Music 246 Final Exam
NOTES FOR EXAM
The 1950s:
End of the Studio System
Challenge of new media - Television
Battle with television fought on two fronts:
Technology
Mostly black and white
Colour television did not become a big thing until 1960s
Subject matter
1/ Technology:
colour movies.
wide-screen image.
The standard ratio was 4 by 3
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 Caesar, Lawrence of Arabia, Cleopatra, The Ten Commandments
Ben Hur (1959) Music by Miklos Rozsa - became main composer in sword and sandal movies
EX: YouTube Example: The Parade of the Charioteers
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:
Came into force in March 1930: The Production Code (Hays Office) - Voluntary until 1934.
Religious groups pressured hollywood to use certain things
If you wanted to get away with certain things it wouldn't be certified by the Hayes office
You'd have to pay a fine if the code was violated
Television more restricted - advertisers
Too afraid of offending the parents
Television was paid by advertisers, so the scripts were shown to advertisers and they had the right to reject certain things
Theatres push the code - saying that they can control the audience that shows up to watch the films i,.e age restrictions
Foreign films were also taken into account since they were a competition because they were able to show more mature stuff then hollywood
Abandoned in 1968
Elmer Bernstein: (1922 - 2004)
Born in New York City
Studied at The Juilliard School of Performing Arts
During the 1940s, pursued career concert pianist/composer: also worked in Armed Forces radio during the war - where he begins to compose music for new shows
Writes music on demand - gets the skills you need to become a film composer
First film work in 1952
1953 – he got in trouble - Accusations of communist sympathies
When he was in college he wrote reviews of records, he didn't know that the school was selling his work into communist publications. After he was accused he didn't get hired anymore
He finally got to work in The Man With The Golden Arm (1955)
The film pushed the code
He's the man with the golden arm because he works with betting dealers (became the card dealer) - he is a heroin addict
Frank sinatra as the actor
Music performed by a 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 - they have been using pop music, not orchestral
They hit the action and it gets weird
Framing The Narrative – then extreme hitting the action.
The Ten Commandments (1956)
Elmer was called in last min to write a score for this movie
Versatility!
Other notable films: The Magnificent Seven (1960), To Kill A Mockingbird (1962), Ghostbusters (Directed by Jon Landis, 1984)
He wrote a small part for the movie scene in Thriller by Micheal Jackson
He also wrote the theme for national geographic
Dimitri Tiomkin (1894-1979)
Born in Russia
An adult before sound films start
Played piano in Russian silent movie theatres
Moves in 1925 – USA: worked in vaudeville
First outlets for motion pictures
Vaudvilles fall out of fashion and movie theatres take over
Began work in Hollywood during the 1930s - becomes a well established and respected composer
Important films include: Lost Horizon (1937); It’s A Wonderful Life (1946)
Wrote a score for a western called High Noon (1952)
The movie takes place in real time
Score based on a popular song composed by Tiomkin
We start getting genres
The style of the music was country/western
“Do Not Forsake Me”
The song had 2 themes - the themes are assigned to 2 different characters
Hit for singer Tex Ritter
Used an unusual promotional tactic - the Song was “pre-released” and established the use of
The song became a hit - everyone has heard about the movie because of it
This is what they do with most of bollywood movies
This promotional tactic created the pathway for “Movie Songs”
Received Academy Award for best score and best song
Notable for the high level of integration of the song melody within the score.
The movie scene example - the music was made before the scene was shot
The clock beat becomes synchronized with the bass - it's the second theme of the second character, uses thematic transformation
The scene was cut to sync with the music
Bernard Herrmann: (1911-1975)
Born in New York City
Studied at Julliard
He's in his early 20s - gets a job at CBS radio in 1934
wrote , composed and conducted music for all types of shows and all types of different styles - he worked really quickly
Radio is what television will become
Conductor of the CBS orchestra
Notable for contributions to concert music - he conducted orchestras while working at CBS - he also used works of younger musicians to promote their work
1938 Orson Wells - was younger then Hermann - he had a radio show where he put a radio version for a famous science fiction book.. (Look below point)
October, 1938 The War Of The Worlds
They decided to make it into a series - played music and then interrupted to say there's an invasion or something
People tuned in later so people thought that Us was actually going to be invaded - they thought nazizs were gonna invade (didn’t know that it was martians that were gonna be invading)
The next day Orson was forced to make a national apology - Hollywood listened to his stuff and wanted him to make a film. He got many offers - he said no to everyone because he wanted absolute production control - a studio finally gets him
Had been made into a film as well
travels to Hollywood with Wells in 1940.
