, objects or situations have a particular melody associated with them? - German Opera composer Richard Wagner – Leitmotif. - Thematic Transformation – themes (leitmotif) undergo constant variation in response to narrative development 2. Tempo or Pulse: - How does the speed of the music influence the “tempo” of the narrative? On-screen action, editing, sound design. - Music is unexpected for a battle scene. - Also an excellent example of music blurring the line between source music and score. 3. Harmony - The major scale - Consonant/dissonant, Orderly/Chaotic, Tonal/Atonal What do these differences in consonance and dissonance suggest about events in the Diegesis? Thematic transformation Technical Details, How It’s Done September 19, 2024 8:27 PM Basic Timetable of Film Production Preproduction: - Preparation: script / financing / casting / costume and set design, location scouting Production: - finalization of script and production design - principle photography Postproduction: - editing film / audio and visual effects - composition and addition of music - release date - one of the final elements to be created and added to the film. - 5 to 8 weeks on average. Composer’s involvement varies based on working style and specifics of a given project. Scripts: - can give composers a “head-start” - research - source music - scripts can change significantly - only words, no clear timing or pace for the composer to work with. Screenings: - several different opportunities to see the film - rushes - assembly cut - rough cut - fine or locked cut: most if not all editing completed - most composers begin serious work at the fine cut phase – why? Spotting Session and Cue Sheets: - director, composer, music editor/music supervisor - discussion on placement of “cues” - timings, approach, etc... - “Spotting notes” or cue sheet temp Music: - “temporary” music added to film while still in production or early editing. - often taken from other film scores, or “classical” music. - gives more “finished” feeling to work in progress. Composers are deeply divided on their view of temp music – why? Composing: - 5 to 8 weeks until “delivery” of finished score - short timeline due to fixed release date - frequently exacerbated by production phase running overtime Orchestrators – skilled in composition, music theory, and knowledge of the orchestra. Baroque Period (1600-1750) Key Composers: Vivaldi, Handel, Bach. Development of “Common Practice” – major/minor system of music theory. Musical structures most important. Even tempos, consistent textures, terraced dynamics. Example: J.S. Bach, “Brandenburg Concerto No. 6” 3rd Movement (1721) Classical Period (1730-1820) Key Composers: Mozart, Hayden, Beethoven. Greater focus on melody and emotion. Expanding variety of tempo, texture and dynamics. Example: W.A. Mozart, “Symphony No. 40” 1st Movement. (1788) Romantic Period (1800-1910) Key Composers: Wagner, Tchaikovsky, Strauss. Expression of emotion was most important. Even greater range of tempo, texture and dynamics in service of emotion and narrative. Example: R. Wagner, “The Magic Fire Music” from Die Walkure (1870) THE SILENT ERA: (1895-1927) Melodramas The Persistence of Vision - The Zoopraxiscope (1879) - project several images to present the illusion of movement - Thomas Edison: - The Kinetoscope (1891) Peephole viewer with a continuous loop of film - The Kinetophone (1895) A kinetoscope with a phonograph installed in the box. - Problem with synchronization: First Projected Films: - The Lumiere Brothers, Paris December 28th, 1895. Reasons for musical accompaniment: 1. Pragmatic: mechanical noise / mechanical problems 2. Psychoanalytic: Audience disturbed by ghost like images 3. Continuity of Tradition: Long history of musical accompaniment for visual presentation. During the Silent Era: Three general approaches to music: adaptations/compilations of classical music, adaptations/compilations of popular songs, or originally composed scores or improvised scores. - In general, films could be shown anywhere, but gradually certain venues come to dominate film showings. Venues: - Vaudeville Theatres - Live variety show - First began to include films in 1896. - Musical accompaniment provided by vaudeville orchestra - By the 1920s the popularity of film led to the decline of Vaudeville. 