1960s 1. Influence of social movements 1. Feminism, racial issues 1. Further fragmentation of the audience 1. Abandonment of the Hays Code (began in 1930)1. To have films appeal to broad audience1. Influence of New Wave Cinema 1. Auteur concept idea that film should have single artistic voice; director should be author of film and should have prime influence grows during this period; film director is an artist/auteur developing a single artistic voice1. Decline of classic era scoring1. Large scale epics are made which made use of big orchestral scores 1. Vestiges: Lawrence of Arabia (1962), score by Maurice Jarre (1924-2009); lush orchestral music is used sparingly, music used is to underscore desert and sun scene 1. Good coordination with string instruments, high pitched and dissonant 1. Maurice Jarre studied in France, was involved earlier in his career in the New Wave Cinema movement, collaborated a lot with David Lean, scores are sparse and modern1. Use of theme songs: 1. Vocal: Moon River composed by Henry Mancini (1924-1994) used in Breakfast at Tiffanys (1961) 1. Instrumental: The Good, the Bad, and the Ugly (1966) 1. It is a western (spaghetti western known for awkward dubbing); made by Italian director 1. Opening credits has unusual score with rock influence (electric guitars), strange tone colours in voice, gun shots, whistling, wordless vocals 1. 1. Avant-garde music 1. 2001: A Space Odyssey (1968) 1. Includes music by Gyorgy Ligeti (1923-2006), but also older composers Richard Strauss (1864-1949) [Also Sprach Zarathustra] and Johann Strauss [Blue Danube Waltz]1. Famously the director had hired Alex North to write score for him but eventually it wasnt used 1. Score is used very effectively 1. Gyorygy Ligeti known for dense textures 1. Music used to accompany technological things (impersonal use), scores not for people

Star Wars (A New Hope) 1977 1. score by John Williams (b. 1932), directed by George Lucas (b. 1944)1. orchestral score revival1. The Planets (1914-16) by Gustav Holst1. Holst was Influenced by Stravinsky 1. score also influenced by Rite of Spring in places 1. leitmotifs pg 335 1. Luke Skywalker theme is given importance, as is the character; shows audience he is hero1. Accented, dominate sounding, has span greater than an octave (octave and a half)1. Obi-Wan Kenobi/The Force 1. Slower for an older/fatherly type figure; associated with the force 1. Princess Leia1. Love theme used commonly for female characters in adventure films; rising sixth with softer sounding interval (sense of yearning and reaching)1. Used when Princess Leia is focused on 1. music as characterization, absence of music to put focus on sound effects (or other reasons)1. when characters first appear there theme is played, allowing audience to get a sense of how to feel about the character 1. ex. Darth Vader example no specific theme but during his entrance audience can tell he is the bad guy 1. ex. source music played when Han Solo is introduced 1. return to old style of scoring (ex. Robin Hood) 1. Mother Theme from Psycho used when characters come out from under the panels

June 8th, 2015Final is cumulativeWeighted heavily on new materialWill have sizeable portion from older materialNewer textbook readings50/502 hours long6 pm on Wednesday, June 17th, 201570 questions

The Graduate (1967)1. Movie that is not focused on in the textbook 0. Biased textbook has that drives away from popular films1. One of the first scores that is very reliant on popular music that became prominent in music culture in 1950s and later1. No orchestral underscoring2. However there is a lot of underscoring 1. Popular music 3. Problematic, controversial3. Term used widely in everyday discourse in complexity of artwork3. Listened to by everyday people who arent elite3. Long history of popular music3. Way in which use the music now mass marketed music 3. Relies on sound recording as principal method of recording, electronic performance, electronic amplification (mics)3. Folk-rock 6. 3. Music that is meant to appeal to fairly broad cross section of public with not as much musical training7. This music was avoided particularly as underscoring0. Especially in classic Hollywood era1. Biggest difference between pop song and classic, pop song has similar pacing, consistent mood suggested by individual songs whereas romantic music can fluctuate in the music4. To coordinate the music with the imagery, it has to be treated differently4. Hollywood music- avoiding music with words while characters are speaking1. To help prevent distractions while character is speaking 1. Paul Simon and Art Garfunkel5. Created music for the graduate0. Folk music / folk-rock0. Part of folk music movement in the 1960s inspired by older forms of music1. Biggest appeal of folk music- authenticity, simpler, pure expression 1. The Graduate was directed by Mike Nichols (b. 1931- 2014)6. Decided to use Simon and Garfunkels music6. Most of the music was recorded prior to the film being made6. Mrs. Robinson only song that was written after filming6. Simon and Garfunkel music was used mostly for underscoring except for the bright green