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Music 2F03 > Lecture 9 and 10: The 1960s > Flashcards

Lecture 9 and 10: The 1960s Flashcards

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1
Q

The 1960s

A
  • turbulent period in American history
  • cynicism starts creeping into culture
  • end of 1963 = President JFK is assassinated
  • very shortly afterwards, conspiracy theories began to appear
  • civil rights
    becomes a major factor in Western culture
  • African American communities coming together and demanding for rights
  • generational gaps
  • baby boomers = first generation in a while to see the world quite differently
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2
Q

Films in the 1960s

A
  • early 60s are an extension of the 1950s
    (sword and sandal films)
  • by mid 60s the Production Code is abandoned, films become more explicit
  • movies aimed for the baby boomers
  • counter-culture = hippies
  • cultural revolution of the late 60s results in films with a strong sense of irony and cynicism
  • the 60s are probably the biggest change in film since the transition to sound
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3
Q

Rise of the independent production

A
  • freelancers are contracted film to film
  • costs escalate
  • while orchestral scores are still produced, cost factors lead to many smaller ensembles of popular music scores
  • you can use the music to promote the film
  • popular music is also becoming more and more influential
    baby boomers a
  • 1950s = rock and roll is getting more mainstream by the 1960s
  • 1964 = Beatles popularize guitar based music
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4
Q

Changing of composers

A
  • end of the careers of Steiner, Newman, Tiomkin
  • rise of American composer such as Jerry Goldsmith and Elmer Bernstein
  • second wave of european composers
  • French = Maurice Jarre
  • English = John Barry
  • Italian = Ennio Morricone
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5
Q

Ennio Morricone

A
  • born 1928 in Rome, Italy
  • received a Lifetime Achievement Award, as well as an Academy Award for “The Hateful Eight”
  • best known for association with Italian Director Sergio Leone and the “spaghetti western”
  • over 400 film credits with a wide range of styles form popular music to avant-garde
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6
Q

Spaghetti Westerns

A
  • films made in the 60s through to the 70s
  • main people making the film were Italian, and the film was set in the American west
  • filmed in Spain
  • American actors would say their lines in English, while the local actors say their words in Spanish and are dubbed over
  • American West as more realistic = actors were made up to look grotesque, none of the characters are really good
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7
Q

The Good, the Bad, and the Ugly

A
  • 1966
  • story = the Ugly is wanted for many crimes, reward for his capture
  • the Good turns him over and collects the money, but comes back to rescue him and then go to the next town to collect the reward
  • use of sound effects, voices, and electric guitars
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8
Q

John Barry

A
  • 1933 - 2011
  • classical pianist/trumpet
  • turned to pop music in his 20s
  • sound derived from the Big Bands and some influence from rock
  • by early 1960s is a well-known British pop musician
  • style defined by clear, tonal melodies
  • to support the melody, he usually adds a counter-melody
  • block orchestration = one section has one job
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9
Q

John Barry - Works

A 
- won 5 Academy Awards including
Born Free (1967), Out of Africa (1986), and Dances with Wolves (1991)
- music examples = You Only Live Twice (1967), Out of Africa (1986)
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10
Q

Dr. No - Film Facts

A
  • 1962
  • James Bond
  • Monty Norman = original composer
  • Barry went on to compose the music for 11 James Bond films
  • adjust volume to fit main theme to the score
  • music in the theme = electric guitar
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11
Q

Dr. No - Lawsuit

A
  • Norman was having trouble and had written only a little bit
  • James Bond theme earned him almost 2 million dollars
  • what is believed to happen = John Barry received one simple line, and then added on his theme
  • however, Monty Norman won the lawsuit because he wrote the underlying line of the theme
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12
Q

Film music in the 1960s

A
  • in addition to the increasing impact of popular music, atonality and avant-garde styles are also becoming more prominen
  • modernism = rejection of the past in favour of the new
  • in music = movement from the earlier part of the 20th century to throw out common practice and come up with new ideas
  • part of modernism is to create any rules you like, but once you created the structure they have to stick
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13
Q

2001: A Space Odyssey - Facts

A
  • 1968
  • director = Stanley Kubrick
  • score compiled from classical music
  • this approach would not work in other more conventional films
  • when there is music, he generally uses no other sound
  • combination of tonal music from late 19th century (Strauss - Blue Danube Waltz) and atonal music from the 20th century (Ligeti)
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14
Q

2001: A Space Odyssey - Movie Summary

A
  • starts several million years ago
  • humans are on the verge of extinction
  • alien intelligence appears that is extremely from the future
  • once the early humans touch the monolith, their brains have been rewired, allowing us to learn
  • flash-forward to the 1990s, they find the monolith on the moon
  • concepts of intelligence, the definition of humanity
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15
Q

