Part 5 Music for Theater and Film Chapter 18: Music for Films America’s Musical Landscape 6th edition © 2010 The McGraw-Hill Companies, Inc. All rights reserved

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 2 Part 5: Music for Theater and Film Chapter 18: Music for Films2 Functions of Music in Film Film Score – the music composed for a movie Mickey Mousing – the practice of mimicking musically the actions of a character Music draws the audience into the atmosphere of the film Music helps build a sense of continuity

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 3 Part 5: Music for Theater and Film Chapter 18: Music for Films3 Source Versus Functional Music Source/Diegetic Music – provides a thematic anchor for images on screen Music adds accompaniment to the action in films featuring dance Fame (1980) Saturday Night Fever (1977) Functional/Nondiegetic Music – the music is heard by the spectators, but not by the characters in the film

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 4 Part 5: Music for Theater and Film Chapter 18: Music for Films4 History of Music in Films Silent Films – music was provided by pianists, theater organists, and other instrumentalists Early Sound Films – The Jazz Singer Most composers working in early Hollywood were European with the exception of several notable American composers Virgil Thompson Aaron Copland Irving Berlin The Hollywood Sound The classical Hollywood film score Lush orchestration, rich harmonies and sweeping melodies Bernard Herrmann A classical composer and arranger who also worked in radio and film

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 5 Part 5: Music for Theater and Film Chapter 18: Music for Films5 Bernard Herrmann ( ) A New Yorker who carried his classical music training to radio, where he worked as a composer and arranger, and then to film Scored Orson Welles’ Citizen Kane (1941) Best-known for his work scoring films by Alfred Hitchcock

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 6 Part 5: Music for Theater and Film Chapter 18: Music for Films6 Listening Example 63 The Murder (from Psycho) Composed by Bernard Hermann ( ) Listening Guide page 324 Timbre: Orchestra, dominated by high-pitched strings as the players glide their fingers rapidly along the strings (a technique called glissando) Form: Programmatic (the music describes and enhances the actions on the screen) Melody: Fragmentary phrases, repeated over and over This disturbingly effective music supports one of the most terrifying scenes in movie history.

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 7 Part 5: Music for Theater and Film Chapter 18: Music for Films7 The Hollywood Sound Key figures in Hollywood music from the 1930s and 1940s Alfred Newnan Max Steiner Erik Korngold John Williams – popularized the classic film score in movies such as Jaws, Star Wars, Raiders of the Lost Ark

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 8 Part 5: Music for Theater and Film Chapter 18: Music for Films8 Listening Example 64 Star Wars Main Title Composer John Williams (b. 1932) Listening Guide page 327 Timbre: Orchestra, dominated by brass and percussion, rather than the usual strings Texture: Predominantly homophonic Form: The music is organized according to programmatic content This highly emotional film score helped return the lush, romantic style of the classical Hollywood score to popular favor.

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 9 Part 5: Music for Theater and Film Chapter 18: Music for Films9 Pop Scores 1950s – composers accompanied films with pop music The Sting (1973) The Third Man (1949) 1960s – pop scores helped attract a younger audience Music by Burt Bacharach and Henry Mancini 1970s Randy Newnan – Toy Story 2 (1999)

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 10 Part 5: Music for Theater and Film Chapter 18: Music for Films10 Electronic Music Theremin – the earliest electronic musical instrument Invented in s – introduction of analog techniques 1980s – advent of digital systems Non-acoustic score composed by Maurice Jarre for Fatal Attraction (1987)

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 11 Part 5: Music for Theater and Film Chapter 18: Music for Films11 Movie Musicals Revived Movie musicals, popular during the 1930s and 1940s, lost favor in subsequent decades : renewed interest in the genre due to films emphasizing music that were billed as musicals Dancer in the Dark – quotes The Sound of Music O Brother, Where Art Thou? – highighted Depression-era Southern music Moulin Rouge – incorporated popular songs

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 12 Part 5: Music for Theater and Film Chapter 18: Music for Films12 Current Trends Use of all kinds of music in film including Classical music Jazz Ethnic music Popular songs Rock New Age Opera

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 13 Part 5: Music for Theater and Film Chapter 18: Music for Films13 The Composer’s Perspective Techniques and methods considered by composers Tonality Use of dissonance Timbre Role of various instruments Mixing and editing

© 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 14 Part 5: Music for Theater and Film Chapter 18: Music for Films14 Film Score Performances and Recordings Suites Significant sections from a complete film score New music for classic films Philip Glass composed music for the class horror film Dracula 1990s Trend toward collecting film scores Apollo 13, City of Angels