pleasure machine 3. More of a rock-type of song1. Songs 7. Other music in the film, source music written by Dave Grusin1. Dave Grusin (b.1934) 8. Famously known Hollywood composer8. Composer who doesnt come from classical music world8. He was more of a jazz specialist8. Studied music at University of Colorado 8. Worked as director for accompanying ensemble of Andy Williams8. Founded GRP recording company that specializes in jazz recordings 1. Movie about young guy named Benjamin Bradik who graduated from university 9. Athletic, smart9. He is very despondent and depressed about what the future holds compared to those around him9. Music chosen slow and gloomy quality 9. Song- sound of silence has these gloomy qualities3. About social isolation; people not communicating with one another3. Very distinct barrier between younger characters and the parents generation in the film3. Mike uses the strategy of showing characters talking no actual sound produced through them 1. 1. Opening credits11. Shows Benjamin flying home from university11. Motif in film (literary idea) Benjamin not moving to his own ideas and that hes just conveying along in life (on the conveyor belt)11. Image of Benjamin in the right part of the screen2. As credits end, camera stays still and Benjamin moves across the screen 1. Film begins and ends with the same music 1. April comes she will13. Used in extended sequences in their entirety for reflective moments13. Emotive, gloomy quality13. Charts the progression of the relationship13. Uses the month names as if they are names of people and the passage of time13. Seems like something is not completing in this affair (according to what Nichols creates through the music)4. Ben shows he is completely unsatisfied with the affair 1. Ben gets involved with the wife of his dads law partner (who is old enough o be his mother and was a friend of his family as they were growing up)14. Adventurous theme in film14. Initially propositioned by Mrs. Robinsons at the party the family throws him upon his return1. She says they will be in a relationship, he was disgusted at the start but then was encouraged 1. Affair initiated in hotel room1. April Come she Will Montage15. Mrs. Robinson is physically similar looking to his mother15. Metaphor/ emblematic of lack of connection between the generations15. Music matches the scenetime passing as he moves through15. Reflecting after major plot development1. Source Music carefully chosen to fit in the scene16. When Mrs. Robinson first suggest they might have an affair after he takes her home after the party since shes tired0. Cha cha cha latin American music0. Slightly exotic, she often wears animal print0. This is the first instance of any sort of music after the opening credits 2. Helps us become aware of an important part of the plot 0. Details of the music 3. Interesting moment/ accent of music at certain times as music unfolds 3. Musical cue music is first brash and then goes down in volume before the main melody starts to help let the initial dialogue to start3. What do you think of me accent in music ensemble to punctuate the silence as he contemplates his response3. Again happens when she says shes an alcoholic0. Being written very carefully to be coordinated with exact moments in the scene16. Agreeing to meet Mrs. Robinson 1. As he walks into the hotel- Foxtrot1. Old fashioned dance music in the 1960s dominant with strings1. Benjamin is nervous about having the affair with a much older lady1. 16. 1. Scarborough fair17. Important montage after Elaine discovers Benjamins affair with the mother17. Traditional folk song about a lost love 17. Moment that helps argue that the music and film are being placed together very carefully 2. Elaine appears on the screen as the word she is sung in the song17. Canticle subtle political note within the song 3. Helps tap into the conflict between the younger and older generations1. Ben pursues Elaine to Berkley18. Makes an energetic attempt to win her back18. Seems to have some luck18. She seems like she may consider marrying him18. First time the underscoring has a bit more energetic and positive sound compared to any of the other scoring in the film3. Mrs. Robinson 18. We hear underscoring in a conventional way not orchestra, but on guitar, playing a rift of Mrs. Robinson 4. Music slows down as he runs out of gas --- LOL sucker0. All you can hear is the sound of his breathing and his footsteps as he runs0. Emphasizes futility of the scene18. While underscoring occurs, very little sound effects are heard during the underscoring (sometimes we hear it but it is rare)18. Helps fill out overall sound for this climactic moment1. Ben takes Elaine from the church and they go onto the Bus19. The sound of silence19. Movie ends with great uncertainty as to what to do now after accomplishing

