Week 4

Question 0

Gorbamn principles super important

Answer 0

Focus on background music for narrative films, from u heard melodies reflects subliminal aspect of music.

1. Should not see it, visual, sight
2. Inaudibility, shouldn’t be obtrusive.
   First two define background status of score

    Ex. High anxiety breaks rules 1-2

3. Emotional signifier, mood
4. “Cueing” attention to imp. Aspects, ambiguous word though.
   Whole idea is huge. Better word REFERENTIALITY and FOCALIZATTION (identification, p of v, of character)
   3-4 a about chaNneling the audiences response.
5. Continuity, moment moment cohesion
6. Unity, musical form, connect hold from beginning to end.
   5-6 are about formal character
7. Loophole
   Break rule to satisfy another. Disrupt expectations.

Overall background, focalization and form, bff

Question 1

Kong final motives combined

Answer 1

Kong theme, Anne theme, and falling four notes. Ambig

Pathetic kong. Kong prowl.
Tristan chord, death, libes tote, love death. Hmm Romeo and Juliet also ex. I guess.

Two closure,
Formal musical closer, and narrative. .
Motives, tied up too. Transformed, interlaced.,

Question 2

recording and synchronizing score
Post synchronization
Methods imp.

Answer 2

Click track, Steiner, (only for himself)
Streamer + punches! hole, do rubato
Spotting session

Question 3

Korngold wrote as like for an opera and Steiner

Answer 3

Steiner was for the movie.

Question 4

Korngold, Eric W. 1892-1957)

Answer 4

Robin Hood story
Vienna music establishment. 
Child prodigy. Composer. By 17 
-By 23 die tote stadt, dead city
1934, comes to Hollywood. Prestige
 Aside, to make money, prestige production saved up for using heaped money makers. 

Original film score 1935 Captain blood, swashbuckler = sword play.
Korngold has power, more than normal contract.
Filly signed wb, 2 films a year, could resign, title card.

Only writes film score up to 1945.

Question 5

Compare korngold,Steiner

Answer 5

K, more power, more autonomy, does not fit limited mold.
Only did 19 scores vs 300 Steiner.
Korngold also did concert music

Steiner got rough cut, then composed, had to wait therefore. Crammed compositions.
Korn, did not wait for rough cut, read script and started.
Used streamers and punch, flexible sense of timing.
K’s Musical style, studies with Strauss, opera strong influence.
Theatrical, pageantry, large.
More consistant in style than Steiner,
Steiner, lighter theaters, versatile, not in korngold.

Question 6

Williams korngold

Answer 6

Texture different, rhythm.
K using more rubato than Williams.

Elizabethan court, processional music. Grand set piece. In sea hawk.
More consistant in style than Steiner,

Question 7

Korngold style

Answer 7

Robust, full bodies, larger than life pageantry.
Opera consideration.
Musi more imp. Than film.
So willing to break rules of obtrusiveness.
Into film music, not lesser I quality, filled prestige need.

Question 8

Sea hawk

Answer 8

Long action scenes

Question 9

Steiner korngold

Answer 9

Background,
Steiner, light, k, classical Vienna

Status
Steiner contract employee subject to limitation and hierarchy
K prestigious international rank, dictate unusable conditions and power, work on ca core longer.

Productivity, style, working condition and ethic.
2 films a year, no click tracks, rubato imp.
Steiner 300 films overall, click track etc.

Question 10

K kings row

Answer 10

Rubato, adds extra beat.

Move forward then holds back

Question 11

Sea hawk motives

Answer 11

Leitmotifs

1. Fanfare, “heroic theme”
2. Floating theme (though could be like a love theme, water theme?) association ambiguous though. Skull island. Flexible fluid in determinant leitmotif. Augmented outline, strange third relations. Compressed, progressive tonality, fluid chromatic motion.
3. Spanish motif snappy rhythms, texture(context 1940, war)
4. Main character motifs
   a) hyper feminized, Maria motive a/b phrases
   b) Thorpe (romantic mood) but sounds like heroic theme, so close shows romantic Nd heroic sides
   c) thorpes boat theme, the Albatross motif. Blends with heroic
   d) heroic motif for QUEEN E
   e) monkey theme

Question 12

Sea hawk scene in relation to gorbamn principles

Answer 12

REFERENTIALITY, communicating spaNish, Maria fun theme playful way.
Under dialogue, unobtrusiveness, continuous thoug.
Like melodrama, theatrical recitation of diGlogue with musical accomp.
Lusters high pitch, doesn’t match at one point, music independant of trCk. Not clearly subbordinare. Could be wind.

Intros:
Oar drum, synced with background music. Slave driver.
Mood and intense labour. Floating theme, hmm, what does it mean,
England, freedom? Boat, heroic theme

Action scenes,
Bathed in music. Heroic theme, melodic extensions used for long time. Flexible musical idea. Less obtrusive, continuous, punctuation. ChromaticiEd version of a diagetic cue.
Thorpe theme, but in don’t ic mood. Setting up connection.
Mood, character, narrative development treated here.

Floating, England confirmed,
Page natty, queen theme follows. Source scoring, enhanced diagetic.

Flexible Thorpe heroic, register, pieces in flicker blended long continuous scene,

Focalization, identifying with characters, pov? Themes merge, same page of lovel

Love scene

Thorpe in danger, agitated Maria theme, shows what she is thinking, almost stinger.

Maria diegetic song, introduced with augmented triad.
Breaking into song, end of slave break up,

Skipped panama scene,

Rule broken, audible and obtrusive, singing slaves!
Coming from opera ok musically, unusual long sod prep.
Rule of unobtrusiveness broken

Love theme return, as floating theme, freedom England tie togethor. Layer of interp.