Music in Film : Class notes

May 22
nd


Golden Age of Silent Film: 1920-1928

1928*
By late 20s, US alone had 20,000 movie theaters with 100 million people a
week. Example: Roxy Theater, NYC (1927)
o Many of these theaters were small therefore there were no orchestra
o Most of the time there was some sort of compromise of the version of
the score such as a pianist. This was the example for The Birth of a
Nation.
Therefore, it was not heard in the same way in the theaters
where they were presented.
o Musicians highly improvised

German Expressionism
Directors like Lang and Murnau* high point of cinematic art
UFA = Universum Film Aktiengesellschaft was founded in order to
subsidize films and was founded in 1917.
Example: Metropolis which shows very well the German expressionist school
and has a great score that helps the filmmaker tell the story.
o Composer gave sound version of what is happening (mickey-
mousing)
o Upbeat , use of brass, minor chords and keys, certain point when the
steam appears
o The music speeds up to give the sense of the horror of the machine.
o Second scene music builds on earlier scenes

Some silent film composers
Erno Rapee Motion Picture Moods
o Also a composer
o Conducted orchestras at the Roxy, Rivioli and Capitol these were
large orchestras of the 1920s
William Axt Ben Hur (1925)
o Silent film time composer
o Many of the films are remakes of earlier films
Hugo Riesenfeld Hunchback on ND (1923)
o Many German composers working in the United States (music in King
Kong and the adventures of Robin Hood)
o Hunchback of Notre dame Scene:
Orchestra performance
The full score and orchestra would only be heard in the most
expensive theaters.
There was a trend in the teens and 20s in film where there was sexual
expression in film which was later curbed by conservatives.
o The hays code

Transition to Sound: 1926 1928
- Beginning in 1926 a number of films were issued with recorded music and
sound effects contain NO dialogue
o Technological achievement of sound signaled the imminent demise of
the silent era
o All changed with THE JAZZ SINGER 1927
Silent film was not silent, usually there was (very rare for there not to be
sound)
Relate the important steps of transition between silent film to sound (for
test)
Early Sound Films
Important in landmarks on the way to sound movies
Two difficulties with recorded sound: Has to be as close to the actors face,
and was difficult to do in the primitive state and at the same time to be out of
the shot. Therefore at the beginning it was orchestral music. Furthermore,
another problem was the very noisy cameras. One of the solution was to put
the camera in a box. However, the camera cannot move.
Silent films with synchronized music and sound effects represented a
brief phase in the history of filmmaking, but the surviving works give us
a tantalizing glimpse of how music must have sounded
EXAMPLE:
Don Juan (1926): Vitaphone: Projector + phonograph
o Coordinate some type of recorded sound
o They still have titles
o Premiered with this movie
o Synchronized score for full symphony orchestra
The Jazz Singer (1927) Music episodes with speech
o Live music from the scene that was filmed and sudden it is cut and
continued with orchestral music
o Most of it is shot as a silent film, with synchronized music and sound
effects as in Don Juan
Sunrise (1927) : Movietone: Sound ON film
o Completely convention of silent film, all throughout orchestral but
occasionally have sounds (such as screech of the train) however, the
dialogue is still as written. It is an in between stage between silent and
sound film.
o Movietone sound that is imprinted ON the film. You no longer have
to have the projector and the disc at the same time.
o This is the first feature film to use this technology, and from then
onward, silent films will no longer be made.
Modern Times (1936)
o Chaplin who resists these trends
o Absence of speech, but Chaplin sings
o The end title very short, with the song
o He composed the music for this film, a theme that is also a song
(Wizard of Oz)

Sound Era Begins: 1928-1944
Arguably when the most number of films were made ever
1929 The great depression
o Hollywood regressed to simpler filmmaking
o Difficulties of recording sound in movies
o Initial fascination with speech, not music
o Phenomenon in which music regresses with less musical cues and
more speech. The music had to be recorded ON set, while the actor
was talking. However, this was very complicated and added to the
depression, it became less common during this period.
Early Sound Films: 1929
Blackmail (Hitchcock)
o Silent and synchronized music
Blue Angel
o Musical with M. Dietrich
o Performance live on set and spoken as well this was the trend
Two leading genres in early sound
Cartoons
o Innovative use of music
o Mickey Mouse in Steamboat Willie (1928)
o Mickey-Mousing
o carl Stalling
o There is no need to worry about the noisy camera. The sophistication
between the coordination of the film and the music is not reached in
non cartoon film till CGI was created.
Musicals
o Emphasis on popular music
o Jazz
o Singing cowboys popular in late 20s and early 30s
o Example: Blue Angel

The First Major sound motion picture
King Kong (1933)
o The first great films ridiculous story, made for movie
o First fully scored film that runs from the beginning to the end (music
does not run continuously, but almost). Also full dialogue alongside
the score.
o Music by Max Steiner the most famous composer *
o Letmotifs a feature of classical score
Beauty and Beast themes
Mickey Mousing seen as the movies weakness
o Scene watching:
Beginning of the song, the music follows very carefully the
story of the movie
The love music is cut when the captain talks, and continues
when he stops.
Music for the natives
Max Steiner reestablishes the basic characteristics of the classical score,
which would become one of the key elements of Hollywoods second
Golden age

New Golden Age: 1934 1938
The first golden age was the 20s
The New golden age is the 30s with new sound and speech that is
coordinated with the film
After studio recovered from financial problems of mid 1930s
Hollywood entered second golden age.
o Many films limited music to incidental roles, others increased the
amount of underscoring as music in film became more
important.
o Drama / action / horror films
Max Steiner King Kong
Erich Korngold Robin Hood
Franz Waxman Bride of Frankenstein
Herbert Stothart Wizard of Oz
Miklos Rozsa
o most came from Europe and shaped Hollywoods music.


