Music in Film : Class notes May 22nd Golden Age of Silent Film: 1920-1928
1928* By late 20’s, US alone had 20,000 movie theaters with 100 million people a week. Example: Roxy Theater, NYC (1927) o Many of these theaters were small therefore there were no orchestra Most of the time there t here was some sort of compromise of the version of o the score such as a pianist. This was the example for The Birth of a Nation. Therefore, it was not heard in the same sa me way in the theaters where they were presented. Musicians highly improvised o
German Expressionism Directors like Lang and Murnau* high point of cinematic art UFA = Universum Film Aktiengesellschaft – was founded in order to subsidize films and was founded in 1917. Example: Metropolis which shows very well the German expressionist school and has a great score that helps the filmmaker tell the story. Composer gave sound version of what is happening happ ening (“mickey o mousing”) Upbeat , use of brass, minor chords and keys, certain point when the o steam appears The music speeds up to give the sense of the horror of the machine. o Second scene – music builds on earlier scenes o
Some silent film composers Erno Rapee – Motion Picture Moods Also a composer o Conducted orchestras at the Roxy, Rivioli and Capitol Cap itol – these were o large orchestras of the 1920’s William Axt – Ben Hur (1925) o Silent film time composer Many of the films are remakes of earlier films o Hugo Riesenfeld – Hunchback on ND (1923) o Many German composers working in the United States (music in King Kong and the adventures of Robin Hood) Hunchback of Notre dame Scene: o Orchestra performance The full score and orchestra would only be heard in the most expensive theaters.
There was a trend in the teens and 20’s in film where there was sexual expression in film which was later curbed by conservatives. The hays code o
Transition to Sound: 1926 – 1928 - Beginning in 1926 a number of films were issued with recorded music and a nd sound effects contain NO dialogue Technological achievement of sound signaled the imminent demise of o the silent era All changed with THE JAZZ SINGER 1927 o Silent film was not silent, usually there was (ve ry rare for there not to be sound) Relate the important steps of transition between silent film to sound (for test) Early Sound Films Important in landmarks on the way to sound movies Two difficulties with recorded sound: Has to be as close to the actors face, and was difficult to do in the primitive state and at the same time to be out of the shot. Therefore at the beginning it was orchestral music. Furthermore, another problem was the very noisy cameras. One of the solution was to put the camera in a box. However, the camera cannot move. Silent films with synchronized music and sound effects represented a brief phase in the history of filmmaking, but the surviving works give us a tantalizing glimpse of how music must have sounded EXAMPLE: Don Juan (1926): Vitaphone: Vitaphone : Projector + phonograph Coordinate some type of recorded sound o o They still have titles Premiered with this movie o o Synchronized score for full symphony orchestra The Jazz Singer (1927) Music episodes with speech o Live music from the the scene that was filmed and sudden it is cut and continued with orchestral music o Most of it is shot as a silent film, with synchronized music and sound effects as in Don Juan Sunrise (1927) : Movietone: Movietone: Sound ON film o Completely convention of silent film, all throughout orchestral but occasionally have sounds (such as screech of o f the train) however, the dialogue is still as written. It is an in between stage between silent and sound film. o Movietone – sound that is imprinted ON the film. You no longer have to have the projector and the disc at the same time. This is the first feature film to use this technology, and from then o onward, silent films will no longer be made. Modern Times (1936)
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Chaplin who resists these trends Absence of speech, but Chaplin sings The end title very short, with the song He composed the music for this film, a theme that is also a song (Wizard of Oz)
Sound Era Begins: 1928-1944 Arguably when the most number of films were made e ver 1929 – The great depression o Hollywood regressed regressed to simpler filmmaking Difficulties of recording sound in movies o Initial fascination with speech, not music o Phenomenon in which music regresses with less musical cues and o more speech. The music had to be recorded ON set, while the actor was talking. However, this was very complicated and added adde d to the depression, it became less common during this period. Early Sound Films: 1929 Blackmail (Hitchcock) Silent and synchronized music o Blue Angel Musical with M. Dietrich o o Performance live on set and spoken as well this was the trend Two leading genres in early sound Cartoons o Innovative use of music Mickey Mouse in Steamboat Willie (1928) o o “Mickey-Mousing” carl Stalling o There is no need to worry about the noisy camera. The sophistication o between the coordination of the film and the music is not reached in non cartoon film till CGI was created. Musicals Emphasis on popular music o Jazz o Singing cowboys popular in late 20’s and early 30s o o Example: Blue Angel
The First Major sound motion picture King Kong (1933) The first great films – ridiculous story, made for movie o o First fully scored film that runs from the beginning to the e nd (music does not run continuously, but almost). Also full dialogue alongside the score. o Music by Max Steiner – the most famous composer * Letmotifs a feature of classical score o
“Beauty” and “Beast” themes Mickey – Mousing – seen as the movie’s weakness o Scene watching: Beginning of the song, the music follows very carefully the story of the movie The love music is cut when the captain talks, and continues when he stops. Music for the “natives” Max Steiner reestablishes the basic characteristics of the classical score, which would become one of the key elements of Hollywood’s second Golden age
New Golden Age: 1934 – 1938 The first golden age was the 20’s The “New” golden age is the 30’s with new sound and speech that is coordinated with the film After studio recovered from financial problems of mid 1930s Hollywood entered second golden age. o Many films limited music to incidental roles, others increased the amount of underscoring as music in film became more important. o Drama / action / horror films Max Steiner – King Kong Erich Korngold – Robin Hood Franz Waxman – Bride of Frankenstein Herbert Stothart – Wizard of Oz Miklos Rozsa o most came from Europe and shaped Hollywood’s music.
