Mf Week 10 Mf

Question 0

Theme song scores,

Pop song with lyrics

Answer 0

Start in 50 focus will be on 60’s

So you had ollap se of studio, and now a shift to studio diversified entertainment corporation. Part of something larger. Institidutionally.

Ex. High noon 1952 western by

Dimitri tiomkin

Question 1

Touch of evil

Realism

Answer 1

Ambiguous diegsis, and ethnicity.
Exposed
Meanings stereotypes.
Multi stylistic clashes

Contemporary style, meant it could be cutting edge, hip and edgy.

Question 2

High noon 1952 western by

Answer 2

Dimitri tiomkin

First successful croos promoted theme song to be used in film scoring.

Do not forsake me my darlin.
Folky unusl instrumentation, aba + coda sections.
SPECIAL*Used monothematically, all music in film based on that score
Aside: first monothematic score Laura similar but does not have words, but became a sung version later. (1944)

FIRST SUCCESSFUL THEME SONG SCORE.
High noon 1952

Question 3

(Institutional background of theme song score)

Ancillary markets

Answer 3

Radio recordings, sheet music, make money off of product,
Starts in 50’s

Elmer Berstein, selling out, “”

Question 4

Addition of words, and branding of theme song, new to Hollywood music.
Qualities of a theme song score (6+)

Answer 4

Featured song with text, relate to story, placement,
“No musical film but with a feature song with text. “
Economic - aim for a HIT
WORDS -what relation to narrative
Musical ‘Form’
Placement (beginning, end, integrated)
New musical styles with HOOKS

Hooks, hit,BRAND (emblematic associTion)
Ex. James Bond, moon river (ex. See sheet music says from film, = emblematic assoc. ) means it is detachable, independNt of film.

SubCATEGORIES of theme song scores,
MonotheMATIC, regular, one other to come.

Question 5

Examples of theme song scores, from 50’s

Answer 5

“Love is a many splendor thing” (1955)

Unchained (1955) “unchained melody”

Man who knew too much, Hitchcock (1956)

Question 6

Now to different sound of the 60’s

First name composer

Answer 6

John Barry, associated with bond series (1933-2011)
Trumpeter and arranger pop music. Claims wrote bond theme but not credited to him.

Dr. No 1962
James Bond theme in each movie plus theme song score for each.
Multiple hooks.

Born free, full blown theme song from 1966
Tuneful, words at end of film. African perc.
Also a MonotheMATIC score.

Question 7

Maurice Jarre (1924-2009)

Answer 7

French composer with classical training.
Done a lot of different things. 
Listened to theme from dr. Zhivago '65
Lara's theme. Mandolins sounding. Added lyrics. 
Epic film,  large scale.

Question 8

Michele legrand (1932-

Answer 8

French, cons atory classical and pop background.

Umbrellas of cherborg (1964),
Film opera. Pop styles.

Question 9

Now to Henry Manxini (‘24-‘94)

Answer 9

Most prolific film composed from post studio generation.
Arranger for dance bands,
Joined universal, transition period.
Big break touch of evil. Then
1958, universal was bought and he got the pink slip.
Ent to work for tv, Peter gunn. Worked with Blake Edward. Does pink panther films amongst others. Music.
Long standing collaboration favorite.
Spielberg and Williams have a similar long rela.
Did go back to film and known for pop jazz accessible style.

“Moon River” from breakfast at Tiffany’s (1961)
Don’t own rights to this theme song,

Pink panther franchise ,’64 (starts)
Thinks of ancillary mRkets. Blake Edwards dir.
Wanted whole album, more than just one song.

Subcategory of MULTI-theme score. Eg. Pink panther.
W/o word tune and second theme song for Rome. Italian idea.
“It had better been tonight. “ incidental music for album too.

Jazz strings, hooks, tunes. Made lots of money dpi the changes in institutions

Question 10

Modernism not a new model just another extension of score.

Answer 10

Theme songs.

Introduce dis. Or
Copland, rosza and Herman. ,,, know differences.

Question 11

Getting serialist trainging. Modernists got this.

Fighting as finest restrictions of code.

Answer 11

TEEN MRAKET YOUTH, started to have money,

Was a new market, could make money from,

Question 12

Modernism,
Leonard rose an (1924-2008)
Friend of James dean, in through actor into film,

Answer 12

HE USED A 12 tone score, FIRST one to use it, in a Hollywood film.
The cobweb 1955 psychological tension. Historical notes**
In same year, East of Eden 1955

Question 13

Musical modernism, is a

Answer 13

Bunch of styles, progressive, from Copland on.
East of Eden, atonal and expressionist.
Steinbeck novel, wwi garden of Eden.

Many elements, nostalgia, religion, conflict (mora, class, gen. Psych)

Question 14

East of Eden overture

Rosenmann picks up on?

Answer 14

Conflict

Music signals anx, and confusion.
Teen dramatic film!

Question 15

E of e main title, review reading!

Answer 15

Conflict, pastoral, religious comes in.

Note fathers theme, in main title opening fanfare.
Then folk tune, strong musical duality between tonal atonal, pastoral vs conflict, poly stylistic idea.

Question 16

E of e first scene.

Influence expectations.

Answer 16

Dean music is dissonant.
Leitmotiv ic and focalization, pov internal anx,
Discontinuance between music and image, amorphous motive contour representing loneliness, foil to stacked fourths violence part of cal theme.

Decentered texture. Melodic fragments, no melody and accomp.
Ambiguous wiring between tonal and atonal.

Question 17

E of e climax, (score printed in reading if you want it)

Answer 17

Mother thought dead is alive. Take out frustration on brother.
Extreme registers, unpredictable, de centered texture, fragmented, gaps in register, ominous abyss, unpredictable.

Be describe of rosenemeny style
Part from modernist, atonal, fragmented, duality and de entered.

Question 18

Besides leitmotives but leitstyles

Answer 18

Hear a style having symbolic associatin.

Question 19

E of e finale

Answer 19

Father motive.

Keeps tension, not a simple reolution, suffering always there.

Question 20

But before

Answer 20

A treat, 12’ tone score, 1974. By David Shire

The taking of Pelhome 123 opening jazz 12 tone piece.

Question 21

Genre of films suitable for modernist experimental

Answer 21

Science fiction, psychological drama, horror

Anything where theme anxiety alienation duality.

Question 22

Bernard Herman and Psycho! (1960)

Masterpiece of modernist film score. Psycho!

Answer 22

Tv show low budget black and white,
Capture a lot with little on big screen. Lower budget, all strings orchestra with black and white image.
Limited timbre!

Cells in prelude Opening rhythmic figure,
And 3rds and 2nds all in first four bars, dense compact beginning.

Minor major seven, same as vertigo chord.
Then a soaring tune coming out of cellular idea.

Saul bass, guy design same anatomy of a murderer

Musical and visual gestures mimicked. Gutteral. Nervous twitchy.

Question 23

Psycho Marianne running away. 12 minutes in,

Answer 23

Movie reliant on music for emotion.
Pov, motion, narrative running away. Also signals forward movement, foreshadowing horror too. Reality to nightmare accompaniment,

Question 24

Madhouse scene. Have score handout.

Answer 24

See disloCtion in motive, twisted distorted scalar idea. Rela to psychosis,

Contrapuntal like. Dislocated counterpoint. Imitation of dialogue through music, portrayal of psychosis, split personality,

Muted strings, helf in check. Latent.
Switch of identification here too, from girl to guy. Narrative violence, reflected in music.

Music motive interact with words, mad, admitting mad. Parallelism, she we you transfer of Id.