His first movie was Citizen Kane (1941)
Many people think that it created the genre of film noir - he broke all of the rules of what movies were ‘supposed to be’
The music is all tonal - sounds like an opera - sounds like classical music
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.
He plays sound clouds - the instruments play cloud of notes that stays the same - music focused on texture and not melodies
Very modernist - his single most important contribution to film music - the use of unusual choice of instruments
Symphony orchestras are a standardised performance ensembles
Barnard knew that When you are writing film music, you ain't writing it for a concert hall - he was in hollywood so he knew he could write music for something else that wasn't a symphony orchestra
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
His second collab with 1955 Herrmann begins collaboration with Alfred Hitchcock
He wrote most of the scores for Hitchcock's movies
Vertigo (1958)
North By Northwest (1959),
Psycho (1960)
Was based on a book - director wanted to make it for a while
He said he would use a limited budget – shot in black and white
He said he’d pay for the production budget, he just needed someone to release it
If it didn't work, he would have cut the mature stuff to make the movie into a show
Herrmann uses only strings section from a standard orchestra “black and white” score
Cues tend to set a single mood and show little response to what happens minute by minute - framing the narrative - there's so much going on that you can't cover everything - almost all of the music in the film has no feel to it
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
Does Not use any vibrato - so it doesn't sound warm
The music isn't leading up to anything - it keeps going
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
Takes a modernist approach
EX: Psycho 3 Norman
two semitones - two adjacent notes
Violins play very high “Harmonics” (high harmonics sound very cold on violins) as Norman spies on Marion, no emotion
Rapidly cut shots
EX: Psycho 4 The Shower
Hitchcock told Barnard for no music until the attack
Then they added music when the shower curtain pull back- no tonality – strings “shriek”
The violins stop becoming music
whose theme as the murder flees the scene?
Normans theme is played half way through the film
Hitchcock and Barnard have a fallout Part company during the filming of Torn Curtain (1964)
He hated pop music
Bitter, he moves to Europe: did a film for director Truffaut the movie was Fahrenheit 451 (1966)
He returns for a long time back to US to write score for his Last movie is Taxi Driver (1975
He was about to start work on his last movie, when he dies in his hotel room - they dedicated the movie to him
Week 9
1930 - symphony orchestras
1940 - pop music - double indemnity starts modernism
1960s: Turbulent period in American history:
Civil rights, Vietnam War, Generational gap
Films in the 1960s:
The 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
Cost have escalated so they makes movies that they know will profit them
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
Trained in modernism and classical music
turned to pop music in his 20s - becomes a pop star
by early 1960s is a well-known British pop musician created the band John Berry 7
Music is a blend of jazz and rock and roll
Electric guitars a very important part of pop music
Dr. No (1962)
A film hired Monty Norman - but he did not know how to write film score - ask John Barry to make a theme for the character - writes a theme in 2 days for james bond
James Bond - the main theme sounded like John barry style - mix of jazz and rock
They used this theme whenever James Bond appeared - and they'd fade it out when it didn't make sense to keep it in
Monty Norman had a contract where he would get the credit for other people’s work
Everytime james bond theme got used, he was credited for it instead of John Barry
He made money off of this
John Lawsuit - Monty uses the defense of showing John a sheet music that he made
Monty Norman won the case - his family still gets payed for it
He made movie songs - Composed the music for 11 James Bond films before retiring
He worked the james bond theme into the movie songs he made
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 - Modernism by Stanley
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-- music used to accompany humans is tonal (The Blue Danube Waltz)
Uses a choir
Uses modernism for the aliens
No dialogue in any of the scenes - no narrative change - only music
Stanley used others work without crediting them - the producers used Alexander North to create the music - Stanley doesn't use any of Alexander's work
EX-- music used to depict the alien intelligence is atonal
Jerry Goldsmith: (1929 – 2004)
Wrote the universal fanfare
Had a dinner with Alex - Alex had a rough tape of his work for 2001 - Jerry reconstructed the score and re recorded it
Born in the age of sound film
born in Los Angeles
Wanted to be a film composer from a young age - listened to the score of Spellbound
west coast – studied with his hero Rosza at USC - had courses for studying music composing
Studied for a year then left and went to college
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
Uses 3 themes 1st is very tonal; 2nd is a Bach Corral
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) - Jerry Goldsmith
social and political critique
Was about the 1960s - it's about us
blend of orchestral instruments with elements such as animal horns and mixing bowls
Uses a Prepared Piano
Scene: POTA 1 The Crossing (Part 1)
no clear organization, more sound than music
Designed to sound chaotic
use of electronic echo, metal sheet.