Classical film score ** (should know for exam) Characteristics Fulyl orchestral o o Extensive music – all throughout the film Post Romantic style – orchestral music from the romantic, not a lot of o music from the modern era (atonal) Uses of themes and leitmotifs o
The Bride of Frankenstein (1935) Franz Waxman Colorful orchestration Bride theme Frankenstein theme Adventures of Robin Hood (1928) Typical music of this style
Erich Korngold - Austrian jew 1st masterpiece of milk music (p. 132) – uses themes and leitmotifs, such as a bell and trasnfers that into the orchestra at some point. First uses it as a sound and then later incorporated in the orchestra. Remarkable for the length (3/4 th of the film) He was well versed in the principles of Wagner, thus uses leitmotifs in Robin hood. Much of the melodic material derives from the Robin Hood theme, o initially heard as a quick trumpet. The first few notes of this theme form an independent motive and heard in the fighting sequences and embedded in other scenes. There is also the love theme o Scene 25 – 28 (p. 135) Uses Technicolor, one of the first,
HOLLYWOODS GREATES YEAR: 1939 Animation: Snow White and 7 Dwarfs (1937) First animated feature film Successful Followed by Pinochio, etc. The variety of sounds are all done in the studio and many of the matching on screen would not be able to be done with live 1939: “Greatest Year” Wizard of Oz Songs by Harold Arlen o o Score by Herbert Stothart Gone with the Wind o Score by Max Steiner o Use of borrowed material (“Dixie”) Difference between the composer (underscore) and the person who writes the songs (Wizard of Oz and Snow white Exam Notes - ten matching question with movie and year - term question - short answer question - three film clips to identify, the scene, act and composer of the film these will be only the films listed - essay question from three topics
May 24, 2012 The Golden Age (1938-1941) – Continued -
Wizard of OZ – perfect for cinema, fantastical, Technicolor, contains musical.
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The Technicolor effect is linked with the film’s story to produce an magnificent effect Scene – perfect example of the crossing between diegetic and nondiegetic music in the film When she begins to sing, she is accompanied by a large orchestra (however diegetic terms were created by film scholars so not always black and while) Composer includes small sections of the main theme in the Technicolor scene What does the wordless choir represent? Heavenly, coir of angels. The last scene good illustration of scary music. Dissonant sounds, mickey mousing as well, the composer has an abrupt cue, and how effective silence is after that. Tradition after 1930’s of continuous music throu ghout the film. Now composers and filmmakers are going to react to having music throughout the film.
In addition to the composer there are also: - Musical director – oversees all music film, including arrangements o After WWI getting the rights for certain songs becomes more difficult - Musical arranger – arranges a composition for orchestra Musical Bookends Main Title/Titles - Musical overture - Two themes o Upbeat, active Soft, romantic o - As example is in Robin Hood, which contains two main themes (first is happy, second is lyrical and romantic and both are contrasting – comes from the sonata form of contrasting themes of the 18 th century). However there are also films that have either one theme or multiple themes as in the OZ. End Credits – shorter The French Style - Sparing use of music Jean Renour La regle du jeu (1939) o o More realistic or give impression of realism when there is little to no music, and only live sound. When there is silence it is effective, people pay attention. Scene – this is pure diegetic music (however more probably that it o was recorded post filming) - Prominence of diegetic – source music - Less leitmotifs o Renoir’s La Grande illusion (1937) Music by Joseph Kosma o
The audience believes that the sound of the recorder is being done at the moment. Trend in film A character will turn on a radio and generate music which keeps going, (made to be ‘realistic’) however, once you change rooms the music continues (trend recently) o The music is used as a cue, that opens a scene to create a ‘realistic’ dialogue, but then disappears. These trends continue well into 1970’s o
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Soviet Film: Alexander Nevsky (1938) Directed by S. Eisenstein - Early author on film theory Music by S. Prokovief - organ for Germans - horns for Russians - “Folk” music – oboe and tambourines Citizen Kane (1941) - film with an interesting history, since it was not viewed for 15 years given its controversial theme. At the heart of the film is Hearst’s childhood and the sled which had in scripted “rosebud” which it receives its own musical theme. There is a pattern in film where music goes down when there is dialogue and continues when it is silence, tries to be intrusive which is very difficult to make. - Kane (Hearst)’s rise-fall - Told from six perspectives - Music by Bernard Herrmann - Use of dissonance on purpose because its reflecting kane’s something - Leitmotifs: Power theme and rosebud theme Casablanca (1942) Major US box office success: Capitalized on Pearl Harbour Max Steiner’s score - Orientalism: “Arabic” style - Diegetic songs: “As time goes by” - Example of opening with a single musical theme – with original and accurate Arab music as well as throwing in French national anthem - Scene – post production sound of diegetic music. One cue was when the woman was singing with the spansish guitar and when the characters begin to speak, the music magically goes down. However, we are still given the illusion that this is live music happening. Animation: short films Red Hot Riding Hood (1943) - Innovative - Risque - Use of Jazz
The Ten Commandments - last film by the great director, who had half a century of directing. His specialty were the lacish and epic films that had Christian content combined with orgies scenes. In the 20s and 30s were different from the 50s. - typical of late 1950’s very conservative orgy scene and good example of bi thematic overture Tomorrow and Thursday- Exam Notes Wednesday 30 may, 2-4 pm Mid term review in the Robarts media common theatre May 29th – Decline of the studio system (1944-1959) The united states leading protagonist of capitalism and exporting film Several newish trends in the 1950s o Classical romantic, classical music underscore music which never really goes away. The orchestral score does not disappear, it is modified with new o trends, but doesn’t end. STRESS continuinty of orchestral music in films o
After World War II: US Hegemony 1946: Hollywood’s most profitable year television has appeared but not that common because expensive (not o till the 50’s) Later reaction of European Neorealism Film Noir - Specifically American and in that context - Laura (1944) o Music by David Raskin Laura theme – most recognizable in film music (heard the music in o class) **** It is a single theme BUT it sounds like JAZZ music, big bang music from the 30s and 40s of which people would dance to The theme was presented throughput the film and there is an orchestra that plays diegetically and the then it moves from non diegetic. (first act of the film) Seamless moving from diagetic orchestra to non diagetic orchestra ** It is difficult to know from a diagetic to non diagetic moment and directors confuse both - Spellbound (1945) o Music by ** Miklos Rozsa a leader in creating music of film nour o o Love theme American Nationalism: the bright side - more nationalistic part of the film industry - Best years of our lives (1946)