The Godather (1972)1. Italian composer- Nino Rota (1911-1979)20. Studied in Italy, moved to USA and studied in prestigious schools(Kurtis institute in Philadelphia)20. Friend and studied under Aaron Coplan20. Began composing Italian films in 1950s, and 1960s 20. Wrote the underscoring 20. Collaborated with Federico Fellini 1. Federico Fellini21. 1. Francis Ford Coppola22. 22. 1. Carmine Coppola23. Wrote Italian folk music played at the parties within the film and the other source music within the film1. CavalleriaRusticana by Pietro Mascagni24. One of the best known examples of the late 19th century operas focusing on life of peasant life 0. Realism of showing everyday life of people within opera 24. Opera set in Sicily ( island at the end of the boot)1. Film about new york mafia family25. head of family- Don C. ; he has 3 sons who have different characteristic (sunny- oldest who is a hothead who makes terrible decisions (in line to take over family), Frado- indecisive, Michael father wanted him involved in politics)25. he becomes head of the head crime organization1. musical themes in the film 26. polytonality0. more than one key played at the same time0. music that is dissonant that is created through music tonally0. music is arranged in a way that sounds likes what you hear traditionally on a carousel 0. 26. leitmotifs in film 1. godfather initially played as source music at the start of the film at the wedding dancing with his daughter0. has mournful quality to it, suggesting minor key to it0. has 2 main sub-phrases 0. melody primarily moving downward, depressive quality 0. triple meter0. early in the film, we see the instances of how godfather does his business (relationship, services for other people)1. Michael1. We dont hear it until we get quite a bit into the film1. Interesting melody1. Quadruple meter 1. Similar shape to godfather melody 3. Consists of 2 sub-phrases as well that droop and descend 1. Sounds less folk-like 1. Michael charcter that seems distant5. When father is shot, he begins to react to that5. Solo instrument used- oboe 1. Used to emphasize sorrow, gloominess in a theme 1. Sicily 2. Folk song that doesnt sound as depressing as the other two leitmotifs2. Quadruple meter2. Lavish underscoring2. Hitting us at a deeper level to connect with us emotionally bonding the viewer with that brought out on the screen 26. Hospital scene when Michael visits father at the hospital2. He notices guards who were hired to watch the fathers door arent there2. Music helps build tension1. Main element heard is piano simple repetition builds tension to the Michael theme2. Music helps us draw attention to certain thinking Michael experiences2. Music not being used at particular points in the scene3. Where he convinces nurse to move fathers room3. Helps us calm us down3. Inspired by the sound effects in that scene slow footsteps building, the rolling of the bed and movement

1960s 1. Influence of social movements 1. Feminism, racial issues 1. Further fragmentation of the audience 1. Abandonment of the Hays Code (began in 1930)1. To have films appeal to broad audience1. Influence of New Wave Cinema 1. Auteur concept idea that film should have single artistic voice; director should be author of film and should have prime influence grows during this period; film director is an artist/auteur developing a single artistic voice1. Decline of classic era scoring1. Large scale epics are made which made use of big orchestral scores Vestiges: Lawrence of Arabia (62) with a score by Maurice Jarre True story where TE Lawrence gets involved with some tribe in Arabia and decides that he is going to unify all the tribes in Arabia ; The Arab peninsula is controlled by the Ottomans TE Lawrence as a result wants to help the Arab people However, he becomes very negative and stuff at the end (the textbook described him as barbaric) Lush music is used sparingly, or is restricted throughout the film Usually, the music underscores vistas of the desert, or long panoramas These scenes are usually more musically exposed? Idk The Lawrence of Arabia theme is not fully Arabic, in fact, this reflects Lawrence himself, as he is not Arabic, and so its like fake Arabic and it fits and stuff There are sections of the film that is scored but has characters no one really cares about, but its just interesting to see that Sometimes it is intended that the music sets us up and then something bad happens and then were like what? But the music was so optimistic and playful????? but its not 1. 1. Vestiges: Lawrence of Arabia (1962), score by Maurice Jarre (1924-2009); lush orchestral music is used sparingly, music used is to underscore desert and sun scene 1. Good coordination with string instruments, high pitched and dissonant 1. Maurice Jarre studied in France, was involved earlier in his career in the New Wave Cinema movement, collaborated a lot with David Lean, scores are sparse and modern1. Use of theme songs: 1. Vocal: Moon River composed by Henry Mancini (1924-1994) used in Breakfast at Tiffanys (1961) 1. Instrumental: The Good, the Bad, and the Ugly (1966) 1. It is a western (spaghetti western known for awkward dubbing); made by Italian director 1. Opening credits has unusual score with rock influence (electric guitars), strange tone colours in voice, gun shots, whistling, wordless vocals 1. 1. Avant-garde music 1. 2001: A Space Odyssey (1968) 1. Includes music by Gyorgy Ligeti (1923-2006), but also older composers Richard Strauss (1864-1949) [Also Sprach Zarathustra] and Johann Strauss [Blue Danube Waltz]1. Famously the director had hired Alex North to write score for him but eventually it wasnt used 1. Score is used very effectively 1. Gyorygy Ligeti known for dense textures 1. Music used to accompany technological things (impersonal use), scores not for people

