1.  Randy Schmutz

2.  Full Name: Hans Florian Zimmer  Birth: September 12, 1957  Origins: Frankfurt, Germany  Father died when Zimmer was 6  Wanted to become a composer

3.  In his teens Zimmer moved to London to play the keyboard and synthesizer.  Joined forces with the Buggles on there album, The Age of Plastic.  Later joined the Italian new-wave group Krisma as producer and synthesizer player.

4. Hans Zimmer and Stanley Meyers Famous Movie Compositions Produced  Stephen Frears ‘My Beautiful Laundrett’ (1985)  A World Apart (1988)  Rain Man (1988)  Driving Miss Daisy (1989)  As Good As It Gets (1997)  The Thin Red Line (1998)  The Prince of Egypt (1998)  The Last Samurai (2003)

6. The Dark Knight Pirates of the Caribbean, Dead Man’s Chest

7.  Composer/Co-producer: Hans Zimmer, James Newton Howard, and Lorne Balfe  Co-Producer: Alex Gibson  Co-Orchestrator/Co-Conductor: Bruce Fowler  Awards: Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media in 2009

8.  Composer/Co-Producer: Hans Zimmer  Conductor: Pete Anthony  Performer: The Hollywood Studio Symphony  Co-Producer: Bob Bodami

9.  Lifetime Achievement Award in Film Composition from the National Board of Review  Frederick Loewe Award  ASCAP’s Henry Mancini Award for Lifetime Achievement  Oscar for the best original score for the animated film “The Lion King” at the 67 th Annual Academy Awards 27 March

10.  0:00 the introduction of the song starts out with the viola being played with a piece of metal to achieve an eerie feeling; the viola imitates the sound of a siren that ascends steadily as time goes on.  1:09 the viola fades out and violins begin to play in 5/4 mixed meter and division in a repetitive melody in mezzo-forte. At minutes 1:27 a synthesizer is introduced while the violins continue playing the melody in moderato. The synthesizer creates a descending drum sound for two intervals. At minuets 1:36 the violas pick up in tempo to allegro, with the violins playing also in allegro; the two instruments create a feeling of dissonance.  1:47 the synthesizer returns playing two intervals of the descending drum sound, while the violins continue to play the same melody in presto. At minuets 1:51 the viola is introduced once again playing four short screechy notes in two different intervals. The three instruments are interwoven together to create a disjunct melody.

11.  1:57 the violins continue to play the same melody with the synthesizer playing the drum sound; in the background there is a light vivace beat of tapping on the strings of the viola with metal. At minuets 2:10 the violins slowly fade out and violas plays the ascending siren sound again using the metal to create the abstract tension; again the instruments sounds are interwoven together to create dissonance.  2:29 two abrupt beats of the drums in fortissimo are introduce in a repetitious pattern, while the tapping on the violas strings is continued. At minuets 2:39 the drums become silent and a steady repetitive beat on a hollow wooden pipe in mezzo-piano is played. In the background the viola plays presto with an arch contour, creating a disjunct melody. At minuets 2:50 the viola’s fade away abruptly and ascending drums play presto creating an intense rumbling feeling of dissonance. At minuets 3:24 the drums cease and the viola’s play presto creating a form of resolution.

12.  3:27 quietness takes over and in the background the viola’s string are being tapped lightly creating a very pronounced rhythm. At minuets 4:12 the violins begin to play and the two instruments create an ascending melody. At minuets 4:29 the viola is introduced once again playing four short screechy notes in a rhythmic pattern. At minuets 4:39 the drums play 4 beats in fortissimo creating a disjunct melody, as well as, creating dissonance once again in the song.  4:50 the drums go still and a synthesizer takes over the beating; however, only two beats in forte are played in repetition. The viola’s and violins continue to play the same melody as before.  5:12 the synthesizer and the violas go silent leaving only the violins playing a monophonic melody. At minuets 5:19 a single viola is introduced playing in presto with long pronounced strokes on the strings for approximately 3 seconds. The violas begin playing the ascending siren melody. At minuets 5:34 drums are introduced in duple meter, simple division adding dissonance and adding to the disjunct melody.

13.  5:52 the drums fade out leaving the viola playing quick strokes on their strings and the violins continue to play the same melody as before. At minuets 6:02 the bass drum is introduced once again with one large bang in fortississimo. The violas and violins continue to play the tempo in presto, and the two instruments intermittently fade in and out, creating a disjunct melody. At minuets 6:30 the moroccan is introduced and the violas and violins fade away leaving a monophonic harmony. At minuets 6:37 the piano begins to play three measures in piano creating consonance and a conjunct melody. The piano continues to play with the moroccan with a steady rhythm. At minuets 7:17 the moroccan fades away leaving only the piano playing the three measures; however, this time playing in pianissimo. The piano creates a conjunct, monophonic melody.