Classical film score ** (should know for exam)
Characteristics
o Fulyl orchestral -
o Extensive music all throughout the film
o Post Romantic style orchestral music from the romantic, not a lot of
music from the modern era (atonal)
o Uses of themes and leitmotifs

The Bride of Frankenstein (1935)
Franz Waxman
Colorful orchestration
Bride theme
Frankenstein theme
Adventures of Robin Hood (1928)
Typical music of this style
Erich Korngold - Austrian jew
1
st
masterpiece of milk music (p. 132) uses themes and leitmotifs, such as a
bell and trasnfers that into the orchestra at some point. First uses it as a
sound and then later incorporated in the orchestra.
Remarkable for the length (3/4
th
of the film)
He was well versed in the principles of Wagner, thus uses leitmotifs in Robin
hood.
o Much of the melodic material derives from the Robin Hood theme,
initially heard as a quick trumpet. The first few notes of this theme
form an independent motive and heard in the fighting sequences and
embedded in other scenes.
o There is also the love theme
Scene 25 28 (p. 135)
Uses Technicolor, one of the first,

HOLLYWOODS GREATES YEAR: 1939

Animation: Snow White and 7 Dwarfs (1937)
First animated feature film
Successful
Followed by Pinochio, etc.
The variety of sounds are all done in the studio and many of the matching on
screen would not be able to be done with live
1939: Greatest Year
Wizard of Oz
o Songs by Harold Arlen
o Score by Herbert Stothart
Gone with the Wind
o Score by Max Steiner
o Use of borrowed material (Dixie)
Difference between the composer (underscore) and the person who writes
the songs (Wizard of Oz and Snow white
Exam Notes
- ten matching question with movie and year
- term question
- short answer question
- three film clips to identify, the scene, act and composer of the film these
will be only the films listed
- essay question from three topics


May 24, 2012
The Golden Age (1938-1941) Continued

- Wizard of OZ perfect for cinema, fantastical, Technicolor, contains musical.
o The Technicolor effect is linked with the films story to produce an
magnificent effect
o Scene perfect example of the crossing between diegetic and non-
diegetic music in the film
o When she begins to sing, she is accompanied by a large orchestra
(however diegetic terms were created by film scholars so not always
black and while)
o Composer includes small sections of the main theme in the
Technicolor scene
o What does the wordless choir represent? Heavenly, coir of angels.
o The last scene good illustration of scary music. Dissonant sounds,
mickey mousing as well, the composer has an abrupt cue, and how
effective silence is after that.
Tradition after 1930s of continuous music throughout the film.
Now composers and filmmakers are going to react to having
music throughout the film.

In addition to the composer there are also:
- Musical director oversees all music film, including arrangements
o After WWI getting the rights for certain songs becomes more difficult
- Musical arranger arranges a composition for orchestra

Musical Bookends
Main Title/Titles
- Musical overture
- Two themes
o Upbeat, active
o Soft, romantic
- As example is in Robin Hood, which contains two main themes (first is happy,
second is lyrical and romantic and both are contrasting comes from the
sonata form of contrasting themes of the 18
th
century). However there are
also films that have either one theme or multiple themes as in the OZ.
End Credits shorter

The French Style
- Sparing use of music
o Jean Renour La regle du jeu (1939)
o More realistic or give impression of realism when there is little to no
music, and only live sound. When there is silence it is effective, people
pay attention.
o Scene this is pure diegetic music (however more probably that it
was recorded post filming)
- Prominence of diegetic source music
- Less leitmotifs
o Renoirs La Grande illusion (1937)
o Music by Joseph Kosma
o The audience believes that the sound of the recorder is being done at
the moment. Trend in film A character will turn on a radio and
generate music which keeps going, (made to be realistic) however,
once you change rooms the music continues (trend recently)
o The music is used as a cue, that opens a scene to create a realistic
dialogue, but then disappears.
- These trends continue well into 1970s

Soviet Film: Alexander Nevsky (1938)
Directed by S. Eisenstein
- Early author on film theory
Music by S. Prokovief
- organ for Germans
- horns for Russians
- Folk music oboe and tambourines

Citizen Kane (1941)
- film with an interesting history, since it was not viewed for 15 years given its
controversial theme. At the heart of the film is Hearsts childhood and the
sled which had in scripted rosebud which it receives its own musical
theme. There is a pattern in film where music goes down when there is
dialogue and continues when it is silence, tries to be intrusive which is very
difficult to make.
- Kane (Hearst)s rise-fall
- Told from six perspectives
- Music by Bernard Herrmann
- Use of dissonance on purpose because its reflecting kanes something
- Leitmotifs: Power theme and rosebud theme

Casablanca (1942)
Major US box office success: Capitalized on Pearl Harbour
Max Steiners score
- Orientalism: Arabic style
- Diegetic songs: As time goes by
- Example of opening with a single musical theme with original and accurate
Arab music as well as throwing in French national anthem
- Scene post production sound of diegetic music. One cue was when the
woman was singing with the spansish guitar and when the characters begin
to speak, the music magically goes down. However, we are still given the
illusion that this is live music happening.
Animation: short films
Red Hot Riding Hood (1943)
- Innovative
- Risque
- Use of Jazz

The Ten Commandments
- last film by the great director, who had half a century of directing. His
specialty were the lacish and epic films that had Christian content combined
with orgies scenes. In the 20s and 30s were different from the 50s.
- typical of late 1950s very conservative orgy scene and good example of bi
thematic overture

Tomorrow and Thursday- Exam Notes
Wednesday 30 may, 2-4 pm Mid term review in the Robarts media common theatre

May 29
th
Decline of the studio system (1944-1959)
The united states leading protagonist of capitalism and exporting film
Several newish trends in the 1950s
o Classical romantic, classical music underscore music which never
really goes away.
o The orchestral score does not disappear, it is modified with new
trends, but doesnt end.
o STRESS continuinty of orchestral music in films