Star Wars (A New Hope) 1977 1. score by John Williams (b. 1932), directed by George Lucas (b. 1944)1. orchestral score revival1. The Planets (1914-16) by Gustav Holst1. Holst was Influenced by Stravinsky 1. score also influenced by Rite of Spring in places 1. leitmotifs pg 335 1. Luke Skywalker theme is given importance, as is the character; shows audience he is hero1. Accented, dominate sounding, has span greater than an octave (octave and a half)1. Obi-Wan Kenobi/The Force 1. Slower for an older/fatherly type figure; associated with the force 1. Princess Leia1. Love theme used commonly for female characters in adventure films; rising sixth with softer sounding interval (sense of yearning and reaching)1. Used when Princess Leia is focused on 1. music as characterization, absence of music to put focus on sound effects (or other reasons)1. when characters first appear there theme is played, allowing audience to get a sense of how to feel about the character 1. ex. Darth Vader example no specific theme but during his entrance audience can tell he is the bad guy 1. ex. source music played when Han Solo is introduced 1. return to old style of scoring (ex. Robin Hood) 1. Mother Theme from Psycho used when characters come out from under the panels

Star Wars: A New Hope (1977) Lucas enlisted John Williams to use Korngolds model to write the score for the film He was also inspired by pre-existing music by Gustav Holtz (The Planets of 1914-16) The movement called Mars, the Bringer of Wars was used for more tenser moments of the score, esp. building to the climax of the film Holtz was influenced by Stravinsky and used ostinatos and so did Williams in ANH Also inspired by the Rite of Spring Leitmotifs Music as characterization, absence of music to put focus on sound effects (or other reasons) Lukes theme is a generic hero theme, there is a trumpet part and so its like a fanfare Jumps of fifths and fourths Gives it an energetic, strong kind of quality Uses an octave and a half (upward, thrusting quality) Obi Wans theme Slower, more reverential theme (like King Richard theme) Older fatherly type figure Has some spiritual quality It is also associated with the idea of the force Much different than lukes theme Like the clusters of theme in many films, there are links to the other themes It also starts with a fourth like the luke theme, so there is a relationship Leias theme Like the love theme of robin hood It has a rising sixth So there is a yearning or reaching feeling Often, the chars themes are heard when they are first seen so we get that first and immediate impression How we feel about the char is not USUALLY ambiguous, but it is in one case: Vader appears in the beginning and he doesnt have a theme in the current film, but the music tells us he is bad Han is also sort of ambiguous and we have a sort of uncertainty when we see him There is no underscoring for his entrance The only music we hear is the music from the cantina Source music may be put together more intricately than you think Eg the music changed when we see han solo As the music change, we may see a music change, the music does that and it isnt coincidental There are aspects of the film taken from other films eg. Lawrence of arabia, the good the bad and the ugly The music is pretty restrained in the film There are a number of scenes that arent scored It showed a sort of return to the old scoring practice, but it is still restrained The music isnt banged over your head, even in the lightsaber fight, there is no scoring of music There is more restrained use of music There is only music like when obi-wan canobi is killed do we feel that There is a scene in the garbage chute It is a trash compacter and the walls begin to close in and the gang is almost squished There is no music but a lot of effects The mother theme from psycho is added (Herrmann died the year before the movie came out), and its the scene where they come out of the trash thing Like how mother was hiding

June 15, 2015 1970s Trends 1. Rise of directors who graduated from film schools 1. Francis Coppola, Steven Spielberg, George Lucas etc. 1. References to established film traditions 1. Film Noir: Chinatown score by Jerry Goldsmith, Taxi Driver score by Bernard Hermann 1. Prominent Orchestral Scores: Jaws and Star Wars both by John Williams1. Period specific music1. The Sting early 20th century popular music 1. American Graffiti 1950s popular music 1. Interesting trend in late 70s and early 80s use of synthesised/artificial music, music which is produced completing electronically, in a style more orchestral sound but audio ably no orchestral something different 1. Ex. The Witness 1. Use now to enrich orchestral instruments in score1. Rare to hear avant-garde music 1. Much less