1905 “Nickelodeons” The Shift To Narrative: George Melies: - early experimenter with camera effects - A Trip to the Moon (1902) - Not the first narrative, but over ten minutes in length, multiple scenes, sets, costumes etc – early model for narrative film to come. 1905-1910 - Narrative films become most important element - films become longer - plots become more complex. - Change in musical aesthetic from entertaining the audience to “playing the picture.” Supporting the drama and helping the audience to follow the plot. - “Fitting” or “Synchronizing” 1910 – 1920s - film industry matures. - The rise of Hollywood - Films become longer, more sophisticated. - First of the “Movie Palaces” built, 1912. Larger Orchestras and Theatre Organs. ACCOMPANYMENT: Some early attempts at creating original scores, but standard practice is either compilation of classical or popular music, or improvisation 1909: Edison Film Company - “musical suggestions” - general scene-by-scene suggestions for musical accompaniment 1912 Max Winkler (Carl Fischer Music) specific pieces of music with timings. - films shipped with the cue sheets, might also include sheet music October 10, 2024 6:56 PM Robin Hood – Opening Credits Opening – Overture: ABC structure - 3 Themes – Musical Form? Represents? - First two based on a march – group activity - Final theme sounds like the love theme – Rubato, Strings - Transition into diegesis Structure in this song is written in a march and symbolizes togetherness, for the merry men is behind the main theme The theme is a love theme - main melody is strings, the ebon flow in time to embody love Rubattoo Ties into the drums in the actual movie, it’s a fluid transition Water music - its bouncing off itself to represent when water bounces off rocks EXAMPLE 4: Robin Hood – Robin’s Theme Robin Hood theme – short, fanfare (but not in opening credits) EXAMPLE 5: Robin Hood – Little John - Theme will be used when main characters join the merry men - First heard with Little John – French Horn (operatic link to hunter or woodsman) - Stylistic blend of source music (played for comedy) - Hitting the action during the dual (also played for comedy) - Mickey Mousing with the lute - Woodwind “water” theme – similar to many operatic examples - Concludes with merry men theme EXAMPLE 6: Robin Hood – Friar Tuck - Similar to Little John scene - Initial theme played primarily on bassoon and muted trumpet – comic - Sword fight – same theme as Little John battle – more exciting / swords - Woodwind “water” theme again - Concludes with merry men theme Big use of basoon and trumpets with a mute EXAMPLE 7: Robin Hood – Robin and Marion 1 - two themes during Marion/Robin dialog – first theme is new - second theme from opening credits – which is the love theme (or are both?) EXAMPLE 8: Robin Hood – Robin and Marion 2 - Love theme 1 for the big smooch – big strings / moment of spectacle - Love theme 2 – quiet cello 2 love themes because theres two love stories happening at once, 2nd one isnt romantic its patriotic love EXAMPLE 9: Robin Hood – King Richard - Love theme 2 (from opening credits) gets most dramatic statement with the reveal of Richard Style of Korngold - Romantic” orchestral style operatic approach - use of themes / thematic transformation - often Frames The Narrative (Phrasing the Drama) - limited use of “Mickey Mousing”, would use it only for comedy. into The 1940s... - the 1940s: interest in stories that are more “realistic” - psychological drama, complex motivations, character driven narrative. - the “dark side” of the human condition. Film Noir - influenced by German Expressionism - during the 1930s many German directors fleeing the Nazis end up in Hollywood October 30, 2024 4:38 PM 1. The Jazz Singer ○ Significance: Known as the first "talkie," The Jazz Singer (1927) marked the start of the sound film era. ○ Impact on Film Industry: Brought immediate commercial success and led to widespread adoption of sound in films. ○ Technology: Introduced synchronized dialogue and music, which set a new standard for film production. 2. Changes in Aesthetics and Technology with Sound Film ○ Aesthetics: Dialogue, music, and sound effects became integral, adding emotional depth and atmosphere to films. ○ Technological Developments: Advancements in sound recording and playback equipment changed how scenes were shot and edited. ○ Directorial Approach: Directors started incorporating soundscapes, shifting the narrative style from a purely visual medium. Key Figures in Film Music 1. Max Steiner ○ Contribution: Known as the "father of film music," Steiner created memorable scores that deepened emotional storytelling. ○ Notable Works: King Kong (1933), Gone with the Wind (1939), and Casablanca (1942). ○ Influence: Steiner’s use of leitmotifs helped define character emotions and contributed to the Classical Hollywood film score style. 2. Erich Wolfgang Korngold and The Adventures of Robin Hood ○ Role: Korngold was a pivotal figure in adapting complex orchestral scores to action- adventure films. ○ The Adventures of Robin Hood (1938): His score for this film is celebrated for its use of motifs to support character and narrative themes, enhancing the heroism and romanticism in the story. Film Noir 1. Characteristics of Film Noir ○ Themes: Often explores dark and cynical themes such as crime, moral ambiguity, and existential dread. ○ Visual Style: Known for its low-key lighting, stark contrasts, and unusual camera angles. ○ Music: Film noir scores often used jazz-influenced melodies and ominous tones to reflect the genre’s darker themes. 