Scene: POTA 2 The Crossing (Part 2)
clear melodic structure using 12-Tone technique - using modernism was created by Arnold Schoenberg (2nd Viennese School)
Second viennese school means a group of musicians creating something new
Big in modernism
1923 – development of “tone rows” he wanted all of the notes to be different
Numbering notes from the note up to its octave and number them from 1-12
Rule 1 you have to use all 12 notes
Rule 2 you cant repeat a note until you finish all of the notes
Treat all 12 notes with equal importance
He used the inverted row playing everywhere you went up - down
You can take your tone row and play it backwards - giving new sets of music
Everything stems from the tone row and then you manipulate it to create other stuff
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. - that is the only moment where Taylor has the upper hand - he shocks the apes
Scene: POTA 5 The Ending
How would music have changed the impact of this scene?
hear both the themes
Then he leaves out the music
18 Academy Award nominations. Won in 1977 for “The Omen.”
Closely associated with the Star Trek franchise.
Week 10
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) are seen as irrelevant.
John Williams:
born in 1932 to musical parents.
Trained as a concert pianist at Juilliard
Was in the Army where he wrote his first score at the age of 20 in Newfoundland
Started his career working in Television (late 1950’s)
Lost in Space, Land of the Giants, Gilligan’s Island. Lost In Space (1965)
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
Williams has composed all but 5 of Spielberg's movies
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
Everyone temp tracked the movie
Thematic transformation and old styles make a comeback
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 with some tonality (such as the influence of ‘The Rite Of Spring’ (1917) by Igor Stravinsky) and a return to the sound of Korngold (Neoromantic music)
John william did stuff that sound a little like Korny - but uses modernism for particular scenes
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)
The 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.
Source music is used - a band entertaining people on the beach
The only thing you can count on is the music to know when the shark is there
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.
The music slows down and fades out
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.
Week 11
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 became 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.
Uses neuroticism - very tonal but also modern
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 (Phd in composition) in 1978 for the American Film Institute (AFI)
Wrote music for films that were already made
And then got work
First major film score: The Lady In Red (1979) Breakthrough score was for Star Trek II: The Wrath of Khan (1982)
Among his best-known work: Aliens (1986), Field of Dreams (1989),Braveheart (1995), Apollo 13 (1996)
Characteristics of Horner’s Style:
Strong melodic composer, often works with the conventional orchestra.
Both neo romantic and modernist sounds in his work
Studied modernist techniques in school
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) - changing music from one cut to another
He used a lot of time signatures in his music 4/4 to 3/8 time
Glory (1989)
Example: Glory
close synchronization of music with camera “cuts” (hitting the cut) - changes of point of view or scene.
electronic processing of trumpet and snare to create a sense of historical distance.
What “instrument” is used to carry the main theme?
A children's choir because it symbolizes the naive characteristic of the main character
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.
The theme is grand and lyrical but lacks an “action hero” quality. Why?
Score was influenced by Korny
The slow music is slow because the character have aged the main character is old
Coming to terms with his age - he also has a son that he finds out about
Example : Star Trek II - Leaving SpaceDock
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 asks 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 shots 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 – Columbia University
- “realization”
Example: “Ensembles For Synthesizer” (1964) composed by Milton Babbitt
wrote it cuz he gave up of acoustic instruments
Forbidden Planet (1956) -
Musical “realizations’ by Louis and Bebe Barron
By the mid 1960s, smaller “modular” synthesizers were replacing the earlier, larger models.
In 1964, Bob Moog (rhymes with Vogue) produced the first commercially available modular synthesizer.