14.  7:31 the piano fades and the violas begin to creep back into to the song in an ascending contour all the way up to forte. This piece is repeated three different times creating a round; however, each subsequent piece ends louder than the first. The round is repeated four times and on the end of the second, minuets 8:01, drums are introduced playing an upbeat pulse in forte. The drums beats are interwoven into the round to create a disjunct melody.  8:36 the drums continue to play the upbeat pulse and the round is discontinued while the violas play in harmony with the drums. More drums are introduced playing in fortississimo they begin with one beat and then followed by two quick beats with three different intervals. At minuets 8:52 the drums stop and the violas and violins continue to play in fortissimo. The song finishes with a single drum playing one quick beat in fortississimo.  9:14 end

15.  0:00 Phrase A: begins with the music box; the form is very repetitious with a monophonic and conjunct melody. The rhythm is in triple meter, simple division with a grave tempo and the dynamics is piano.  0:36 Phrase B: the song continues with a conjunct melody with the music box being accompanied by violins in mezzo-forte. The rhythm is still in triple meter, simple division and the tempo is adante.  1:14 Phrase C: pipe organ number 1 is introduced and creates a heavy sound on the first two beats in fortissimo; while organ number 2 plays the original melody taking on the role of the music box in forte. The two instruments being played create a frantic feeling of dissonance.

16.  1:39 Phrase D: the drum takes the place of organ number 1 as it plays the melody of the music box in fortissimo with a vivace tempo. In the background, a chorus sings in harmony with the organ creating a rich texture.  2:01 Phrase E: the drum picks up another beat, with a fortissimo emphasis on the first. The tempo picks up to presto, staying in triple meter, simple division. The chorus continues to harmonize with the organ as the drum continues the beats creating dissonance.  2:24 the resolution takes place with only the drum playing in fortissimo with a monophonic melody.

17.  2:36 Return to Phrase A: the form reverts back to the introduction with only the music box playing with a monophonic melody as it slowly dies out.  3:15 end

18.  Anonymous. Biography for Hans Zimmer. IMDB. Retrieved 27, January 2012. Path: http://www.imdb.com/name/nm0001877/bio http://www.imdb.com/name/nm0001877/bio  Best Score Soundtrack. Awards and Shows. Retrieved 4, Feb. 2012. Path: http://www.awardsandshows.com/features/best-score- soundtrack-292.html http://www.awardsandshows.com/features/best-score- soundtrack-292.html  Goldstein, Patrick. Score One For Batman. LA Times. Retrieved 4, Feb. 2012. Path: http://articles.latimes.com/2008/dec/17/news/en- zimmer17 http://articles.latimes.com/2008/dec/17/news/en- zimmer17

19.  Goldwasser, Dan. Breaking the Rules with Hans Zimmer. 2006. Soundtrack.Net. Retrieved 30, January 2012. Path: http://www.soundtrack.net/features/article/?id=205 http://www.soundtrack.net/features/article/?id=205  Goldwasser, Dan. Badelt and Zimmer to Replace Silvestri on Pirates. 2003. Soundtrack. Net. Retrieved 30, January 2012. Path:http://www.soundtrack.net/news/article/?id=455  Pirates of the Caribbean: Dead Man’s Chest. 2006. Filmtracks.com. Retrieved 10, February 2012. Path: http://www.filmtracks.com/titles/pirates_caribbean2.html http://www.filmtracks.com/titles/pirates_caribbean2.html

20.  The Dark Knight. 2008. Filmtrack.com. Retrieved 10, February 2012. Path: http://www.filmtracks.com/titles/dark_knight.htmlhttp://www.filmtracks.com/titles/dark_knight.html  Wigler, Josh. Hans Zimmer Says ‘The Dark Knight Rises’ Score Will ‘Invent and Reinvent’. 2011. MTV. Retrieved 27, January 2012. Path: http://splashpage.mtv.com/2011/01/18/hans-zimmer-dark- knight-rises-score/http://splashpage.mtv.com/2011/01/18/hans-zimmer-dark- knight-rises-score/  "Zimmer, Hans." Contemporary Musicians. Vol. 34. Gale Cengage, 2006. eNotes.com. 27 Jan, 2012 http://www.enotes.com/zimmer-hans-reference/ http://www.enotes.com/zimmer-hans-reference/  "Zimmer, Hans." Hutchinson's Biography Database (2011): 1. MasterFILE Premier. Web. 27 Jan. 2012.