After World War II: US Hegemony
1946: Hollywoods most profitable year
o television has appeared but not that common because expensive (not
till the 50s)
Later reaction of European Neorealism
Film Noir
- Specifically American and in that context
- Laura (1944)
o Music by David Raskin
o Laura theme most recognizable in film music (heard the music in
class) **** It is a single theme BUT it sounds like JAZZ music, big bang
music from the 30s and 40s of which people would dance to
The theme was presented throughput the film and there is an
orchestra that plays diegetically and the then it moves from
non diegetic. (first act of the film)
Seamless moving from diagetic orchestra to non
diagetic orchestra
** It is difficult to know from a diagetic to non diagetic
moment and directors confuse both
- Spellbound (1945)
o Music by ** Miklos Rozsa
o a leader in creating music of film nour
o Love theme
American Nationalism: the bright side
- more nationalistic part of the film industry
- Best years of our lives (1946)
o Box office hit
o ** H. Friedhofer
- The Red Pony (1949)
o Story by J. Steinbeck
o Aaron Copland ** (controversy over being a real composer?) has a
very distinctive sound that is imitated in other films.
o Several scenes to show typical music for a western film
o Open 5
th
and 4
th

o Music is almost WALL TO WALL ** continuous throughut the film,
however in this period you get musical cues in the film followed by
the music dropping out.
Fear of Communism: Macarthyism
The dark side: HUAC
- House Un-American Activities Committee (p. 212 3)
- Directors and some composers were black listed and shunned one of them
was Chaplin
- HUAC still important in terms of movie history
- Filmmakers had to be careful around topics as well as censoring sex scenes

Popular music in Film of the 1950s
- Jazz, Country, Rock
- By the first WWI Jazz was identified across the glob as an American sound.
Country the same around the 20s and 30s around the radio. Rock and Roll
emerged with Elvis Presley truth Rock and roll had origin in big beat
music (jazz of the early and mid 50s) In a way rock and roll is an artificial
creation of radio and tv shows.

Jazz
- two films to remember in this respect **
Street car named Desire (1951)
- m. Alex North (dont study him) **
The man with Golden arms (1955)
- M. Elmer Bernstein ** REMEMBER and the film that gave Jazz a good name
- This film features after frank Sinatra, and what is interested is that Sinatra
plays a drug addict is also a drummer. And drums in the film are identified
- Scene: Sinatra going through withdrawl and we hear a combo between
different types of jazz and a drum break (solo) because the character is a
drummer
- First major inference of jazz in a major film (?)
- Drug withdrwall scene beins with conventional orchestral score and then
continues with strong jazz underscore

Cowboy Songs
- western where the song is the main of the theme?
-
High Noon (1952)
- The opening title has NO orchestral underscore (contrast with what were
used to) and we enter DIRECTLY into the film
o The song jars you and gives you the impression that the movie is more
realistic (given the acoustic guitar and thumping) giving the illusion
that this is more of a realistic western film
- M. Simitri Tiomkin ** very important during this period
- Theme Song : Do not forsake me** also occurs throughout the song as an
interesting type of theme
- Huge hit
- Rise of movie theme song
- This is a new type of musical credit that becomes popular during that time
(?)
- Marketing of the film (Song + Music) you might confuse the song title with
the title of the film.
- There is an increase of movie film songs

Rock n Roll (1955)
- Blackboard Jungle (1955)
o First film that actually features rock and roll HOWEVER, only in the
OPENING credits.
- Reason why rock and roll was so popular was because it was a good
consumer product for the baby boomers who wanted to be different from
their previous generation and they were in larger numbers
- 1956 banner year:
o rock rock rock
o Rock around the clock ? Gives a narrative for the birth of rock and
roll
Bill hailey and the comets
the narrative the music is spontaneous and that of the
uneducated and for the masses
(chuck berry had no musical training )
this film also features dancing
o Roger Carmans Rock all night
o Elvis Presley film
Over 20 films from 1956-1966!
- These are films that are geared for the younger generation that liked rock
and roll

2 Rebels, 2 Composers

On the Waterfront (1954)
- Maron Brando
- M. Leonard Bernstein
East of Eden (1955)
- James Dean
- M. Leonard Rosenman
** Both convetioanl Symphonic scores**
- orchestral classical types of scores the classical score continues throught
the 1950s despite the new trends mentioned above

American Sci-Fi
- an all electronic score entirely synthesizer
o the opening credit right away no orchestral but weird music
o SCENE : wife and husband doing a mickey mousing with the
synthesizer music
o Most of these sounds are done on the studio and not on set (weird
stepping down sound)
o The moment the saucer touchest the ground it disappears, it is almost
wall to wall, but more like cues with synthesizers this is rather crucial
film.
o Scene: of the robot and monkey where there is a mickey mousing of
the synthesizer score
- very experimental
- Forbidden Planet (1956)
o One fo the first films to do this
o M. Bebe and Louis Barron
France: Jaques Tati
- French Charlie chaplin
- Attention to sound
- Favourite direct of of theorist Michael Chion **
- Without speech more emphasis on the music, and a sound is enhanced,
sweetened and accentuated. Ex. The sooshing of a sword, an enhanced sound
- These sounds are enhanced for the sake of the HUMOR. (which has no
doalogie or speech )
o Tati is selective of the sounds that he includes
- Mr. Hulots Holiday (1953)
o M. Alain Romans
o The use of sound is very selectve and the gags rely on how the sound
is used.
o Sound is coming from a sound recording
o Chion liked these films because of the use of sound
Japan: Akira Kurosawa
- very influenced by American film and particular of the wester of John Ford
Rashoman (1950)
M. Fumo Hayasaka
o Western style
o Adapts Ravels Bolero
o Even though the epic is Japanese historical epic (?) it uses western
music from Ravel
o Clearly in the classical golden age of films where there is orchestral
and no dialogue where the music imitates what the characters are
doing and changes with certain cues.
o Even in Japanese films orchestral music and underscore is used
Threat of TV

people stayed at home
- threat to theaters
- Response from film industry
3D
- Enhance the film industry
- short lived
Cinerama
- 3 screens
- screen experience without the 3D, plus the tv was black and white and film
was Technicolor and much wider screen