They had musical keyboards to play the music for the synth
Wendy Carlos: (1939- ) worked with Moog
Switched On Bach (1968) Carlos’ album popularized the synthesizer in popular culture.
Each part was monochromatic
Film Scores included:
A Clockwork Orange (1971)
The Shining (1980)
Tron (1982)
Using synthesizers but still in the orchestral tradition
It became a pop phenomenon - synths became popular - she won grammys and became number 1 album
Late 1960s, early 1970s:
Synths become easier to get and are cheaper
Musicians working in popular styles begin to experiment with synthesizers.
Emergence of progressive rock and early electronica. Both made use of extended instrumental works
Starts the way for EDM
People repeated the notes - one pattern stays and other notes are played on top
Sorcerer (1977)
-Music by electronic music pioneers Tangerine Dream
Halloween (1978)
Music by director of the film John Carpenter
And a more recent example.... Stranger Things
Vangelis: (1943-2022)
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:
Example: Blade Runner
Film is 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 it is now possible for a single musician to produce long, complex works (such as a film score) without the need for expensive recording studios.
You were not recording sound, (basically like Soundtrap)
The computer and the software makes changes for you
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?
Sounds better - doesn't sound as authentic
Musicians can create ideas on synths and make real orchestras play it
Week 12
Danny Elfman: (1953- )
Did his work on computer monitors
American Born
Influences include Bernard Herrman and The Day The Earth Stood Still - watched it, and wanted to become a composer
Self taught musician/ singer
Forbidden Zone (1979) - his brother’s band made a movie, and he wrote the music for the movie - he sang some of the songs for the movie too
Then they became the band Oingo Boingo
Wrote score for “Weird Science” (1985) named the song Oingo Boingo – from the film of the same name
Breakthrough score was for Pee Wee’s Big Adventure (1985) Directed by Tim Burton (fan of Oingo Boingo)
Tim never made a movie, and Elfman never composed music
He uses MIDI and inspired by Bernard Herman style in Psycho
Frequent collaborator with Tim Burton
EX-YouTube: Pee Wee’s Big Adventure: Stolen Bike
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 (symbolizes dark stuff, like death), andwordless choir
- Hitting the action – to the point of “Mickey Mousing” (for most Tim Burton movies)
Beetlejuice (1988)
EX-YouTube Clip: Beetlejuice – It’s Showtime
00:09: B’s theme on violin – blend of demonic violin with influences of country and western slides. (uses violin because of the myth about the demon playing the violin )
00:24: Increase in intensity with shots of the ghosts suspended over the table (note the use of organs – 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 talk show 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”(being outcasted because of looking hideous) and “Beauty And The Beast” (the pretty girl falling for the creature)
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.
He sees a dog and cuts his hair but no music is played, for the audience to anticipate the outcome
Change to a lighter mood as we see Joyce’s dog – strings and saxophone.
Joyce’s hair, tango (considered passionate and sensual).
s to 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
Though synths he got his complex ideas into written music for orchestras
Still working - composed for Avengers, Doctor Strange, Goodwill hunting - also working as a pop musician
Hans Zimmer: (1957- )
German born / self-taught keyboardist.
Late 1970s / early 1980s – pop music keyboardist / synth programmer - becomes a hired gun, make music for musicians
worked with The Buggles (Video Killed The Radio Star-1979).
Video for “Video Killed The Radio Star”
In 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.
Used multiple keyboards, and MIDI
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
Use of orchestral and electronic music to an extent where you can't differentiate between the two
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 thematic ideas – repetition – complexity of layers – slow changes over time
EX-YouTube: Interstellar – Final Scene
Music written before the film was made
slow repetitive 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)
Focusing more on framing the narrative - not much to do with the movie itself, his music needs to be chopped up to fit the scenes, cuz it isn't made to fit the scenes
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
minimalist – simple basic idea
gradual build through layering
slow build in dynamics, range, and rhythmic complexity
The Kick
a 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
Mad Max: Fury Road (2015)
Music by Tom Holkenborg
Before a producer he was a DJ / Producer Junkie XL
- Electronica
Got working Zimmer and his work is similar to Zimmer – the use of the Braaaams (the whole Brass section just blasting notes)
The music for Dune was written before the movie was made
NEW TRENDS
Neo Minimalism
Hildur Guðnadóttir - Joker (2019)