2. David Raksin and Laura ○ Impact on Noir Aesthetic: Raksin’s score for Laura (1944) contributed to the mysterious and melancholic tone characteristic of noir films. ○ Musical Style: Raksin used sophisticated melodies that influenced the emotional atmosphere of noir films. Key Topics from Readings 1. The Jazz Singer / Sound on Film / Sunrise (pgs. 97-99) ○ Discusses the landmark moments in early sound film, highlighting the transition from silent to sound films and the impact on storytelling. 2. Germany: The Cabinet of Dr. Caligari (pgs. 114-115) ○ Highlights the expressionist style of German silent film and its influence on the horror and  noir genres. 3. The Classical Hollywood Film Score & The Hays Code (pgs. 123-125) ○ Hays Code: Censorship guidelines that influenced storylines, character portrayals, and themes in Hollywood. ○ Hollywood Film Score: Standardized the use of orchestral music in film to enhance storytelling and character development. 4. The Adventures of Robin Hood (pgs. 131-135) ○ Focuses on Korngold’s score and its use in establishing an adventurous tone that became a benchmark for action and fantasy genres. 5. The Postwar Years & Blacklisting (pgs. 197-199) ○ Blacklisting: How political tensions and the fear of communism affected Hollywood and its creative outputs during the postwar years. 6. Film Noir & Changing Cinematic Images (pgs. 200-206) ○ Discusses the shift in cinematic style to darker themes in the postwar era, with film noir gaining popularity. ○ Explores how the stylistic elements of noir reflected the cynicism and disillusionment of the time. December 8, 2024 3:16 PM The 1940s are when we see an increase in the number of American born composers rising to prominence in Hollywood such as: Bernard Herrmann, David Raksin David Raksin: (1912-2004) - born in Philadelphia. -Father was a conductor for silent films. - studied music with Arnold Schoenberg. -early career as pianist and arranger for Jazz bands in NY (Benny Goodman) Charlie Chaplin in Modern Times (1935) -Raksin’s work in film music started with Chaplin Chaplin in 1935-music for Modern Times Laura (1944) Director Otto Preminger wanted “Sophisticated Lady” by Duke Ellington - Raksin composes own theme (famous heartbreak story). - psychological thriller (who-done-it) - motivations and misdirection - Monothematic – based on a single theme - Non-European sound – based on American popular music. - music not driving the suspense, more like the ghost or the “ideal” of Laura. - Also gives insight into the mind of McPherson. Video Example: Laura 1 Opening Credits – Monologue - Focus on the portrait of Laura – sophisticated/urban – almost unearthly - Musical theme linked to Laura – Orchestral but pop/jazz influenced. Theme (with lyrics) was a major popular music hit. - “Pedal Point” - Where does the cue end? Video Example: Laura 2 Lydecker’s Story Part A - source music is Laura’s theme - transitions to score with the story - dialog between Lydecker and Laura is scored with a waltz – why? - When do we hear Laura’s theme? Video Example: Laura 3 Scene 3: Lydecker’s Story Part B - Theme grows in complexity as Laura’s career grows. - But notice that Laura doesn’t speak – Lydecker and the music speak for her. - Montage – the music helps create a sense of continuity. - Again, a seamless transition between source and score. Video Example: Laura 4 Scene 4: The Apartment - music is a balance between following the action and reflecting McPherson’s internal state as he searches the apartment. - Note how the music is connected to the portrait. - What happens when Laura returns to the apartment? The 1950s: End of the Studio System Challenge of new media - Television Battle with television fought on two fronts: Technology Subject matter 1/ Technology: - colour movies. - wide-screen image. - Multiple systems in competition (just like sound) such as Cinerama, CinemaScope, Panavision and VistaVision. - multi-channel sound systems for theatres. - epic films: Quo Vadis, The Robe, Julius Ceasar, Lawrence of Arabia, Cleopatra, The Ten Commandments Ben Hur (1959) Music by Miklos Rozsa EX: YouTube Example: The Parade of the Chrioteers https://www.youtube.com/watch?v=k6TUgccyzNs - visually spectacular / no narrative development during this scene / focus is on the grandeur of the sound and image. - music is tonal / orchestral 2/ Subject Matter: - March 1930: The Production Code (Hays Office) - Voluntary until 1934. - Television more restricted - advertisers - Foreign films - Abandoned in 1968 Elmer Bernstein: (1922 - 2004) Born in New York City - Studied at The Julliard School of Performing Arts - During the 1940s, pursued career concert pianist/composer: also worked in Armed Forces radio during the war - First film work in 1952 - 1953 – Accusations of communist sympathies The Man With The Golden Arm (1955) Big Band, within a conventional orchestra the score strongly Jazz/popular influenced Jazz – urban – drug abuse Video Example: “The Man With The Golden Arm” Example of an attempt to use a popular style as film score – effective for the most part, but awkward at times Framing The Narrative – then extreme hitting the action. The Ten Commandments (1956) - Versatility! Other notable films: The Magnificent Seven (1960), To Kill A Mockingbird (1962), Ghostbusters (Directed by Jon Landis, 1984) Dimitri Tiomkin (1894-1979) Born in Russia Played piano in Russian silent movie theatres 1925 – USA: worked in vaudeville Began work in Hollywood during the 1930s Important films include: Lost Horizon (1937); It’s A Wonderful Life (1946) High Noon (1952) Score based on a popular song composed by Tiomkin “Do Not Forsake Me” Hit for singer Tex Ritter Song was “prereleased” and established the use of “Movie Songs” Received AA for best score and best song Notable for the high level of integration of the song melody within the score. Video Example: High Noon 1 Opening Credits – Example of a movie-song. Video Example: High Noon 2 Montage – note the synchronization with the clock and the use of Frank Miller’s theme from the opening song. Bernard Herrmann: (1911-1975) - Born in New York City - Studied at Julliard - CBS radio in 1934 - Conductor of the CBS orchestra - Notable for contributions to concert music - 1938 Orson Wells - October, 1938 The War Of The Worlds - travels to Hollywood with Wells in 1940 December 8, 2024 3:18 PM Bernard Herrmann: (1911-1975) - Born in New York City - Studied at Julliard - CBS radio in 1934 - Conductor of the CBS orchestra - Notable for contributions to concert music - 1938 Orson Wells - October, 1938 The War Of The Worlds - travels to Hollywood with Wells in 1940. Citizen Kane (1941) EX: Citizen Kane – The Breakfast Montage: YouTube Clip https://www.youtube.com/watch?v=CMkPIW22bq4 The Day the Earth Stood Still (1951) - unique set of instruments: violin, cello, and bass (all three electric), two theremins, three electric organs, three vibraphones, two glockenspiels, two pianos, two harps, three trumpets, three trombones, and four tubas. Video Example: The Day The Earth Stood Still - “sound clouds” – music focusing on texture, not themes - Modernist approach - Herrmann’s approach: the sound of a score depends on instrumentation - Only required for recording session – no need to use a standardized performance ensemble - Beneath the 12-Mile Reef (1953) - Instrumentation included 9 harps - 1955 Herrmann begins collaboration with Alfred Hitchcock Vertigo (1958) North By Northwest (1959), Psycho (1960) - limited budget – shot in black and white - Herrmann uses only strings “black and white” score - Cues tend to set a single mood and show little response to what happens minute by minute - Overall the mood is bleak and has little emotional warmth EX: Psycho 1: The Money - short repetitive theme that fractures - quiet but unsettled – Marion’s discomfort with the theft - grows slightly in intensity as she decides to take the money EX: Psycho 2: Flight - music enters as she makes her “escape” - at first seems to play her fear at being caught - but as she changes, music seems to play her fall to the “dark” side EX: Psycho 3 Norman - two semitones - “Harmonics” as Norman spies on Marion, no emotion EX: Psycho 4 The Shower - no music until the attack - no tonality – strings “shriek” - whose theme as the murder flees the scene? - Part company during the filming of Torn Curtain (1964) - Bitter, he moves to Europe: Truffaut: Fahrenheit 451 (1966) - Last movie is Taxi Driver (1975) December 8, 2024 3:25 PM 1960s: Turbulent period in American history: Civil rights Vietnam War Generational gap Films in the 1960s: - cultural revolution of the late ‘60s results in films with a strong sense of irony and cynicism. - End of the Studio System leads to freelancing and independent productions - cost escalate - while orchestral scores are still produced, cost factors lead to many smaller ensembles or popular music scores During the 1960s: - continuing growth of popular music influences - continuing growth of use of dissonance - atonality John Barry (1933 - 2011) - classical pianist / trumpet - turned to pop music in his 20s - by early 1960s is a well-known British pop musician Dr. No (1962) - James Bond - Monty Norman - Lawsuit - Composed the music for 11 James Bond films. - Won 5 Academy Awards including: Born Free (1967), Out of Africa (1986), and Dances With Wolves (1991) - Style defined by clear, tonal melodies (pop influence) 2001: A Space Odyssey - score compiled from concert-hall music - seen as a new approach to the relationship between music and film. (Would this approach work in other more conventional films?) - combination of tonal music from late 19th-century (Johann Strauss II) and atonal music from the 20th-century (Gyorgy Ligeti) EX-2001: A Space Odyssey – 1 Earth to the Moon - music used to accompany humans is tonal (The Blue Danube Waltz) EX-2001: A Space Odyssey – 2 The Monolith - music used to depict the alien intelligence is atonal Jerry Goldsmith: (1929 – 2004) - born in Los Angeles - Spellbound - west coast – studied with Rosza at USC - Starts working at CBS radio in 1950 - Gradually doing more work for television. - Film work starting in 1957. Patton (1970) - sparse score (less than 40 minutes) for a 3 hour film. - Music focuses on the character of Patton. - Use of electronic processing on orchestral instruments EX-Patton 