adventurous choices in music1. Audience is becoming younger, in order to make money, movies are steered toward teens; harsh, dissonant music 1. Increasing importance of animation/animated films; previously has been for children but increasingly being taken more seriously; early 1990s interest from Disney, was common for films to have music with style of musical theatre, this changes in early 20th century with rock music being introduced rather than the sung approach of earlier scores 1. More diverse situation in film scoring than in 30s and 40s, easier to generalize Some Interesting Trends: 1970s and beyond 1. Continued fragmentation of market 1. Young audiences increasingly pursued 1. Animation grows in importance as a genre (with developing diversity of musical style) 1. Increasing diversity of musical styles 1. Greater interest in authentic expression of regional and historical character in music 1. Abandonment of modernistic art music Amadeus (1984) 1. Based on Mozart 1. Was successful before it was made into film 1. Takes Mozarts middle name which means beloved by God1. View through eyes of other composer, Antonio Salieri 1. They were both active in Vienna 1. Example of use of Adapted score1. Images and dialogue was mapped onto the music; was a successful attempt at doing this 1. Directed by Milos Forman 1. Musical Director Neville Marriner1. When he was asked to provide music for this movie, he agreed to do with the condition that they would use the music in its purest form, not cut up; musical cues are music as it is written, it is unaltered for the most part 1. Wolfgang Amadeus Mozart (1756-91) 1. Music was bubbly and light; comic opera 1. Darker music at end of Mozarts life and a lot of this style is used 1. Idea of contrast; phrase of music with emotional quality and play a contrasting one right after; abrupt changes in style 1. Antonio Salieri (1750-1825) 1. Salzburg, Vienna 1. Classical period of Western music history (c. 1750-c.1820) 1. Music was not chosen randomly, music was quite often was written roughly around the time, the scene is depicting, it reflects great care when film makers were putting movie together; detail of music and scene matching (ex. thumping sound to footsteps) 1. Towards latter part of film, some compositions are used extensity (Requiem and the Magic Flute)1. Prominent compositions used: (in order of appearance)1. Don Giovanni 1. Leitmotifs not used; dont really have theme for characters; except for the very beginning of opening credits, we hear two cords (very dark, wide pitch/range, rich, ominous chords) it is not abstract sound but taken from beginning of Don Giovanni which was written in later part of Mozarts life, Don Giovanni was used from Mozarts father leitmotif. The father raised his children were skilled in music from a young age. After his father dies, Salieri dresses up in a costume that Mozarts father had worn before and the fathers leitmotif is used, used as story telling device; fear connected to fathers character 1. Symphony no. 25 in G minor 1. Dark sounding work1. Mood changes multiple times throughout 1. Audience is introduced to Salieri as old man, he is taken on stretcher throughout streets to insane asylum; heard through this scene 1. Clear that film was being edited for the music 1. Switch to ball room scene, the music switches to dance like music; scene is catered for the music 1. Stabat Mater by G.B. Pergolesi 1. Not by Mozart 1. Accompanies Salieris story of when he was a little boy and he had a father who didnt have interest of his music, wanted to be like Mozart, made a vow to God he will become a great musicians, his father dies and he is able to pursue his music 1. He is praying when this music is played , played comically (comedic effect) to the amens 1. Voice of god vocal music used to portray this; God answering Salieris prayer 1. Abduction from the Seraglio 1. Underscoring, for Mozarts wedding; intensity of music represents Mozarts anticipation of his fathers disapproval of his wife and his fathers disapproval 1. Abrupt cut, representing fathers disgust for what he is reading 1. Kyrie from Mass in C minor 1. Marriage of Figaro 1. Requiem 1. Written for funeral ceremony 1. Salieri commissions Mozart to write a piece but intense to use it as his own work when Mozart dies (not historically true) 1. Used extensively in latter part of film with dark quality 1. The Magic Flute 1. Opera written in Mozarts last year 1. Written in quote of references to Masonic 1. Solo called Queen of the Night (villain in Magic Flute), solo famous for high pitched singing; used to underscore Mozarts mother in law who is unhappy with Mozart1. Effective use of underscoring; effective because we see Mozart going insane during this time (after Mozart sees ghost of his father) Extended scene of Don Giovanni after Mozarts fathers death, hear Salieri voiceover to kill Mozart; descending of both characters into madness Tears of Sadness rain is coming down in scene almost as the heavens are crying, ironic effect because we are seeing Mozart being buried in a poor mans grave no big ceremony; glorious music with unceremonic funeral