Box office hit o ** H. Friedhofer - The Red Pony (1949) Story by J. Steinbeck o o Aaron Copland ** (controversy over being a “real” composer?) has a very distinctive sound that is imitated in other films. o Several scenes to show typical music for a western film Open 5th and 4th o Music is almost WALL – TO – WALL ** continuous throughut the film, o however in this period you get musical cues in the film followed by the music dropping out. Fear of Communism: Macarthyism The dark side: HUAC - House Un-American Activities Committee” (p. 212 – 3) - Directors and some composers were black listed and shunned – one of them was Chaplin - HUAC still important in terms of movie history - Filmmakers had to be careful around topics as well as censoring sex scenes o
Popular music in Film of the 1950s - Jazz, Country, Rock - By the first WWI Jazz was identified across the glob as an “American” sound. Country the same around the 20s and 30s around the radio. Rock and Roll emerged with Elvis Presley truth Rock and roll had origin in big beat music (jazz of the early and mid 50s) In a way rock and roll is an artificial creation of radio and tv shows. Jazz - two films to remember in this respect ** Street car named Desire (1951) - m. Alex North (don’t study him) ** The man with Golden arms (1955) - M. Elmer Bernstein ** REMEMBER and the film that gave Jazz a good name - This film features after frank Sinatra, and what is interested is that Sinatra plays a drug addict is also a drummer. And drums in the film are identified - Scene: Sinatra going through withdrawl and we hear a combo between different types of jazz and a drum break (solo) because the character is a drummer - First major inference of jazz in a major film (?) - Drug withdrwall scene beins with conventional orchestral score and then continues with strong jazz underscore Cowboy Songs - western where the song is the main of the theme? High Noon (1952)
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The opening title has NO orchestral underscore (contrast with what we’re used to) and we enter DIRECTLY into the film o The song jars you and gives you the impression that the movie is more realistic (given the acoustic guitar and thumping) giving the illusion that this is more of a realistic western film M. Simitri Tiomkin ** very important during this period Theme Song : “Do not forsake me”** also occurs throughout the song as an interesting type of theme Huge hit Rise of movie theme song This is a new type of musical credit that becomes popular during that time (?) Marketing of the film (Song + Music) you might confuse the song title with the title of the film. There is an increase of movie film songs
Rock n’ Roll (1955) - Blackboard Jungle (1955) First film that actually features rock and roll – HOWEVER, only in the o OPENING credits. - Reason why rock and roll was so popular was because it was a good consumer product for the baby boomers who wanted to be different from their previous generation and they were in larger numbers - 1956 banner year: o rock rock rock Rock around the clock ? Gives a narrative for the birth of rock and o roll Bill hailey and the comets the narrative the music is spontaneous and that of the uneducated and for the masses (chuck berry had no musical training ) this film also features dancing o Roger Carman’s Rock all night o Elvis Presley film Over 20 films from 1956-1966! - These are films that are geared for the younger generation that liked rock and roll 2 Rebels, 2 Composers On the Waterfront (1954) - Maron Brando - M. Leonard Bernstein East of Eden (1955) - James Dean - M. Leonard Rosenman
** Both convetioanl Symphonic scores** - orchestral classical types of scores the classical score continues throught the 1950’s despite the new trends mentioned above American Sci-Fi - an all electronic score – entirely synthesizer o the opening credit right away no orchestral but weird music SCENE : wife and husband doing a mickey mousing with the o synthesizer music Most of these sounds are done on the studio and not on set (weird o stepping down sound) o The moment the saucer touchest the ground it disappears, it is almost wall to wall, but more like cues with synthesizers this is rather crucial film. Scene: of the robot and monkey where there is a mickey mousing of o the synthesizer score - very experimental - Forbidden Planet (1956) One fo the first films to do this o o M. Bebe and Louis Barron France: Jaques Tati - French Charlie chaplin - Attention to sound - Favourite direct of of theorist Michael Chion ** - Without speech more emphasis on the music, and a sound is enhanced, sweetened and accentuated. Ex. The sooshing of a sword, an enhanced sound - These sounds are enhanced for the sake of the HUMOR. (which has no doalogie or speech ) o Tati is selective of the sounds that he includes - Mr. Hulot’s Holiday (1953) M. Alain Romans o The use of sound is very selectve and the gags rely on how the sound o is used. o Sound is coming from a sound recording Chion liked these films because of the use of sound o Japan: Akira Kurosawa - very influenced by American film and particular of the wester of J ohn Ford Rashoman (1950) M. Fumo Hayasaka Western style o o Adapts Ravel’s Bolero Even though the epic is Japanese historical epic (?) it uses western o music from Ravel
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Clearly in the classical golden age of films where there is orchestral and no dialogue where the music imitates what the characters are doing and changes with certain cues. Even in Japanese films orchestral music and underscore is used
Threat of TV
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people stayed at home threat to theaters Response from film industry
3D - Enhance the film industry - short lived Cinerama - 3 screens - screen experience without the 3D, plus the tv was black and white and film was Technicolor and much wider screen The American Blockbuster - Epic Genre o Quo Vadis (1951) o M. Rozsa**: Romantic symphonic style. These large production films need large orchestral score - Last Film Noir o Touch of evil (1958) H. Mancini: popular jazz style o - Thriller Vertigo (1958) Hitchcock, and discovers that this is a genre that he o excels **B. Hermann: modern symphonic style more dissonant not o quite with the conventional still using the classical style of music ** Different trends: jazz, rock and roll , still the main style and genre is the classical style that does not die and continues*** Scary things that you would not find in the tv you would find in the o movie theater and scare you European Neo-realism - uropean trend reactiong to the American block buster with the cla ssical orchestral underscore - Pessimism following world war II There is more of a “realistic” form of film, but to give an impression o that things are more realistic, better way to do that is to eliminate the classical orchestral score *** - “Auteur” cinema - Italy : Rosselini’s Lowers of St. Francis (1950) o o Minimum orchestral score (NO, just organ bleeps)
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Sweden : Bergman’s The Seventh Seal (1957) There is a bit of orchestral, however most of the music is diagetic o music that is being performed on screen SCENE: procession of chants, pessimistic take on chant in the middle o ages, but very reflective of the general mood of Europe in the 1950s. The scene is a commentary of Europe at the time after the shock of o concentration camp and failure of Christianity to stop the horrible fenomen of WWII Neo realism is intended to be realistic, however, of what we have seen o it is not that realistic, but they get rid of the orchestral underscore and replace it with pure diagetic.