1: North Africa - ‘sound cloud’ as they arrive at the battlefield - Note the use of the electronic echo on the trumpet - Reincarnation theme expanded during his description - Hymn theme enters as Patton says – “two thousand years ago’ – Christian reference to the time of Christ. EX-Patton 2: Advance in Europe - montage – blending of all three themes - march theme accompanies Patton and advancing troops - religious theme accompanies the commanding officers - reincarnation theme when we see the list of German casualties Planet of the Apes (1968) - social and political critique - blend of orchestral instruments with elements such as animal horns and mixing bowls Prepared Piano Scene: POTA 1 The Crossing (Part 1) - no clear organization, more sound than music - use of electronic echo, metal sheet. Scene: POTA 2 The Crossing (Part 2) - clear melodic structure using 12-Tone technique - Arnold Schoenberg (2nd Viennese School) - 1923 – development of “tone rows” - Treat all 12 notes with equal importance - A new set of rules to replace the major / minor system of tonality Scene: POTA 3 The Takers - music for the astronauts is atonal but strongly organized. Clear even rhythm supported by snare drum. - music for unseen takers is chaotic, “chirping” woodwinds, log drums – more “primitive” sound - different characterizations but not dependent on tonality Scene: POTA 4 No Escape - one moment of tonal music, reserved for just after Taylor speaks to the apes for the first time. - Scene: POTA 5 The Ending - how would music have changed the impact of this scene? - 18 Academy Award nominations. Won in 1977 for “The Omen.” - Closely associated with the Star Trek franchise December 8, 2024 3:32 PM Planet of the Apes Scene: POTA 3 The Takers - music for the astronauts is atonal but strongly organized. Clear even rhythm supported by snare drum. - music for unseen takers is chaotic, “chirping” woodwinds, log drums – more “primitive” sound - different characterizations but not dependent on tonality - 12 tone theme during the chase Scene: POTA 4 No Escape - one moment of tonal music, reserved for just after Taylor speaks to the apes for the first time. - Scene: POTA 5 The Ending - how would music have changed the impact of this scene? - 18 Academy Award nominations. Won in 1977 for “The Omen.” - Closely associated with the Star Trek franchise. The 1970’s - film cost continues to increase: ‘72-‘77, 178%: ‘77-‘79 200%. - 1970s: 160 films per year (1937: 538 films are produced) - Genre/formula films - Pop scores – The Graduate (1967), Easy Rider (1969), The Last Picture Show (1971), American Graffiti (1973). - cheaper / promotion - “old school” (orchestras) seen as irrelevant. John Williams: - born in 1932 to musical parents. - Trained as a concert pianist at Julliard - Television (late 1950’s) - Lost in Space, Land of the Giants, Gilligan’s Island. Lost In Space (1965) -Lost in Space – Main Theme: https://www.youtube.com/watch?v=b4MdeRi8mts - Late 1960’s, film work - comedies and disaster films. Irwin Allen. The Poseidon Adventure (1972) The Sugarland Express (1974) - First time collaboration between John Williams and Steven Spielberg 1975: Jaws 1977 Star Wars Marked a return to the orchestral style of Korngold - Temp track featured Korngold - Composed for standard orchestra - Use of tonal themes / thematic transformation Jaws Jaws began a shift in the attitude towards orchestral music in film. – helped re-established the orchestra as an important force in film music. A trend that will reach a peak with Star Wars two years later. - Score is a blend of modernism (such as the influence of ‘The Rite Of Spring’ (1917) by Igor Stravinsky) and a return to the sound of Korngold (Neoromantic music) Scene One: Get Out Of The Water: - Shark theme enters with the underwater shot. - The theme rises in intensity before the attack. - Modernism-Psycho-like strings during Brody’s reaction (0:45) - Theme fades away telling us the shark has left. Scene Two; The Fishermen - Shark theme enters as the tire is pulled out to sea. - Theme grows in intensity. - Note the change in intensity as the dock changes direction and returns to shore - Again, the theme fades away, telling us the shark has left. Scene Three: He Made Me Do It - All of the visual elements from the first attack are present. - The one thing that is missing is the music - The attack is a prank, but the only thing that is missing is the music. - By this point the music is clearly linked to the presence of the shark. Scene Four: You’re Gonna Need A Bigger Boat. - The shark appears without any musical warning. Scene Five: The Barrels - Shark theme builds to first sight of the shark - New theme – wonder / amazement / humility - Quint’s theme – highly structured – deliberate – focused – controlled - Hooper’s theme – childlike – wonder – excitement - Shark theme builds up to the Harpoon shot - “Pirate” music – exciting-uplifting-until the shark pulls the barrel under the water. Williams’ Style - Influenced by both the traditional approaches of Wagner/Korngold as well as more recent modernist styles. - Neoromantic - No contemporary popular music, but capable of composing in Jazz- influenced styles. 