The American Blockbuster
- Epic Genre
o Quo Vadis (1951)
o M. Rozsa**: Romantic symphonic style. These large production films
need large orchestral score
- Last Film Noir
o Touch of evil (1958)
o H. Mancini: popular jazz style
- Thriller
o Vertigo (1958) Hitchcock, and discovers that this is a genre that he
excels
o **B. Hermann: modern symphonic style more dissonant not
quite with the conventional
still using the classical style of music **
Different trends: jazz, rock and roll , still the main style and
genre is the classical style that does not die and continues***
o Scary things that you would not find in the tv you would find in the
movie theater and scare you
European Neo-realism
- uropean trend reactiong to the American block buster with the classical
orchestral underscore
- Pessimism following world war II
o There is more of a realistic form of film, but to give an impression
that things are more realistic, better way to do that is to eliminate the
classical orchestral score ***
- Auteur cinema
- Italy : Rosselinis
o Lowers of St. Francis (1950)
o Minimum orchestral score (NO, just organ bleeps)
- Sweden : Bergmans The Seventh Seal (1957)
o There is a bit of orchestral, however most of the music is diagetic
music that is being performed on screen
o SCENE: procession of chants, pessimistic take on chant in the middle
ages, but very reflective of the general mood of Europe in the 1950s.
o The scene is a commentary of Europe at the time after the shock of
concentration camp and failure of Christianity to stop the horrible
fenomen of WWII
o Neo realism is intended to be realistic, however, of what we have seen
it is not that realistic, but they get rid of the orchestral underscore and
replace it with pure diagetic.

American Religious Epic
- Very popular during this period
- Rooted in the Italian silent epic
- Mixing sex and the Bible: Cecil B. De Mille
- 1950s revival fo the genre: Rozsa **
o his sound becomes attached to this film
- The Robe (1953)
- 10 commandments (1956)

Ben Hur (1959)
- D William Wyler
- Miklos Rozsa ** his compositional style is associated with the American epic
- Introduction of main themes in first act (Ch. 19) ***

TEST :
- four film clips to have watched and will need to watch those before the test
- first part will be a matching (film with date)
o 1895 1959 (films in that range)
- multiple choice on a number of topics : there are ten
- Short answer material covered, terms, expressions, NOT dates,
- Three scenes to identify list five things for these films, you will have a
minute for each film form, indetify: name, year released, the act, where the
scene occurs (first, beginning end) musical composer,** ONE notable musical
feature of your choice that occurs in the film
- Essay Question:
o Four themes GENERAL:
Bring in information

Second half semester

American society underwent a significant transformation during the
1960s. In art individuality in the production of art became what was
important.
With the existence of Hollywood, filmmakers were forced to become
independent.
New Wave Cinema
o Europeans led the way into the new era.
o In the 1950s a new era of filmmakers appeared in the scene
Francois Truffaut, Jean Luc Godard
o Known as French new wave
** At the heart of the movement was the role of the AUTEUR
The traditional narrative that had been established In the1930s, weer no
longer viewed as adequate.
New wave directors saw great concern for the psychological importance of
mise-en-scene and music.
For the most part music was used to establish a mood.
** Absent are Hollywood clichs
o mirroring the action, underscoring individual emotions and loud
endings.
** Applied sparingly, music often diegetic- created atmospheric moods
that remained detached from the details of an unfolding story.
Rejected the postromantic music and adopted modern and popular
styles.
French New Wave
Resistance to US (Hollywood)
Protectionist measures
Some prominent directors
o Fellini
o Roberto rosselini
o Jean luc Godard
o Francouse Truffaut
Scene: 8
o There is no music (typical of the new wave)
o Not in test but * audio bridge end a scene
o The sound is anticipating what is about to come
o The ride of the valkyre music continues from the bath scene to the
party, and an orchestra in the distance.
Diagetic

Truffauts 400 Blows (1959) (meaning to raise hell)
Popular light hearted music
Distance from orchestral underscore (Hollywood)
they use instead popular music
great deal of the sound is done post production, due to the lack of technology,
there is not a great representation of the road.
The music goes up and down and greatly controlled
Realism of course all artificial but aims at giving you a more realistic
representation of the child
The music follows the life of a troubled youth
The music, predominantly popular in nature, establishes the light-hearted,
breezy mood throughout. When the film ends abruptly with a freeze frame,
Trouffaut forgoes the standard Hollywood bug finish.

New American Era
Between 1959 and 1967 the decline of Hollywood traditions and the
emergence of a new style are interwined


Alfred Hitchcock
career in Britain
Emigration to US
Self promotion and success in 1950s
Laude by New Way
Early in his career he realized that he could use television for his success, and
he would produce tv series during the 50s. Each film that he came out with
and their actors in them
He used suspense he toped all that with the film psycho and it was a film
event with TV ads he insisted that audience members would not be let in
after the movie began.
o For the time this was also very gruesome topic
o Sex womans naked body shown on screen
Sex + violence people are going to lure people away from their tvs
Scene: opening
Music is brilliant
He was the one filmmaker that the French new wave championed

Psycho (1960)
Supporting Hichcoks visuals was Bernard Hermann.
Reflecting the stark black and white cinematography, the music is
written for a string orchestra,
The treatment of the strings is reminiscent of Stravinskys The Rite of
Spring.
o harsh and percussive with frequent hard accents and pizzicato effects.
o Rarely are strings allowed to play in the lyrical fashion normally
associated with these instruments.
Herman created a unified score that is consistently dissonant.
There are contrasts in the mood, ranging from tender loving sound of the
hotel room to the terror of the shower.
o BUT, all the cues project a common disturbed quality through the
frequent use of, both harmonically and melodically of minor seconds
and major sevenths.
The stolen money and the mother themes are also centered on the same
intervals.
** ALSO THERE IS NO CONTRAST IN THIS NEW MUSIC
once a cue begins It is repetitive and does not change moods.
** Like the music of the new wave the score for Psycho serves the
primary function of creating mood while avoiding the standard
Hollywood underscoring heard in films such as Ben Hur
Marions story
Hitchcocks division of the plot into two parts is reflected in the musical
score.
Each story has its own themes and there are few overlapping cues.
The two parts of the story meet at the shower montage, when Herrmann
introduces the terrifying murder theme that ends Marions story.
Old
Orchestra nothing new HOWEVER it is just strings
M. Bernard Herrman
Highly dissonant music
Opening title showing two themes one that is jarring copying Stravinskys
rite of spring as well as a lyrical but also dissonant
New
Dissonant music
B/W realism anti Hollywood feel
Psychological theme
o Marions story
o Normans story
Opening scene: Big deal showing the bra strap
Money stealing motif:
o Minor third (alluding to Stravinsky)
o Watershed film defined the genre it was successful with the film
franchise, not quite yet but one of the starters

Chapter 21: Declining Traditions
Retaining the qualities of the 1950s these films were lavish, featured a
multitude of major stars used wide-screen color and were supported by
musical score by some of Hollywoods finests.