American Religious Epic - Very popular during this period - Rooted in the Italian silent epic - Mixing sex and the Bible: Cecil B. De Mille - 1950s revival fo the genre: Rozsa ** o his sound becomes attached to this film - The Robe (1953) - 10 commandments (1956) Ben Hur (1959) - D William Wyler - Miklos Rozsa ** his compositional style is associated with the American epic - Introduction of main themes in first act (Ch. 19) *** TEST : - four film clips to have watched and will need to watch those before the test - first part will be a matching (film with date) 1895 – 1959 (films in that range) o - multiple choice on a number of topics : there are ten - Short answer material covered, terms, expressions, NOT dates, - Three scenes to identify list five things for these films, you will have a minute for each film form, indetify: name, year released, the act, where the scene occurs (first, beginning end) musical composer,** ONE notable musical feature of your choice that occurs in the film - Essay Question: o Four themes GENERAL: Bring in information Second half semester
American society underwent a significant transformation during the 1960s. In art individuality in the production of art became what was important.
With the existence of Hollywood, filmmakers were forced to become independent. New Wave Cinema Europeans led the way into the new era. o In the 1950s a new era of filmmakers appeared in the scene o Francois Truffaut, Jean Luc Godard Known as French new wave o ** At the heart of the movement was the role of the AUTEUR The traditional narrative that had been established In the1930s, weer no longer viewed as adequate. New wave directors saw great concern for the psychological importance of mise-en-scene and music. For the most part music was used to establish a mood. ** Absent are Hollywood clichés o mirroring the action, underscoring individual emotions and loud endings. ** Applied sparingly, music – often diegetic- created atmospheric moods that remained detached from the details of an unfolding story. Rejected the postromantic music and adopted modern and popular styles. French New Wave Resistance to US (Hollywood) Protectionist measures Some prominent directors o Fellini Roberto rosselini o o Jean luc Godard Francouse Truffaut o Scene: 8 ½ There is no music (typical of the new wave) o o Not in test but * audio bridge – end a scene The sound is anticipating what is about to come o o The ride of the valkyre music continues from the bath scene to the party, and an orchestra in the distance. Diagetic
Truffaut’s 400 Blows (1959) (meaning to raise hell) Popular light hearted music Distance from orchestral underscore (Hollywood) they use instead popular music great deal of the sound is done post production, due to the lack of technology, there is not a great representation of the road. The music goes up and down and greatly controlled “Realism” of course all artificial but aims at giving you a more realistic representation of the child
The music follows the life of a troubled youth The music, predominantly popular in nature, establishes the l ight-hearted, breezy mood throughout. When the film ends abruptly with a freeze frame, Trouffaut forgoes the standard Hollywood bug finish.
New American Era Between 1959 and 1967 the decline of Hollywood traditions and the emergence of a new style are interwined
Alfred Hitchcock career in Britain Emigration to US Self promotion and success in 1950s Laude by New Way Early in his career he realized that he could use television for his success, and he would produce tv series during the 50s. Each film that he came out with and their actors in them He used suspense he toped all that with the film psycho and it was a “film event” with TV ads he insisted that audience members would not be let in after the movie began. For the time this was also very gruesome topic o Sex – woman’s naked body shown on screen o Sex + violence people are going to lure people away from their tv’s Scene: opening Music is brilliant He was the one filmmaker that the French new wave championed
Psycho (1960) Supporting Hichcoks visuals was Bernard Hermann. Reflecting the stark black and white cinematography, the music is written for a string orchestra, The treatment of the strings is reminiscent of Stravinsky’s The Rite of Spring. harsh and percussive with frequent hard accents and pizzicato effects. o o Rarely are strings allowed to play in the lyrical fashion normally associated with these instruments. Herman created a unified score that is consistently dissonant. There are contrasts in the mood, ranging from tender loving sound of the hotel room to the terror of the shower. BUT, all the cues project a common disturbed quality through the o frequent use of, both harmonically and melodically of minor seconds and major sevenths. The stolen money and the mother themes are also centered on the same intervals.
** ALSO THERE IS NO CONTRAST IN THIS NEW MUSIC once a cue begins It is repetitive and does not change moods. ** Like the music of the new wave the score for Psycho serves the primary function of creating mood while avoiding the standard Hollywood underscoring heard in films such as Ben Hur Marion’s story Hitchcock’s division of the plot into two parts is reflected in the musical score. Each story has its own themes and there are few overlapping cues. The two parts of the story meet at the shower montage, when Herrmann introduces the terrifying murder theme that ends Marion’s story. Old Orchestra – nothing new HOWEVER it is just strings M. Bernard Herrman Highly dissonant music Opening title showing two themes one that is jarring copying Stravinsky’s rite of spring as well as a lyrical but also dissonant New Dissonant music B/W realism anti Hollywood feel Psychological theme o Marion’s story o Norman’s story Opening scene: Big deal showing the bra strap Money stealing motif: o Minor third (alluding to Stravinsky) Watershed film defined the genre it was successful with the film o franchise, not quite yet but one of the starters
Chapter 21: Declining Traditions Retaining the qualities of the 1950s these films were lavish, featured a multitude of major stars used wide-screen color and were supported by musical score by some of Hollywood’s finests.
