Mf Week 8.

Question 0

Vertigo

Answer 0

Eb chord, atonality, a minor reference,
Then second time c major. Tonal ambiguity right away!
Ambiguous resolution

Question 1

Final is on Herman and on!

Answer 1

Now to vertigo with status control
Character trajectory
Reality.

Question 2

Assignment 3 q discussion

Answer 2

Midge gets Mozart music, diegetic
Continuum of women music. Julie and Madeleine,
Remember falling cell. Soft, feminine vulnerable Madeleine theme.

Scotty immersed in facts, Scottie’s fantasy.
Film seducing viewer. Fascination story told on many levels.

Gender roles, agency, men doer,
Detecting music. Active passive, objectification.
Perceiver vs object,

Question 3

Moment of reversal, Madeleine to Judy audience now knows

Answer 3

Music is specific to Judy at one point.
Stinger chord for her, disturbed Waltz. Just before flashback. Looks straight at camera. Weird. Symbolic. Change in perceiver.
No longer male gaze, Judy gaze now included.

Scottie, flaw over fantisiicngl vertigo
Judy flaw. Submission, aids in a murder.

Dizzy music with Judy, result of mental instability. Showing her own free fall

I’d manipulation is theme of film.
And fascination

Who do we identify with. Sexism, miso tropic. Satirical !

Trajectory of male character needs to restore control.
Re exerts control in violent obsessive way,

Female character destroyed female character,
John is liberated,
Extreme versions of cultural genrpdef roles. Male dominance kill women, extreme submission, so film is a satire.

C major cadences big, weirder each time

Question 4

Miklos rosza (1907-95)

Answer 4

Classical trained
Work w KORDA, got into Hollywood through connections. Did not start there. Had concert music and film music.
1 film with Hitchcock.

3 important film genres.

1. FAIRYTALES
   Colorful sensuous music, matching fantasy aspect.
   Listen to theif of Baghdad
2. Film Noir
   Sparing underscore, harsh dissonant scores. Timbre and harmony. Unclear leitmotifs. Influent on later ex. ,!!!, imp. Some compels changed steel
3. Historical EPIC
   Bigger in 1950, did musical research for these scores.
   Be hur. Something could not see on tv

Question 5

In 40 who changed style, historical style characteristics

Answer 5

Herman,
Rosze
Copland, all new approaches to score.

Question 6

Herman historical characteristics Herman

Answer 6

Structure, harmony, orchestration imp for Herman

Question 7

Rosze unique important style

Hungarian background

Answer 7

Modal language, great for historical epic.
Melodic structure. Modular, expanding melody.
Antiphonal or respon social texture. Higher level of dissonance.

Question 8

1959 Ben Hur

Like quo Vadim Jewish Christian intermingled.

Answer 8

Victorian moral tale, many retellings.

Question 9

Historical epic imp.

Answer 9

1950’s collapse of the studio system
1948, legal challenge happens,
Consolidate studio entities, bought up all aspects. Theaters and prodution. Less risk. Problem is ran that this was a monopoly. Had to sell off theatre chains. After ruling.

Changed a lot of things, more risk involved. And TELIVISION starts.
Viewing practices cHnge,

Much less guaranteed profit. Studio had to dismantle infrastructure, no longer could afford. Some things.

All gone by 1960. Independant production then takes things up.
Names survive.

LEGAL CHALLENEGE
TV VIEWING

Question 10

Movies can do

Answer 10

Big screen, color, and 3d sound.
Touting lavish huge budget, on location.
Epic importance, as it is something would not see in tv.

Question 11

How would compose 3hr epic score

Ben hur music.

Answer 11

Large scale coherence. “Families” of themes used.
Roman conquerors with themes conflict judain themes

We heardm mesala’s theme, sense of oppression
A roman theme.

Judains, sound more peaceful. Ornamented.
Ester theme.

Other guy has combined sound.

c

Family of suffering too.
Dissonant and tritone comes out. Angular idea, arrow meeting of pitches, destiny, abstract form. Imo

Destiny family.
Lydian mode,

Get inter actions across families. Interesting.