The Declining Epic (?)
It was still somewhat successful, but competing genre and the films that
make money because they dont show these at home
Blockbusters: (a bit anachronistic for this decade)
o 1960 Spartacus m. Alex North
o 1961 El Cid: m. M Rosza
Arguably one of the finest scores after Ben Hur, and Rosza
did the same as he had previously done where he studied the
music of medieval Spain and derived a number of melodies
from historical materials.
o 1962 Lawrence of Arabia: m. M Jarre
o Etc
Spartacus
- The major exceptions to these generalization is Spartacus a powerful
rebellion agains the Roman
- The darker message compared to prior and common Epic films is reflected
through its score composed by Alex North.
o He was the most successful composer of the decade he received
five Oscar nominations in the 1960s.
- ** North creating music that differed from the Epic music of Rosza
- SCENE: Spartacus (film is still considered pg-13)
o The epic never really dies out

Drive-in Theater
Does the way we see a film affect we understand it?
Changes occur in the 50s and 60s of the way people understand film
Convenience and privacy
Problem: did not have a great sound, but trumped by the experience

New Trends in the 1960s
Movie Themes: Instrumental
- During the 1950s Hollywood had discovered the financial rewards of having
popular musical themes in film scores, especially for the younger generation.
- The finests would not only appeal to the audience but also capture the
essence of the film.

Movie Themes: Songs
- Although the orchestra themes mentioned above were successful,
moviemakers soon recognized that songs are more popular with the general
public than instrumental tines.

Theme songs and Instrumentals
** Henri Mancini
Breakfast at Tiffanys (1961)
- The tune Moon river representing growing ove, is then used in the
underscoring, blending well with the overall popular style of the score. The
only weakness of the time from a commercial prespective is the title and not
associated with the title of the film.
- The tune is presented in the opening credits with out any words
- Then it is played by Holly in her harmonica
o Moon river
o OPENING: when we are introduced to diagentic music played with a
harmonica. Striking opening because the narrative has already begin
with the opening title
o There is no other music apart from the main music moon river
theme. This was considered a step down from the romantic classical
underscore, but it is a change. By the end of the film you are
brainwashed to memorizing the tune and reason for its success.
Pink Panther (1963)
o Saxophone theme

Bringing up the Baby Boomers
- Major factor for the decline traditions in Hollywood filmmaking was the
changing audience.
- In Dr. No the first Bond film, the theme is first presented in the opening
credits, where a conventional orchestra underscores the drama but the Bond
theme returns with Sean Connerys first like.
o James bond movies expanded the role of rock music, primarily
through the scoring of John Berry and his theme for Goldfinger.
Bond Theme
Dr. No (1962)
M. Monty Norman
Electric guitar due to the popularity of rock and roll
The longest running franchise with the original music from 1962
Later Bond films
m. John Barry

The Emerging New Era, 1960 1967
While the traditions of the Golden Age were fading in the early 1960s, influences
from the New Wave were increasingly felt on American films. Among the
characteristics of the emerging new era are a mixture of serious and light-hearted
moments, frank treatment of sexuality and creative narratives and images.
- As we had seen in Psycho, the music in these films tend to create general
moods rather than to depict individual or changing emotions.
- Both popular and modern musical styles are well suited to this end.
The Graduate (1967)
Simon and Garfunkle
Early films that use folk rock songs as underscore of the film, which leads to
the modern day modern comedy
Idea that you can combine the success of a group with the success of the film
and helping each other
Hit songs:
o Sound of Silence
o Mrs. Robinson
OPENING scene: montage of the main character
Second scene: montage while hes traveling over a period of time

Musicals
Old
West side story (1961)
M. Leonard Bernstein
New
Hard days night (1964)
Scene

Quincy Jones

Elmer Bernstein
To Kill a Mckingbird (1962)
- The score by Elmer Bernstein plays a pivotal role in creating the overall
mood of the film
- Despite the great variety of emotions and events in this film, Bernstein
retains an overall mood of childlike simplicity and innocence.
- ** The opening theme is first heard as a response to Scoutts humming.
- The score stands as a model of how much can be achieved with minimal
musical score.
Overall mood, not themes
The opening titles contain the musical meat of the film
Very striking opening titles at the time, close ups and the music conveys the
childhood of the mail character
The sounds in the opening titles are equally as effective as the music
(breathing of the child) to get into the wold of the child
o He starts to sing and then it moves into the actual orchestral music

Landmarks of the New Era
- By 1967 American filmmakers had entered a new age.
- The music plays a more substancial role in another landmark work of the era,
The Graduate .
- SG composed and performed the principal music for the film. The other
music, prepared by Dave Grusin, is entirely diegetic, including the music
emanating from Mrs. Stereo and various musical sources at the Hotel.
- The SG song successfully capured the spirit of the aimless, disillusioned
youth of the 60s and are essential to the popularity of the film.
- The appearances of the tines are primarily limited to accompanying
credits and montages showing the passing of time and travel. The songs
do not change moods or react to the story, but are used to set an overall
mood as the film is often adjusted to the music.
Eclecticism in animation
Disneys Sword in the Stone (1963)
Jazz in Merlins dishwashing scene
Recalls scene in 1937 Snow White