The “Declining” Epic (?) It was still somewhat successful, but competing genre and the films that make money because they don’t show these at home Blockbusters: (a bit anachronistic for this decade) 1960 Spartacus m. Alex North o o 1961 El Cid: m. M Rosza Arguably one of the finest scores after Ben – Hur, and Rosza did the same as he had previously done where he studied the music of medieval Spain and derived a number of melodies from historical materials. o 1962 Lawrence of Arabia: m. M Jarre
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Spartacus - The major exceptions to these generalization is Spartacus a powerful rebellion agains the Roman - The darker message compared to prior and common Epic films is reflected through its score composed by Alex North. o He was the most successful composer of the decade – he received five Oscar nominations in the 1960s. - ** North creating music that differed from the Epic music of Rosza - SCENE: Spartacus (film is still considered pg-13) The epic never really dies out o Drive-in Theater Does the way we see a film affect we understand it? Changes occur in the 50s and 60s of the way people understand film Convenience and privacy Problem: did not have a great sound, but trumped by the experience
New Trends in the 1960s Movie Themes: Instrumental - During the 1950s Hollywood had discovered the financial rewards of h aving popular musical themes in film scores, especially for the younger generation. - The finests would not only appeal to the audience but also capture the essence of the film. Movie Themes: Songs - Although the orchestra themes mentioned above were successful, moviemakers soon recognized that songs are more popular with the general public than instrumental tines. Theme songs and Instrumentals ** Henri Mancini Breakfast at Tiffany’s (1961) - The tune “Moon river” representing growing ove, is then used in the underscoring, blending well with the overall popular style of the score. The only weakness of the time from a commercial prespective is the title and not associated with the title of the film. - The tune is presented in the opening credits with out any words - Then it is played by Holly in her harmonica o Moon river o OPENING: when we are introduced to diagentic music played with a harmonica. Striking opening because the narrative has already begin with the opening title o There is no other music apart from the main music “moon river” theme. This was considered a step down from the romantic classical
underscore, but it is a change. By the end of the film you are brainwashed to memorizing the tune and reason for its success. Pink Panther (1963) o Saxophone theme
Bringing up the Baby Boomers - Major factor for the decline traditions in Hollywood filmmaking was the changing audience. - In Dr. No the first Bond film, the theme is first presented in the opening credits, where a conventional orchestra underscores the drama but the Bond theme returns with Sean Connery’s first like. James bond movies expanded the role of rock music, primarily o through the scoring of John Berry and his theme for Goldfinger. Bond Theme Dr. No (1962) M. Monty Norman Electric guitar – due to the popularity of rock and roll The longest running franchise with the original music from 1962 Later Bond films m. John Barry
The Emerging New Era, 1960 – 1967 While the traditions of the Golden Age were fading in the early 1960s, influences from the New Wave were increasingly felt on American films. Among the characteristics of the emerging new era are a mixture of serious and light-hearted moments, frank treatment of sexuality and creative narratives and images. - As we had seen in Psycho, the music in these films tend to create general moods rather than to depict individual or changing emotions. - Both popular and modern musical styles are well suited to this end. The Graduate (1967) Simon and Garfunkle Early films that use folk rock songs as underscore of the film, which leads to the modern day modern comedy Idea that you can combine the success of a group with the success of the film and helping each other Hit songs: o Sound of Silence Mrs. Robinson o OPENING scene: montage of the main character Second scene: montage while he’s traveling over a period of time
Musicals Old West side story (1961) M. Leonard Bernstein
New Hard day’s night (1964) Scene Quincy Jones Elmer Bernstein To Kill a Mckingbird (1962) - The score by Elmer Bernstein plays a pivotal role in creating the overall mood of the film - Despite the great variety of emotions and events in this film, Bernstein retains an overall mood of childlike simplicity and innocence. - ** The opening theme is first heard as a response to Scoutt’s humming. - The score stands as a model of how much can be achieved with minimal musical score. Overall mood, not themes The opening titles contain the musical meat of the film Very striking opening titles at the time, close ups and the music convey’s the childhood of the mail character The sounds in the opening titles are equally as effective as the music (breathing of the child) to get into the wold of the child o He starts to sing and then it moves into the actual orchestral music
Landmarks of the New Era - By 1967 American filmmakers had entered a new age. - The music plays a more substancial role in another landmark work of the era, The Graduate . - SG composed and performed the principal music for the film. The other music, prepared by Dave Grusin, is entirely diegetic, including the music emanating from Mrs. Stereo and various musical sources at the Hotel. - The SG song successfully capured the spirit of the aimless, disillusioned youth of the 60s and are essential to the popularity of the film. - The appearances of the tines are primarily limited to accompanying credits and montages showing the passing of time and travel. The songs do not change moods or react to the story, but are used to set an overall mood as the film is often adjusted to the music. Eclecticism in animation Disney’s Sword in the Stone (1963) Jazz in Merlin’s dishwashing scene Recalls scene in 1937 Snow White
Spaghetti Western M. Ennio Morricone The Good the Bad and the Ugly (1966) Famous theme
Influenced of avant-garde Use of natural sounds Popular music but also 20th century avant garde music of the time, which depended on simple music ie. Philip Glass, abstract minimal music o Even today it sounds strange Strange wild music, one of the trends of the 60s o
June 7th, 2012 International Films - While American filmmakers were absorbing influences from abroad, international film centers were particularly receptive to American popular musical styles. - The reverse was also true- popular movie themes from foreign films were often more successful in this country than the films themselves. Italy - Several Italian filmmakers turned towards the more commercial side of the industry by making inexpensive but profitable movies. The most successful of these works are Sergio Leone’s “spaghetti westers” starting Clint Eastwood. - Freely using dubbing works such as The Good, the Bad and the ugly scored major financial triumphs in both America and Europe. - In these westerns, Enio created a distinct style that mixes a variety of musical styles, including popular and avant garde. His scores often feature unusual solo instruments and natural sounds, such as a howling coyote or a pistol shot. New Wave = Das Neue Kino - The early 1970s saw the reemergence of Germany as a major center of filmmaking. West Germany entered into a productive phase termed Das neue Kino (The new cinema) - The score for the Warth of god contains a variety of musical sounds, including several passages on an ethnic insyrument. Spare use of non diegetic music Aguirre: the awth of god - various musical sounds - ethnic musuic Perceval le gallois - early musical ensemble on Precursor: Alfred Hitchcok - “Where would the music come from? From the ocean?” - not in textbook - Lifeboat 1944
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This question is brought up to defend the lack of orchestral music in the films
Postmodernism - Difficult to define (p. 329) but.. Crisis Years, 1968-1972 - The new American cinema was well suited to express the frustration and concerns of American society at this time. In maintaining a strong sense of realism, filmmakers continued to use traditional musical scoring sparingly, and the musical style remained predominantly either modern or popular as in Easy Rider. - During the crisis years, modern and popular musical styles dominated American film music, both would continue to excerpt a strong influence through the 1970s. - The 1970s produced a large number of film scores featuring mixtures of more diverse musical styles, generally involving rock music. - Also indicative of future trends was the use of the synthesizer. Truffait’s Day for Night (1975) - a film about making a film (not a new idea) HOWEVER, the opening of the scene makes fun of the orchestral underscore opening of a scene. Here we have an orchestra rehearsing for and waiting for the film to be made - Self conscious music o Opens with orchestral rehearsing Awkward orchestral cues o o Use of natural sounds (contrary of the large orchestra) - Making fun of the complete Hollywood film making in general - Scene: british actress where there are awkward cues in a scene of montage and making fun and jokes. People are lead into the film making process. 1. Sex a. US rating system (1968) i. X = no one under 17 ii. 1984: PG 13 iii. These rating systems would rate the film sexuality (an not violence) seemed to be the issue. b. P.P. Pasolini (1960s -70s) i. Homoerotic in mainstream ii. Italian and Arabic folk music iii. He was another new-wave gay film maker that would allude to homosexuality c. Emanuelle (1974) i. Rated X in US ii. Song “Emmanuelle” d. Pornography in early 70s i. Deep Throat (1972) 2. Synthesizer a. Would become in the 70s and 80s a staple in film
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b. Walter (Wendy) Carlos i. Had a sex changed and project called S.O.B (changed on Bach) c. Moog Synthesizer d. Clockwork Orange (1970) Classical favourites such as Beethven’s symphony no. 9 and Rossini’s Overture to La gazza ladra and the vocals for “Singing in the rain” are chilling when used as background to scenes of rape and other violence. This film score is also significant for its inclusion of original music create d with a synthesizer an early exploration of sound that will become an important oart of film scoring within a decade. The composer of the original music is Walter (Wendy) Carlos, who had earlier recorded the album Switched on Bach using a Moog synthesizer.
