Mf Week 10 Mf Flashcards
Theme song scores,
Pop song with lyrics
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
Touch of evil
Realism
Ambiguous diegsis, and ethnicity.
Exposed
Meanings stereotypes.
Multi stylistic clashes
Contemporary style, meant it could be cutting edge, hip and edgy.
High noon 1952 western by
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
(Institutional background of theme song score)
Ancillary markets
Radio recordings, sheet music, make money off of product,
Starts in 50’s
Elmer Berstein, selling out, “”
Addition of words, and branding of theme song, new to Hollywood music.
Qualities of a theme song score (6+)
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.
Examples of theme song scores, from 50’s
“Love is a many splendor thing” (1955)
Unchained (1955) “unchained melody”
Man who knew too much, Hitchcock (1956)
Now to different sound of the 60’s
First name composer
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.
Maurice Jarre (1924-2009)
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.
Michele legrand (1932-
French, cons atory classical and pop background.
Umbrellas of cherborg (1964),
Film opera. Pop styles.
Now to Henry Manxini (‘24-‘94)
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
Modernism not a new model just another extension of score.
Theme songs.
Introduce dis. Or
Copland, rosza and Herman. ,,, know differences.
Getting serialist trainging. Modernists got this.
Fighting as finest restrictions of code.
TEEN MRAKET YOUTH, started to have money,
Was a new market, could make money from,
Modernism,
Leonard rose an (1924-2008)
Friend of James dean, in through actor into film,
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
Musical modernism, is a
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)
East of Eden overture
Rosenmann picks up on?
Conflict
Music signals anx, and confusion.
Teen dramatic film!
E of e main title, review reading!
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.
E of e first scene.
Influence expectations.
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.
E of e climax, (score printed in reading if you want it)
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.
Besides leitmotives but leitstyles
Hear a style having symbolic associatin.
E of e finale
Father motive.
Keeps tension, not a simple reolution, suffering always there.
But before
A treat, 12’ tone score, 1974. By David Shire
The taking of Pelhome 123 opening jazz 12 tone piece.
Genre of films suitable for modernist experimental
Science fiction, psychological drama, horror
Anything where theme anxiety alienation duality.
Bernard Herman and Psycho! (1960)
Masterpiece of modernist film score. Psycho!
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.
Psycho Marianne running away. 12 minutes in,
Movie reliant on music for emotion.
Pov, motion, narrative running away. Also signals forward movement, foreshadowing horror too. Reality to nightmare accompaniment,
Madhouse scene. Have score handout.
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.