Spaghetti Western
M. Ennio Morricone
The Good the Bad and the Ugly (1966)
Famous theme
Influenced of avant-garde
Use of natural sounds
Popular music but also 20
th
century avant garde music of the time, which
depended on simple music ie. Philip Glass, abstract minimal music
o Even today it sounds strange
o Strange wild music, one of the trends of the 60s

June 7
th
, 2012

International Films
- While American filmmakers were absorbing influences from abroad,
international film centers were particularly receptive to American popular
musical styles.
- The reverse was also true- popular movie themes from foreign films were
often more successful in this country than the films themselves.
Italy
- Several Italian filmmakers turned towards the more commercial side of the
industry by making inexpensive but profitable movies. The most successful
of these works are Sergio Leones spaghetti westers starting Clint
Eastwood.
- Freely using dubbing works such as The Good, the Bad and the ugly scored
major financial triumphs in both America and Europe.
- In these westerns, Enio created a distinct style that mixes a variety of
musical styles, including popular and avant garde. His scores often
feature unusual solo instruments and natural sounds, such as a howling
coyote or a pistol shot.

New Wave = Das Neue Kino
- The early 1970s saw the reemergence of Germany as a major center of
filmmaking. West Germany entered into a productive phase termed Das neue
Kino (The new cinema)
- The score for the Warth of god contains a variety of musical sounds, including
several passages on an ethnic insyrument.
Spare use of non diegetic music
Aguirre: the awth of god
- various musical sounds
- ethnic musuic
-
Perceval le gallois
- early musical ensemble on

Precursor: Alfred Hitchcok
- Where would the music come from? From the ocean?
- not in textbook
- Lifeboat 1944
- This question is brought up to defend the lack of orchestral music in the films

Postmodernism
- Difficult to define (p. 329) but..

Crisis Years, 1968-1972
- The new American cinema was well suited to express the frustration and
concerns of American society at this time. In maintaining a strong sense of
realism, filmmakers continued to use traditional musical scoring sparingly,
and the musical style remained predominantly either modern or popular as
in Easy Rider.
- During the crisis years, modern and popular musical styles dominated
American film music, both would continue to excerpt a strong influence
through the 1970s.
- The 1970s produced a large number of film scores featuring mixtures of
more diverse musical styles, generally involving rock music.
- Also indicative of future trends was the use of the synthesizer.
Truffaits Day for Night (1975)
- a film about making a film (not a new idea) HOWEVER, the opening of the
scene makes fun of the orchestral underscore opening of a scene. Here we
have an orchestra rehearsing for and waiting for the film to be made
- Self conscious music
o Opens with orchestral rehearsing
o Awkward orchestral cues
o Use of natural sounds (contrary of the large orchestra)
- Making fun of the complete Hollywood film making in general
- Scene: british actress where there are awkward cues in a scene of montage
and making fun and jokes. People are lead into the film making process.
1. Sex
a. US rating system (1968)
i. X = no one under 17
ii. 1984: PG 13
iii. These rating systems would rate the film sexuality (an not
violence) seemed to be the issue.
b. P.P. Pasolini (1960s -70s)
i. Homoerotic in mainstream
ii. Italian and Arabic folk music
iii. He was another new-wave gay film maker that would allude to
homosexuality
c. Emanuelle (1974)
i. Rated X in US
ii. Song Emmanuelle
d. Pornography in early 70s
i. Deep Throat (1972)
2. Synthesizer
a. Would become in the 70s and 80s a staple in film
b. Walter (Wendy) Carlos
i. Had a sex changed and project called S.O.B (changed on Bach)
c. Moog Synthesizer
d. Clockwork Orange (1970)
- Classical favourites such as Beethvens symphony no. 9 and Rossinis
Overture to La gazza ladra and the vocals for Singing in the rain are chilling
when used as background to scenes of rape and other violence.
- This film score is also significant for its inclusion of original music created
with a synthesizer an early exploration of sound that will become an
important oart of film scoring within a decade.
- The composer of the original music is Walter (Wendy) Carlos, who had
earlier recorded the album Switched on Bach using a Moog synthesizer.
-
i. Scene: non diagetic synthesizer underscore and then diagetic
moment when the person is singing. Mocking fun of the music
(Beethoven classical known) also showing the dark side of the
sexual revolution of the early 70s.
ii. Scene 2: The final eye scene
iii. There really is a reaction to the Hollywood films and the things
that characterize them is the orchestral underscore and mostly
all synthesizers few natural sounds but most sythenthizer
music by walter.
e. J.S. Back on Moog
f. Switched-on Bach
**SKIP CHPATER 23 ON E.T.**
Close Encounters of the 3
rd
kind (1977)
- Interesting use of synthesizers
- Diegetic musical theme a synthesizer melody
- They make music )the spaceship) and the human engage with it (the
synthesizer) and then they have contact
- The theme that is played diegetic occurs in the underscore
- SCENE: music by John Williams
o the child: music is telling you what to do and feel with the micket
mousing of the music
o He is the composer of the 80s and 90s.