i. Scene: non diagetic synthesizer underscore and then diagetic moment when the person is singing. Mocking fun of the music (Beethoven classical known) also showing the dark side of the sexual revolution of the early 70s. ii. Scene 2: The final eye scene iii. There really is a reaction to the Hollywood films and the things that characterize them is the orchestral underscore and mostly all synthesizers few natural sounds but most sythenthizer music by walter. e. J.S. Back on Moog f. Switched-on Bach **SKIP CHPATER 23 ON E.T.** Close Encounters of the 3rd kind (1977) - Interesting use of synthesizers - Diegetic musical theme a synthesizer melody - They make music )the spaceship) and the human engage with it (the synthesizer) and then they have contact - The theme that is played diegetic occurs in the underscore - SCENE: music by John Williams the child: music is telling you what to do and feel with the micket o mousing of the music He is the composer of the 80s and 90s. o 3. Use of Folk Music a. The Godfather (1972) - Italian composers Nino Rota and Carmine Coppola created the score for the film. - Both Italian and American popular music is heard in the background. - The Godfather theme has the character of an Italian folk melody. - Moves freely between Italian and American popular music to modern dissonances and quotations of Bach i. Folk-like main theme ii. Classical underscore that tries to imitate the Italian music
iii. M. Nino Rota b. The sting (1973) i. revival of ragtime in the 1970s c. Folk sounds and Orchestra i. My name is Nobody (1973) 1. Western parody 2. E. Morricone 3. Whistel and recorder 4. Parody of Valkyrie – making fun of the orchestra ii. Amarcord (1973) 1. Nostalgia 4. Rock Songs a. Drug culure b. Easy Rider (1969) was the film known for using rock - Instead of a single hit song, Easy Rider contains an album’s worth of songs by a variety of rock artists, including Steppenwolf and the Byrds. - The drug oriented rock styles coincides with the pre-dominance of drugs in the plot and the songs generally accompany montages showing travel and the passing of time. - The music captures the spirit of the rebellious youth of the 1969, a year that also brought the music festival at Woodstock. i. Many songs – steppenworld, Byrds ii. This mostly songs from mid to late 1960s (? Year) iii. Scene: montage time that is passing, collapsing it into the length of a pop song. This would become the “rock video” of the 1980s. c. American Graffiti - Adapted classic rock music - Movie opens with “Rock around the clock” the same tine that appeared in Blackboard Jungle (1955) i. Entire score (nearly): all has nostalgia rock and roll songs ii. Continuous soundtrack iii. Nostalgia rock – 1954-1962 d. Fritz the Cat (1972) i. Adult film by Ralph Bakshi – was interested in making controversial animation which was previously associated with children. ii. Film is a parody of the 60s : sexual revolution, drugs and rock and roll and its pretentiousness. iii. Rock and jazz score mixture – by this time the lat e60s rock and roll with the heavily edited guitar and becomes associated with the animated adult film. The fact that it is animated helps soften the sexual content. iv. If easy rider glorifies the 60s, this movie makes fun of the pretentiousness of the liberation of the 60s. e. Enter the Dragon (1972)
i. Bruce Lee Kung-Fu Film ii. Rock theme by m. Lalo SCHIFRIN** (still making film music – different) creator of the 1960s TV theme for MISSION IMPOSSIBLE. iii. SCENE: has a clear bach underscore in the fight scene that the music illustrates what is happening on screen. Some Ecamples - Adapted Scores - Following the lead of 2001, a number of films with adapted scores appeared during the 1970s. Music for these films were borrowed from a wide range of sources. In addition to taking from the 19 th century classics, filmmakers explred music from the recent past, including avant-garde compositions and classic rock. o 2001 Space Odessy (1968): Romantic pieces - Kubrick made the ultimate statement about music in the new age: Music no longer needed to be tailored to fit the film. By using previously composed works and leaving them intact, Kubrick allows the music merely to coe xist with the visual elements. - Music still retains it smood-setting function but it remains detached from the drama. Alex’s North’s score not used (pg. 302) SCENE: final good example of borrowed and adapted music o Exorcist (1973): Modernist pieces (p. 320) - Composers o Jerry Goldsmish ** very important o He is one of the films prominent composers, emerged during the 1960s. His career rivals that of Elmer Bernstein for longetivty, versatility an quality. Chinatown (1974) - At the forefront of the revival of film noir is Chinatown, Roman Polanski’s first Hollywood film after the murder of his wife. - In continuing with film noir traditions, jerry Goldsmith score features dissonant harmonies and unusual colors. The main theme, a sultry trumpet solo heard during the opening credits, suggests the blue style of popular music from the late 1930s. - The score calls for an unusal call of instrumental combinations o John Williams ** (close encounters, jaws, just a few of the films that he composed during the 1970s) Poseidon (1972) first disaster films Towering Infermo (1974) Jaws (1975) Star Wars (1977) Jaws (1977) - In comparison to Star Wars, Jaws contains less music but the audience’s psychological response to the film was a large reason for its great hit.