1980-93 he is the conductor of the Boston Pops Orchestra: - his film work is reworked into orchestral works - self-contained concert pieces - music takes on a life outside the film world. TIME PERMITTING The 1980s - Strongly influenced by the work of John Williams - Composers moving back to the orchestra as a starting point. - Dominant musical style is Neo-Romantic fused with elements of modernism. - Main themes tend to be tonal. - Notable composers who become prominent during this period are James Horner, Michael Kamen, and Alan Silvestri Back To The Future (1985) Composer: Alan Silvestri - film is a comedy but the music treats it as a serious story - Listen to the similarity between the work of Silvestri and Williams Silvestri’s recent work includes scores for The Avengers franchise. James Horner: (1953-2015) - Born in Los Angeles - Father Harry was an Academy Award winning set designer / art director - Grew up in England where he attended the Royal College of Music - Returns to Los Angeles in his teens - Despite the fact that his father worked in the film industry, Horner felt that film composing was not a serious artistic outlet - Began composing for film while at UCLA in 1978 for the American Film Institute (AFI) - First major film score: The Lady In Red (1979) Breakthrough score was for Star Trek II: The Wrath of Khan (1982) - Among his best-know work: Aliens (1986), Field of Dreams (1989), Braveheart (1995), Apollo 13 (1996) - Greatest success came in 1997: Titanic for which he won two academy awards (Best original Score; Best original song “My Heart Will Go On” Lyrics by Will Jennings) - The recording of the original score is still considered the best-selling orchestral album of all time. December 8, 2024 3:48 PM The 1980s - Strongly influenced by the work of John Williams - Composers moving back to the orchestra as a starting point. - Dominant musical style is Neo-Romantic fused with elements of modernism. - Main themes tend to be tonal. - Notable composers who become prominent during this period are James Horner, Michael Kamen, and Alan Silvestri Back To The Future (1985) Composer: Alan Silvestri - film is a comedy but the music treats it as a serious story - Listen to the similarity between the work of Silvestri and Williams Silvestri’s recent work includes scores for The Avengers franchise. James Horner: (1953-2015) - Born in Los Angeles - Father Harry was an Academy Award winning set designer / art director - Grew up in England where he attended the Royal College of Music - Returns to Los Angeles in his teens - Despite the fact that his father worked in the film industry, Horner felt that film composing was not a serious artistic outlet - Began composing for film while at UCLA in 1978 for the American Film Institute (AFI) First major film score: The Lady In Red (1979) Breakthrough score was for Star Trek II: The Wrath of Khan (1982) - Among his best-know work: Aliens (1986), Field of Dreams (1989), Braveheart (1995), Apollo 13 (1996) Greatest success came in 1997: Titanic for which he won two academy awards (Best original Score; Best original song “My Heart Will Go On” Lyrics by Will Jennings) - The recording of the original score is still considered the best-selling orchestral album of all time. Characteristics of Horner’s Style: - Strong melodic composer, often works with the conventional orchestra. - Both neoromantic and modernist sounds in his work - Also capable of incorporating electronic instrument and effects - Despite not having a strong background in Popular music, is also adept at writing in popular styles – “My Heart Will Go On” with Celine Dion. - Very strong at synchronizing music to visual elements such as scene and camera changes – hitting the cuts (not Mickey Mousing) Glory (1989) Example: Glory - close syncronization of music with camera “cuts” (hitting the cut) - changes of point of view or scene. - electronic processing of trumpet and snare to create sense of historical distance. - what “instrument” is used to carry the main theme? Star Trek II: The Wrath of Khan (1982) Score is primarily orchestral and tonal. Also includes some modernist elements and electronic instruments. Example – Main Theme - starts with electronic instruments. - theme is grand and lyrical but lacks an “action hero” quality. Why? Example : Star Trek II - Leaving Space Dock - a strong fanfare - exterior shots of the ship coming to life – music and camera cuts are closely synched. - music volume drops down as Kirk enters the bridge - wonder and excitement / uncertainty. - The music begins a new statement of the theme as Spock askes a cadet officer to “take her out.” Intended as comedy with Kirk’s nervous reaction, but Horner does not break the mood of the music. In a way, it makes the moment funnier than if he had tried to play it. - music builds with closeup exterior shot of the Enterprise. - full statement of main theme synced to full shot of the