3. Use of Folk Music
a. The Godfather (1972)
- Italian composers Nino Rota and Carmine Coppola created the score for the
film.
- Both Italian and American popular music is heard in the background.
- The Godfather theme has the character of an Italian folk melody.
- Moves freely between Italian and American popular music to modern
dissonances and quotations of Bach
i. Folk-like main theme
ii. Classical underscore that tries to imitate the Italian music
iii. M. Nino Rota
b. The sting (1973)
i. revival of ragtime in the 1970s
c. Folk sounds and Orchestra
i. My name is Nobody (1973)
1. Western parody
2. E. Morricone
3. Whistel and recorder
4. Parody of Valkyrie making fun of the orchestra
ii. Amarcord (1973)
1. Nostalgia
4. Rock Songs
a. Drug culure
b. Easy Rider (1969) was the film known for using rock
- Instead of a single hit song, Easy Rider contains an albums worth of songs by
a variety of rock artists, including Steppenwolf and the Byrds.
- The drug oriented rock styles coincides with the pre-dominance of drugs in
the plot and the songs generally accompany montages showing travel and the
passing of time.
- The music captures the spirit of the rebellious youth of the 1969, a year
that also brought the music festival at Woodstock.
i. Many songs steppenworld, Byrds
ii. This mostly songs from mid to late 1960s (? Year)
iii. Scene: montage time that is passing, collapsing it into the
length of a pop song. This would become the rock video of the
1980s.
c. American Graffiti
- Adapted classic rock music
- Movie opens with Rock around the clock the same tine that appeared in
Blackboard Jungle (1955)
i. Entire score (nearly): all has nostalgia rock and roll songs
ii. Continuous soundtrack
iii. Nostalgia rock 1954-1962
d. Fritz the Cat (1972)
i. Adult film by Ralph Bakshi was interested in making
controversial animation which was previously associated with
children.
ii. Film is a parody of the 60s : sexual revolution, drugs and rock
and roll and its pretentiousness.
iii. Rock and jazz score mixture by this time the lat e60s rock
and roll with the heavily edited guitar and becomes associated
with the animated adult film. The fact that it is animated helps
soften the sexual content.
iv. If easy rider glorifies the 60s, this movie makes fun of the
pretentiousness of the liberation of the 60s.
e. Enter the Dragon (1972)
i. Bruce Lee Kung-Fu Film
ii. Rock theme by m. Lalo SCHIFRIN** (still making film music
different) creator of the 1960s TV theme for MISSION
IMPOSSIBLE.
iii. SCENE: has a clear bach underscore in the fight scene that the
music illustrates what is happening on screen.
Some Ecamples
- Adapted Scores
- Following the lead of 2001, a number of films with adapted scores appeared
during the 1970s. Music for these films were borrowed from a wide range of
sources. In addition to taking from the 19
th
century classics, filmmakers
explred music from the recent past, including avant-garde compositions and
classic rock.
-
o 2001 Space Odessy (1968): Romantic pieces
- Kubrick made the ultimate statement about music in the new age: Music no
longer needed to be tailored to fit the film. By using previously composed
works and leaving them intact, Kubrick allows the music merely to coexist
with the visual elements.
- Music still retains it smood-setting function but it remains detached from the
drama.
Alexs Norths score not used (pg. 302)
SCENE: final good example of borrowed and adapted music
o Exorcist (1973): Modernist pieces (p. 320)
- Composers
o Jerry Goldsmish ** very important
o He is one of the films prominent composers, emerged during the
1960s. His career rivals that of Elmer Bernstein for longetivty,
versatility an quality.
Chinatown (1974)
- At the forefront of the revival of film noir is Chinatown, Roman Polanskis
first Hollywood film after the murder of his wife.
- In continuing with film noir traditions, jerry Goldsmith score features
dissonant harmonies and unusual colors. The main theme, a sultry trumpet
solo heard during the opening credits, suggests the blue style of popular
music from the late 1930s.
- The score calls for an unusal call of instrumental combinations
o John Williams ** (close encounters, jaws, just a few of the films
that he composed during the 1970s)
Poseidon (1972) first disaster films
Towering Infermo (1974)
Jaws (1975)
Star Wars (1977)
Jaws (1977)
- In comparison to Star Wars, Jaws contains less music but the audiences
psychological response to the film was a large reason for its great hit.
- At the heart of the score is a repeated two-note leitmotiffor the shark.
As with most of the music surrounding the predator, the theme is
pitched in the orchestras lowest register suggesting both danger and
the creatures home in the ocean.
- The two elements the music and images from the sharks perspective are
combined in the opening which explouts sex and violence.
-

What made Jaws a Blockbuster?
- Multiplex of 60s and 70s
- Major advertising campaign
- Summer release
- Orchertal score
- Williams shark motif - you could notseparate the music of the shark from
the actual shark
- Spielberg gives you right away the song of the shark. He also gives a POV of
the shark, then the music cuts abpruptly and then you have sex through
female nudity. Therefore sex and violence.
- SCENE: opening title and beginning the effectiveness is in the sound even
the bell. The association between the POV of the shark and ourselves and the
musical theme. The similarity between the theme to that of Psycho.
- SCENE II: After giving you all the goods, the film holds back most of the
narrative and the scene has no music and waits to add the music till the end
very slowly.
- Jaws set a new record in terms of audiences and money on film through a
major advertisments success HOWEVER , not yet a franchise.
- The nature of the film that was like Psycho that was scary but surprise sacre
was something new.
-

Chapter 25: Star Wars and Postmodernism (1977 1984)
- Postmodernism is a recent movement in art and literature that rejects a
number of the aesthetic principles that governed the modern arts for most of
the 20
th
century.
- 1) dismisses the modernistic need for continual change and originality
- 2) embraces the entire spectrum of artistic styles, including the popular arts,
which had been shunned by modernists.
- 3) Third, postmodernism recognizes the importance of emotional appeal and
has been linked with neo-romanticism.
- The period roughly coincides with the release of Star Wars phenomenon.

June 12
th
, 2012




Star wars
- A and B theme of the symphony structure
- Very retro with the types of sounds
- SCENE: first instruction of the theme
- SCENE: luke scene is introduced which comes back throughout the film
(maybe not each time he appears, however, John Williams changes the
instrumentation depending on what is happening to Luke)
- SCENE: the cantina scene parody of both medieval tavern and the western
saloon film, however there is a jazz orchestra
o DIEGETIC MUSIC
o Good example of the dolby sound

Tunes of rock, 60s and 70s
- Four types of rock that you can easily distinguish in films
o Hard rock (Fritz the cat)
o Soft rock (ex. Titanic)
o Soul music (Motown)
o Folk rock (Graduate)
Four types of non-symphonic scores
1. Synthesized analogue introduced in the 60s in popular music and film
industry and continues through the 70s and certainty used in the 80s.
a. Ex. Ghostbusters and the song be sold separately from the film
2. Popular songs
3. Eclectic scores Example sharades of fire, Ghost busters which mix a
variety of styles (mainly popular music and orchestral music)
4. Adapted using a preexisting piece (most famous Ride of the Valkyrie)

Synthesized scores
- Changes in synthesizers
- 1983: Digital FM synthesis
- 1970s: Analog
o much crisper and sounder range compared with the older non digital
synthesizers
o What was interesting was to see the potential that this instrument
changed the course of film scores in history