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At the heart of the score is a repeated two-note leitmotiffor the shark. As with most of the music surrounding the predator, the theme is pitched in the orchestra’s lowest register suggesting both danger and the creature’s home in the ocean. The two elements – the music and images from the shark’s perspective – are combined in the opening which explouts sex and violence.
What made Jaws a Blockbuster? - Multiplex of 60s and 70s - Major advertising campaign - Summer release - Orchertal score - William’s “shark motif” - you could notseparate the music of the shark from the actual shark - Spielberg gives you right away the song of the shark. He also gives a POV of the shark, then the music cuts abpruptly and then you have “sex” through female nudity. Therefore sex and violence. - SCENE: opening title and beginning – the effectiveness is in the sound even the bell. The association between the POV of the shark and ourselves and the musical theme. The similarity between the theme to that of Psycho. - SCENE II: After giving you all the goods, the film holds back most of the narrative and the scene has no music and waits to add the music till the end very slowly. - Jaws set a new record in terms of audiences and money on film through a major advertisments success – HOWEVER , not yet a franchise. - The nature of the film that was like Psycho that was scary but surprise sacre was something new. Chapter 25: Star Wars and Postmodernism (1977 – 1984) - Postmodernism is a recent movement in art and literature that rejects a number of the aesthetic principles that governed the modern arts for most of the 20th century. - 1) dismisses the modernistic need for continual change and originality - 2) embraces the entire spectrum of artistic styles, including the popular arts, which had been shunned by modernists. - 3) Third, postmodernism recognizes the importance of emotional appeal and has been linked with neo-romanticism. - The period roughly coincides with the release of Star Wars phenomenon. June 12th, 2012
Star wars - A and B theme of the symphony structure - Very retro with the types of sounds - SCENE: first instruction of the theme - SCENE: luke scene is introduced which comes back throughout the film (maybe not each time he appears, however, John Williams changes the instrumentation depending on what is happening to Luke) - SCENE: the cantina scene parody of both medieval tavern and the western saloon film, however there is a jazz orchestra DIEGETIC MUSIC o Good example of the dolby sound o Tunes of rock, 60s and 70s - Four types of rock that you can easily distinguish in films Hard rock (Fritz the cat) o o Soft rock (ex. Titanic) Soul music (Motown) o o Folk rock (Graduate) Four types of non-symphonic scores 1. Synthesized – analogue introduced in the 60s in popular music and film industry and continues through the 70’s and certainty used in the 80s. a. Ex. Ghostbusters and the song be sold separately from the film 2. Popular songs 3. Eclectic scores – Example sharades of fire, Ghost busters – which mix a variety of styles (mainly popular music and orchestral music) 4. Adapted – using a preexisting piece (most famous Ride of the Valkyrie) Synthesized scores - Changes in synthesizers - 1983: Digital “FM synthesis” - 1970s: Analog much crisper and sounder range compared with the older non digital o synthesizers o What was interesting was to see the potential that this instrument changed the course of film scores in history 1978: Two pre- 80s “analog” scores Midnight Express - m. Giorgo Moroder Halloween - John Carpenter - The thing – the director is using both the music from the film as diegetic music - As early as the 1970s synthesizers were being used as the analog synthesizer A famous analog synthesizer score - Chariots of fire (1981)
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Music by VANGELIS Film won many awards including for music This was the only one of its time nad Vangelis was a great composer that uses the synthesizers (which are limited) in such a right way SCENE: syntheize cues are few and one of the first is when the characters are running in slow motion o The key with synthesizers is to keep it simple and at the right time SCENE 2: Montage, compresing time where there is the training of the rival and the synthesizer is upbeat almost recalling popular music The drums are all synthesized sort of sounds o SCENE 3: The theme of the song was presented at the end and the reason why the music was successful was because at the end credits the theme was delivered o Very simple music to which it was catchy and easy to remember
Landmark album (outside film book) - Michael Jackson’s Thriller (1983) - First fully digitized pop album including the drums - the problem with synthesize sound is that it is limited - during the 80s synthesize was associated with cutting edge films, that filmmakers were undecided what to do Legend (1985) - RIDLEY SCOTT rejected the JERRY GOLDSMITH orchestral score - European release for TANGERINE DREAM’s synthesizer score (US release) Digital Synthesizers (example) - Digital sound in the 80s was used very often in combination with real instruments and orchestra - This is the case with Lethal Weapon 1 (1987) o M. Michael Kamen Rock score with digital synthesizers o - SCENE 1: pure use of synth - SCENE 2: use of synth in combination with rock 2) Popular songs/ Music - (1978) Saturday Night fever - (1980) Fame - (1983) Flashdance - All of these films use the songs as an instrumental background, basically they are becoming the underscore - This is a new phenomenon is terms of marketing a film, this is still the period when you can own the VHS nad the LP 3) Eclectic Scores - Apocalypse Now (1979) - Orchestral underscore and pop songs as well as synthesizers - Famous moment in the film is the adapted orchestra of the Ride of the Valkyrie.