2001: A Space Odyssey - Scene 1

A
  • no narrative development, no sound effects
  • just about seeing life in the future
  • The Blue Danube Waltz
  • tonal music occurs when we see humans doing normal things
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16
Q

2001: A Space Odyssey - Scene 2

A
  • humans approaching monolith
  • music by Gyorgy Ligeti
  • dominated by human voices giving a presence, but not particular music or theme
17
Q

Stanley Kubrick and the score

A
  • auteur
  • hard to work with
  • had a habit of using compiled music in his films
  • in order to keep costs down, they told Kubrick that Alexander North would be the composer
  • North works for 6 days straight, and has to be hospitalized because he was working so hard
  • however, none of his music was in the film
  • Ligeti was only told afterwards that his music was being used
18
Q

Jerry Goldsmith - Early Life

A
  • 1929 - 2004
  • born in Los Angeles
  • studied with Rozsa at USC
  • the first composer we are discussing in class that decided early on to work in film
  • came out of television
19
Q

Patton - Facts

A
  • 1970
  • war movies made at the end of the 60s are very different from the 40s/50s
  • the enemy is increasingly depicted in the most realistic way
  • sparse score (less than 40 minutes) for a 3 hour film
  • Goldsmith reserved music to scenes where he thought it could add something significant
20
Q

Patton - Music of the character

A
  • music focuses on American general George S. Patton
  • portrayed as a great man, but a flawed man
  • he gets three separate themes for the different aspects of his personality
  • the great warrior, man who leads his troops across the world = tonal, consonant march
  • religious, Protestant = chorale, hymn
  • firmly believed in destiny and reincarnation = use of electronic processing, trumpet with an echo
21
Q

Patton - Scene analysis

A
  • scene = North Africa
  • reincarnation theme, cloud of sound
  • scene = March through Europe
  • shows a German officer writing numbers of missing, wounded, and dead
  • shows the price of Patton’s success
  • music quickly goes from tonal to dissonant
22
Q

Alien

A
  • 1979
  • composer = Jerry Goldsmith
  • director = Ridley Scott
  • scene = ship crew is told that there is a distress signal to check out and explore an old alien spaceship
  • blend of tonality and modernism
  • sound that represents humans = flutes (playing low in the register, fragile)
  • surrounding the flute is dissonant noise = violins, building note that ends in an echo
23
Q

Planet of the Apes - Facts

A
  • 1968
  • composer = Jerry Goldsmith
  • social and political critique
24
Q

Planet of the Apes - Social and political critique

A
  • the film is about the social unrest of one of the most disruptive decades of the 20th century (1960s
  • danger of nuclear war, civil rights, generation gap
  • science fiction is ultimately about society
  • Taylor later comes to see the value of humanity, defending his own people after he see the world of the apes
  • fear of communism = “Where there’s one, there’s another, and another, and another”
25
Q

Planet of the Apes - Instrumentation

A
  • blend of orchestral instruments with elements such as animal horns and mixing bowls
  • one of most influential modernist film scores ever written
  • extremely dissonant, and deliberately slow, harsh
  • the score is very conventional in terms of how the music is organized (themes)
26
Q

Planet of the Apes - Scene 1 (The Takers)

A
  • music for the astronauts is atonal but strongly organized
  • clear, even rhythm supported by snare drum
  • music for unseen takers is chaotic = woodwinds, log drums
  • disorganized in comparison to the astronauts
27
Q

Planet of the Apes - Scene 2 (The Crossing, Part 1)

A
  • no clear organization, more sound than music
  • use of electronic echo, metal sheet, ram’s horn
  • violins play the same note, than the note pulls apart out of tune
  • captures the idea that they have no idea where they are going
28
Q

12 Tone music

A
  • Arnold Schoenberg (2nd Viennese School)
  • 1923 = development of tone rows
  • moving away from major/minor tonality, common practice
  • treat all 12 notes with equal importance
  • the arrangement of the 12 notes becomes the core of your piece
  • you cannot repeat a note until all 12 notes have been used
  • once you get to a note, you can play it as many times as you want
29
Q

Planet of the Apes - Scene 3 (The Crossing, Part 2)

A
  • main theme = collection of 4 sets of three notes, then a metal sheet, another 4 sets of three notes
  • doesn’t matter if you hear the structure, as long as you follow the form
  • opening credits also uses the tone row
30
Q

Planet of the Apes - Scene 4 (Reveal of the Apes)

A
  • ram’s horn = associated with the apes
  • not in tune, sound of terror
  • based on tone row
31
Q

Planet of the Apes - Scene 5 (End of the Movie)

A
  • the Crossing theme
  • as the theme dies away, something changes at the end of the film
  • no music in the end credits, just the sound of the waves
  • withholds any sense of release, comfort
  • dissonance eventually becomes familiar

Music 2F03 (13 decks)

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