Mf Week 11

Question 0

Jerry goldsmith. (1929-2009)

Part of different kinds of modernism.

Answer 0

First completely electronic background score in 1956
Forb: Golden planet. (B Barron. )

Now to planet of the apes, (1968)
Eg. Of theirs kind of modernism. Distinct from atonal, and physical percussive.

Soundscape, pointillist. Some electronic sounds too. Echoplex used. It uses twelve tone. Unconventional timbres. Bass slide shalt.e hecy use of percussion. Unique imaginative soundscape for this movie. Note atmospheric vs modernist action music.

Be able to describe goldsmiths modernist style in this score.

Question 1

Herman has monochromatic timbre palette. Physical used and percussive. Repeated motives, cells tiny. Stacked discordance. Famous murder, music. Shock! Violent. Gestures, knife. Terror and human sounds, scary bird sounds too. Economical and primal. Ties in thematicLly. Analogous to jAws. Dissonant counterpoint. Rhythmic dislocation,

Answer 1

High atonality modernism, expressionist east of Eden rose an movie style. !

Question 2

Compilation score, pop ones that is, same idea as in silent era.
Institutional context? And aesthetics?

Answer 2

Trend towards more than on etheme in movies esp to fill out sound track album. VARIETY OF THEMES
Splintering of styles. Scatter shots. Turn away from older to contemporary pop to pull in youth market.

The graduate (1967)
Easy Rider (1969)

Early examples of commercial success of pop compilation scores.

So no need for composer just a “music supervisor”
Need to know copyright, potential creative input. Music appropriate to supervisor,

Multiple featured musical numbers.

Question 3

Form of compilation score

Answer 3

Hybrid of traditional background score.
AND
Musical genre.

Using gorbamn approaches, background for ground musical tension. And narrative and musical perforamcne.

Music has more potential for being perceived as independant. –> FORM. Eg. Born free moon river.
VEBAL MEANING
social/historical associations. ,imp. For clockwork orange. I think
Even for individual just as for culture.

Question 4

The graduate, (1967)

Background of story. Rela to socail context.

Answer 4

James dean youth market appeal. Rebel without a cause, teen angst. Postwar feeling,

Identity, psychosocial stage distinct. Films like this one.
Socail conformity overarching.

At dots to find alternative culture.

Emphasis on personL PSYC experience, not on political solution, critique of status quo, but not able to articulate future decisions codices.

Question 5

Aesthetic reference of French movement called

Answer 5

Nouvelle vague, NEW WAVE
In the graduate.

Bonny and clude good ex.
Influences by this trend.
Wandering and drifting idea here too.
Young disaffected people.

Question 6

Graduate scene, how music gets used.

Emotions, placement, function.

Answer 6

Fable about alienation music and screen.
Gender role, a times passive.

Song correspondence with image!
Ambiguous in this movie.

Long pause in narrative and two full songs. Film musical feel.
No diegetic noise.

Silence of sound.
April come she will. Nostalgia.

Disjunction between seen idyllic and song sad.
Characters emotions are unreadable and yet songs have strong emotions, unsure if it’s from Ben or narrator.

Ambiguous space.
Images not continuous, music is steadfast.

Scarborough fair, song doesn’t seem to correspond. song itself is vGue. Medievelesque thing.

Question 7

Instead of direct correspondence.

Mutual implication.

Answer 7

Interact 2-way.

Song in conjunction with story gets shapes.
Sim. To two images side by side. Now music and image.
Correspondence and irony both there!

Question 8

Summary.

New model of film musical function,

Answer 8

• Placement, long passages where nothing happens. Music video mtv passages. Framed, featured, special audible.
• Foreground, Background.
• How is musical form accomadated, chopped?
• Correspondance!?

Wider array of possibilities. Getting away from standard gorbamn model. Now possibilities galore, ambiguity too. And counterpoint.