Chapter 19 – Film Music The rise of the symphonic film score began in what decade? 1930s Most film music was written first by European composers writing in the European-symphonic tradition.

A Realistic Film of the American West An early example of an American composer writing for film can be found in The Plow That Broke the Plains (1936). a documentary film on drought-stricken farm families and the aid of the federal government filmmaker: Pare Lorentz composer: Virgil Thomson (1896-1989) musical Americanisms: a Calvinist psalm tune cowboy songs African American blues World War I songs

Two films about small town and big city Aaron Copland’s music for Our Town Leonard Bernstein’s music for On the Waterfront

Three Career Film Composers Max Steiner (1888-1971) European born in Vienna, Austria worked in musical theater (frequently in Paris and London) America (New York) on and off Broadway 1924: worked on George Gershwin’s Lady Be Good! And Jerome Kern’s Sitting Pretty Hollywood 1929-1936: composed music for more than 130 films at RKO Radio Pictures King Kong (1933) his first celebrated full-length film score 1936-1950s: worked mostly for Warner Brothers Gone With the Wind (1939) one of his most memorable film scores

Steiner’s musical style - “romantic,” broad, sweeping melodies - rooted firmly in classical principles - largely derived from nineteenth-century, central European models - Richard Wagner-influenced style of music’s dramatic functions - use of melodies that are tied to specific characters and themes

Bernard Hermann (1911-1975) “The Murder” Psycho score born in New York studied at New York University and the Juilliard School 1934-1940: arranger and composer for CBS Radio music for radio dramas collaborated with Orson Wells (1915-1985) on War of the Worlds (1938) 1941: music for Wells’ Citizen Kane c.1955-c.1964: collaborated with Alfred Hitchcock (1899-1980) The Trouble with Harry (1955) Marnie (1964) Psycho (1960) many others “The Murder” Psycho score use of glissando in the “screaming strings” short, repeated melodic fragments

Hermann’s musical style “modernist” frequent use of short melodic fragments What is a “cue”? a passage of music that is written for a specific moment in a film Example: “The Murder” music in Psycho

John Williams (b. 1932) born in New York; soon moved to Los Angeles Education classical and jazz lessons Juilliard School UCLA 1951-1954: conducted and wrote music for the Air Force Band 1950s: composed music for television 1960s: music for comedy films 1970s: began long musical collaboration with Steven Spielberg Jaws Close Encounters of the Third Kind (1977) Raiders of the Lost Ark (1981) E.T. the Extra-Terrestrial (1982) Schindler’s List (1993) 1977: first of the Star Wars movies (George Lucas)

Williams’ musical style more in the style of Steiner than Hermann broad, lush, nineteenth-century approach Wagner-like musical motives melodies reflect characters melodies can also change in order to reflect character development

an example of how music can project a character. The Imperial March (Darth Vader’s Theme) Star Wars: Episode V—The Empire Strikes Back an example of how music can project a character. Listen for march style dark musical key (minor) blaring brass instruments over “shuddering” strings