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SCENE 1: first score does NOT start with an orchestra but with the DOORS that indroduces the dark mood SCENE 2: use ride of the Valkyries – then cut sound is the peaceful village The sound designs are remarkable and well mixed into the film
New Sound technology requires a Sound Designer - WALTER MURCH, sound designer for Apocalypse Now - It was clear that digital technology is going to require someone who is orchestrating the entire sounds of the film, not just orchestral underscore and dialogye but also the way that the orchestra is treated and sound effects - It becomes more complex as we get into the 80s and 90s 4) Adapted Scores The Shining (1980) - Bartok, Ligeti - Penderecki Excalibur (1980) - Carl Orff and Wagner Amadeus (1984) - Biography of Mozart Classic scores continues: EPICS A Passage to India (1984) - Romantic music continues throughout this period and beyond - M. Maurice - SCENE: The diagetic orchestra is made to sound like the orchestra that is playing Example of diagetic music that makes seem like it is not diagetic o - SCENE 2: montage, typical use of montage is travel. The orchestral underscore sounds like the Munchini orchstra of the 60s John Williams Master of the leitmotif - Raiders of the Lost Art (1981) - E.T. (1982) - Return of the Jedi (1983) - Indiana Jones and Temple of Doom (1984) - Batman (1989) Indiana Jones and Last Crusade (1989): The Grail motif Introduced in Act 1 o Climax in Act 3: Indy finds the grail o SCENE 1: meeting his father o SCENE 2: finding the grail, but one as been subconsciously prepared o to hear the theme of the grail Changing the instrumentation
Some Exotic Epics 1) India a. Gandhi (1982) b. Score by Raki Shankar, sitar 2) China a. The Last Emperor (1987) b. Includes use of pipa and erhu The Mission (1986) - Ennio Morricone - Combines orchestra with Andean flute music - “Gabriel’s oboe” The New Blockbuster: Mainstreaming the Pop song - MTV launched in 1981 Importance of Music Supervisor - gathers songs and copyright this person becomes increasingly important o 1984 - most use mostly using popular music Beverly Hills Cop - only rock music - eddy murphy himself was a pop artists Ghostubsters - Opens with symphonic style underscore as you would expect from a normal movie and then we cut to the title to the opening song which is pop, which is a hit and being sold separately. - …then hit “Ghostbusters” - MTV video for “Ghostbusters” - SCENE: standard rock montage of the Ghostbusters who are preparing for ghost chasing New trends: composer with rock background Hans Zimmer - Rain man (1988) - Lion King (1994) - Gladiator (2000) - Madagascare (2005) - Not really from a classical background, he is one of the most successful composers in Hollywood - German rock musician in London - Subtle rock style of symphonic writing
Two Important things - Location of second test (21 June) o Pharmacy Building, room B150 Essay Help: Writing a unified research essay - Scholarly paper, not film review - Historical context o Movies produced in and around this time June 14th American Western: Classical score - Dances with Wolves (1990) o M. John Barry (d. 2011) o Dr. No - Last of the Mohicans o SCENE: wolf, very traditional music but very simple for the rock audience Western-like: Braveheart (1995) - **m. James Hornder - Trends of the celtic music in the 90s - The celtic sound of the 1990s Riverdance, enya, etc o - Bagpipe - SCENE: opening The pennywhistle o The use of orchestra and synthesizers as well as folk music integrated in the film - SENE 2: Medieval band (done after production) the diegetic sound works as a cue - SCENE 3: Love scene before tragedy happens - Conclusion: the classical score never dies, perhaps maybe changes depending on trends, but always prevails American Corporate Cinema - Media conglomerates - Disney the prototype o 1920s cartoons 1930’s films 1960’s theme park Disney Works, It’s a small world after all o - 1990’s Collaboration of Disney and Warner
Disney’s Revival - Disney enters the 90s swinging with The Little Mermaid (1989) - **Music by Alan Menken he becomes part of the Disney family and it is a compromise between pop music that is not too wild. - Disney was known for knowing not to have 60s sex and rock music and more conservative musical tendencies.
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SCENE: under the sea, the soundtrack was sold separately. It is borderline racist and sexualized mermaid, however not to the level of shreck where there are multiple levels of humor The formula changes a bit with the lion king, being more rock but still traditional Therefore not really a revival
2. The DVD - Mid 1990s - More content - “Special features” - “Making of” featurette - it could hold more information than the VHS Internet and streaming media - Mid 1990s videos on internet - Leads to youtube in mid 2000s Results? - Everyone’s an expert - More films available for people 2. The Rise of Animation - a new digital world 80s-90s: Computer Generated Imagery (CGI) - **1982 Tron: brief use of CGI - 1985 Pixar G. Lucas and K. Lasseter - 1993 Spielberg’s Jurassic Park showed the possibility of CGI o - 1994 Dreamworks: S. Spielberg and D. Geffen - 1995 Toy Story: first completely CGI feature Toy Story (1995) - First full CGI feature film - Pixar-Disney collaboration - Wall- to- Wall music as well as mickey mousing and traditional music, very intricate - M. Randy Newman - SCENE: wall to wall music and standard orchestral underscore The “Megapic” and the Film Franchise 5. Hollyworld - * this is not in the text ** Megapic of the 1990s owes to Jaws, Alien etc
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Enormously expensive film Sold Globally Multiple franchoses Predecessor was Jaws nicknamed “blockbuster” in 1975
James Horner - Old-style composers, classical trained (ch. 33) as opposed to rock trained form the 1980s. - 1995 alone: six films, including : Apollo 13, Braveheart, Jumanji 1997 Titanic - New “Megapic” - Most expensive film to date - Return of the pennywhistle - Not just the orchestral underscore, but also Dion singing - In the score for Titanic there is an irrational use of the pennywhistle, which provides it with a distinctive sound. - SCENE: Rose theme is the celtic sound with the pennywhistle - The theme song (pop) appears only at the end title, but there are suggestions of it in some of the scenes. One is mentally prepared to hear the song before it is provided. - SCENE: ending scene and the dion song is heard - The orchestral underscore is virtually unchanged Dominance of Classical Score in Megapic - More rock-trained composers - M. Kamen (Robin Hood Prince of Thieves 1991) - Alan Silvestri (Forest Gump 1994) SCENE: the opening hooks you up, lovely music lightly and sparingly o theme which will be remembered throughout the entire film until the end when presented again at the end. Not a motif in a conventional sense since it will not appear in the film o until the end. American Beauty 1999: New sounds -
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m. Thomas Newman of the Newman family (p. 423) minimalist score Opening theme: marimba/xylophone Very sparse score between classical and minimalist very glass score and very rock and roll as well. The very simple motif f the xylophone in the opening scene was used thereafter. Reality shows these types of music keeps popping up
The Matrix (1999) - m. Don Davis