Enterprise. Example: Star Trek II - Khan - modernism for Khan’s reveal. Atonal clusters and moans gradually build until we see his face for the first time. - the music changes to a slow but relentless pulse. Theme is based on semitones: a first glimpse into the obsession of Khan - As the narrative develops, the slow pulse and its accompanying theme of semitones will grow into a fierce and dreadful articulation of Khan’s rage. Example: Star Trek II – Surprise Attack - Battle between Kirk and Khan – also a ‘battle’ between the musical themes. - Dominance of Khan’s theme foreshadowing the attack - Kirk’s theme gradually overwhelmed - Once the attack begins, nothing but variations of Khan’s theme - Finally, Kirk’s theme returns in minor (thematic variation) with the demand for surrender. Example: Star Trek II – Kirk’s Reply - “Clear The Bridge” Music is quiet and uncertain, but the rhythm suggests order and precision of Kirk, rather than the vengeance of Khan. Does Kirk have a plan? - Exterior – Khan’s theme, but no longer clear and focused. - When do we hear Kirk’s theme return to the score? - And of course, what happens next? It’s awesome! An avid pilot for most of his life, Horner was killed in a single-engine plane crash in 2015. He had just completed initial work on a score for the remake of a western called ‘The Magnificent Seven’ (2016). He was 61. Electronic Scores: - By the 1950s electronic music had become an important part of musical modernism. - RCA Synthesizer – Colombia University - “realization” Example: “Ensembles For Synthesizer” (1964) composed by Milton Babbit Forbidden Planet (1956) - Musical “realizations’ by Louis and Bebe Barron YouTube Clip: Forbidden Planet https://www.youtube.com/watch?v=SKdTYaAY1V8 By the mid 1960s, smaller “modular” synthesizers were replacing the earlier, larger models. In 1964, Bob Moog (rhymes with Vogue) produces the first commercially available modular synthesizer. Wendy Carlos: (1939- ) Switched On Bach (1968) Carlos’ album popularized the synthesizer in popular culture. Film Scores included: - A Clockwork Orange (1971) - The Shining (1980) - Tron (1982) - Using synthesizers but still in the orchestral tradition Late 1960s, early 1970s: - Musicians working in popular styles begin to experiment with synthesizers. - Emergence of progressive rock and early electronica. Both made use of extended instrumental works Sorcerer (1977) -Music by electronic music pioneers Tangerine Dream Halloween (1978) -Music by director John Carpenter - And a more recent example.... Vangelis: (1943-1922) - Born in Greece - Largely self-taught - Created music by layering instruments one at a time. - Chariots of Fire (1981) - Blade Runner (1982) “Music Video” for Chariots Of Fire Main Theme: https://www.youtube.com/watch?v=8a- HfNE3EIo Example: Blade Runner - Film is a science fiction, but heavily influenced by the style of film noir. - Synthesizers creating a lush, spacious sound. By the early 1980s, synthesizers have become smaller, more powerful, and more affordable. 1983: MIDI – Music Instrument digital interface. - When combined with a personal computer in now possible for a single musician to produce long, complex works (such as a film score) without the need for expensive recording studios. Will also allow composers with little or no technical training to work out complex ideas including music for orchestra without the need for written notation. - Why use a real orchestra? December 8, 2024 3:54 PM Danny Elfman: (1953- ) - American Born - Influences include Bernard Herrman and The Day The Earth Stood Still. - Forbidden Zone (1979) - Oingo Boingo - “Weird Science” (1985) Oingo Boingo – from the film of the same name. https://www.youtube.com/watch?v=Jm-upHSP9KU -Breakthrough score was for Pee Wee’s Big Adventure (1985) Directed by Tim Burton - Frequent collaborator with Tim Burton EX-YouTube: Pee Wee’s Big Adventure: Stolen Bike https://www.youtube.com/watch?v=aHxScvu4YpE -influence of Bernard Herrmann. Characteristics: - Frantic / Carnivalesque (child-like in a nightmarish way) - Frequent use of 3/4 time (waltz rhythm) and 2/4 (polka rhythm) - Frequent use of glockenspiel/celeste, low woodwinds, harp glissandi, and wordless choir - Hitting the action – to the point of “Mickey Mousing” Beetlejuice (1988) EX-YouTube Clip: Beetlejuice – It’s Showtime! https://www.youtube.com/watch?v=aDm4L7gjYNs - 00:09: B’s theme on violin – blend of demonic violin with influences of country and western slides. - 00:24: Increase in intensity with shot of the ghosts suspended over the table (note the use of organ – death/afterlife). - 00:28: development of B’s theme – tango (dance rhythm) as he convinces Lydia to marry him in exchange for his help saving the Maitlands. - 00:52: rhythm stops – anticipation builds as Lydia says the name three times. - 01:06: sound effects blend with low brass. - 01:20: frantic polka as B appears. - 01:40: Carnival/merry-go-round music adds to the chaos. - 01:55 mickey mousing as the inflatable mallets appear. - 02:09: music out as the mallets strike – the gap creates a rest and allows Elfman to bring the music back at a much lower level and restart building tension. - Quick transitions: - “What have we got here tonight, kids?’ – plucked strings and low woodwinds create a sense of menace. - “Well, we’ve got the Maitlands...” – this is an impression of the late-night talkshow host Johnny Carson who would often make a “golf-shot’ gesture accompanied by snare drum roll. - 02:55 – Circus music as B tortures Otho by putting him in a cheap leisure suit. Edward Scissorhands (1992) - Elements of “Frankenstein” and “Beauty And The Beast” - Tchaikovsky “The Nutcracker” (1892) - Fourth collaboration between Elfman and Burton Example: Edward Scissorhands – House On The Hill - Cue starts with the view of the house - Low woodwinds, harp wordless choir – ominous / warning - Edward’s theme in an ominous variation – wordless choir - builds as she approaches the gate, the voices have the quality of a warning. - change to waltz with the main rhythm carried by the celeste. Sense of threat is replaced with more of a sense of mystery and wonder as she drives up the hill. - Compare this section with Tchaikovsky’s “The Nutcracker.” - the tolling of a bell – a slow rhythm of single strokes often a symbol of death. - The garden: a new waltz begins, filled with wonder and amazement as she sees the garden. Once again, we hear Edward’s theme but now played without threat or dread. Example: Edward Scissorhands - Edward The Barber - no music to start –adding a bit of tension to the cutting of the dog’s hair – will this end well or not? The lack of music helps keep us in the dark. - quick polka - chaos the neighbors bring their dogs to see Edward. - Quick changes of instruments from piano to brass – again, an Elfman favorite with the low woodwinds starting at 01:12. - Change to lighter mood as we see Joyce’s dog – strings and saxophone. - Joyce’s hair, tango (considered a passionate and sensual). - a virtuosic solo violin – demonic talent. - a return to the tango accompanying a montage of haircuts. - Edward prepares to cut Meg’s hair. The tango theme changes to a gentler statement of family love. Meg is now seen as a mother figure. Other well-known scores Hans Zimmer: (1957- ) - German born / self-taught keyboardist. - Late 1970s / early 1980s – pop music keyboardist / synth programmer - worked with The Buggles (Video Killed The Radio Star-1979). Video for “Video Killed The Radio Star” https://www.youtube.com/watch?v=W8r-tXRLazs -1980, working on jingles brought him to the attention of British film composer, Stanley Myles. - With Myles: Moonlighting (1982), My Beautiful Launderette (1985) - Breakthrough film was Rain Man (1988). - Early films such as Rain Man, and Driving Miss Daisy (1989), made extensive use of synthesizers / samplers. - Thelma & Louise (1991), The Lion King (1994) The Thin Red Line (1998) - Director Terrence Malick - “Journey To The Line.” - The Thin Red Line marks the first time Zimmer experiments with a new style: Hybrid-Orchestral - spacious and powerful: a fusing of electronics and orchestra. Often has an emphasis on timbre and rhythm, rather than melody. - the music was composed before the film was completed - Most notable collaborations are with director Christopher Nolan, such as The Dark Knight trilogy. - Minimalism: simple idea – repetition – complexity of layers – slow changes over time Interstellar (2014) EX-YouTube: Interstellar – Final Scene https://www.youtube.com/watch?v=ECjYsWLgy3I - slow repetative development of basic thematic idea - addition of multiple layers building the intensity - gradual build in dynamics and range (gets louder and instruments get both higher and lower) Inception (2010) - often composes music during or even before the film is in production - music and film are edited simultaneously. - cues sometimes assembled from multiple pieces of music EX-YouTube Clip: Inception – Final Sequence https://www.youtube.com/watch?v=XQPy88-E2zo - minimalist – simple basic idea - gradual build through layering - slow build in dynamics, range, and rhythmic complexity YouTube Clip: Inception – The Kick https://www.youtube.com/watch?v=OmY6A6YW-qQ (sorry, I don’t know Jessica...) - key moment is when Robert’s father says, “I was disappointed you tried.” - beginning of hybrid-orchestral, minimalist build - cue is assembled from three separate pieces of pre-recorded music composed by Zimmer before the film was finished The Zimmer Effect: Mad Max: Fury Road (2015) Music by Tom Holkenborg - DJ / Producer Junkie XL - Electronica https://www.youtube.com/watch?v=DgzlVVRfFOU Notice the similarity to Zimmer – the use of the Braaaams. And here is the scene with music: https://www.youtube.com/watch?v=RYA1X3NBB5s (Volume is important with this one!) Dune (2021) TIME PERMITTING: New Trends: Neo Minimalism Max Richter ”On The Nature Of Daylight”: https://www.youtube.com/watch?v=InyT9Gyoz_o Johan Johansson Arrival (2016) https://www.youtube.com/watch?v=nNpdyGsrL1k Opening Scene from Arrival – Music by Max Richter Hildur Guðnadóttir Joker (2019