1978: Two pre-80s analog scores
Midnight Express
- m. Giorgo Moroder
Halloween
- John Carpenter
- The thing the director is using both the music from the film as diegetic
music
- As early as the 1970s synthesizers were being used as the analog synthesizer
A famous analog synthesizer score
- Chariots of fire (1981)
- Music by VANGELIS
- Film won many awards including for music
- This was the only one of its time nad Vangelis was a great composer that uses
the synthesizers (which are limited) in such a right way
- SCENE: syntheize cues are few and one of the first is when the characters are
running in slow motion
o The key with synthesizers is to keep it simple and at the right time
- SCENE 2: Montage, compresing time where there is the training of the rival
and the synthesizer is upbeat almost recalling popular music
o The drums are all synthesized sort of sounds
- SCENE 3: The theme of the song was presented at the end and the reason
why the music was successful was because at the end credits the theme was
delivered
o Very simple music to which it was catchy and easy to remember

Landmark album (outside film book)
- Michael Jacksons Thriller (1983)
- First fully digitized pop album including the drums
- the problem with synthesize sound is that it is limited
- during the 80s synthesize was associated with cutting edge films, that
filmmakers were undecided what to do
Legend (1985)
- RIDLEY SCOTT rejected the JERRY GOLDSMITH orchestral score
- European release for TANGERINE DREAMs synthesizer score (US release)
Digital Synthesizers (example)
- Digital sound in the 80s was used very often in combination with real
instruments and orchestra
- This is the case with Lethal Weapon 1 (1987)
o M. Michael Kamen
o Rock score with digital synthesizers
- SCENE 1: pure use of synth
- SCENE 2: use of synth in combination with rock

2) Popular songs/ Music
- (1978) Saturday Night fever
- (1980) Fame
- (1983) Flashdance
- All of these films use the songs as an instrumental background, basically they
are becoming the underscore
- This is a new phenomenon is terms of marketing a film, this is still the period
when you can own the VHS nad the LP
3) Eclectic Scores
- Apocalypse Now (1979)
- Orchestral underscore and pop songs as well as synthesizers
- Famous moment in the film is the adapted orchestra of the Ride of the
Valkyrie.
- SCENE 1: first score does NOT start with an orchestra but with the DOORS
that indroduces the dark mood
- SCENE 2: use ride of the Valkyries then cut sound is the peaceful village
- The sound designs are remarkable and well mixed into the film

New Sound technology requires a Sound Designer
- WALTER MURCH, sound designer for Apocalypse Now
- It was clear that digital technology is going to require someone who is
orchestrating the entire sounds of the film, not just orchestral underscore
and dialogye but also the way that the orchestra is treated and sound effects
- It becomes more complex as we get into the 80s and 90s

4) Adapted Scores
The Shining (1980)
- Bartok, Ligeti
- Penderecki
Excalibur (1980)
- Carl Orff and Wagner
Amadeus (1984)
- Biography of Mozart

Classic scores continues: EPICS
A Passage to India (1984)
- Romantic music continues throughout this period and beyond
- M. Maurice
- SCENE: The diagetic orchestra is made to sound like the orchestra that is
playing
o Example of diagetic music that makes seem like it is not diagetic
- SCENE 2: montage, typical use of montage is travel. The orchestral
underscore sounds like the Munchini orchstra of the 60s

John Williams
Master of the leitmotif
- Raiders of the Lost Art (1981)
- E.T. (1982)
- Return of the Jedi (1983)
- Indiana Jones and Temple of Doom (1984)
- Batman (1989)

Indiana Jones and Last Crusade (1989): The Grail motif
o Introduced in Act 1
o Climax in Act 3: Indy finds the grail
o SCENE 1: meeting his father
o SCENE 2: finding the grail, but one as been subconsciously prepared
to hear the theme of the grail
Changing the instrumentation
Some Exotic Epics
1) India
a. Gandhi (1982)
b. Score by Raki Shankar, sitar
2) China
a. The Last Emperor (1987)
b. Includes use of pipa and erhu

The Mission (1986)
- Ennio Morricone
- Combines orchestra with Andean flute music
- Gabriels oboe

The New Blockbuster: Mainstreaming the Pop song
- MTV launched in 1981

Importance of Music Supervisor
- gathers songs and copyright
o this person becomes increasingly important
1984
- most use mostly using popular music
Beverly Hills Cop
- only rock music
- eddy murphy himself was a pop artists

Ghostubsters
- Opens with symphonic style underscore as you would expect from a normal
movie and then we cut to the title to the opening song which is pop, which is
a hit and being sold separately.
- then hit Ghostbusters
- MTV video for Ghostbusters
- SCENE: standard rock montage of the Ghostbusters who are preparing for
ghost chasing

New trends: composer with rock background
Hans Zimmer
- Rain man (1988)
- Lion King (1994)
- Gladiator (2000)
- Madagascare (2005)
- Not really from a classical background, he is one of the most successful
composers in Hollywood
- German rock musician in London
- Subtle rock style of symphonic writing


Two Important things
- Location of second test (21 June)
o Pharmacy Building, room B150
Essay Help: Writing a unified research essay
- Scholarly paper, not film review
- Historical context
o Movies produced in and around this time

June 14
th


American Western: Classical score
- Dances with Wolves (1990)
o M. John Barry (d. 2011)
o Dr. No
- Last of the Mohicans
o SCENE: wolf, very traditional music but very simple for the rock
audience
Western-like: Braveheart (1995)
- **m. James Hornder
- Trends of the celtic music in the 90s
- The celtic sound of the 1990s
o Riverdance, enya, etc
- Bagpipe
- SCENE: opening The pennywhistle
o The use of orchestra and synthesizers as well as folk music integrated
in the film
- SENE 2: Medieval band (done after production) the diegetic sound works as a
cue
- SCENE 3: Love scene before tragedy happens
- Conclusion: the classical score never dies, perhaps maybe changes depending
on trends, but always prevails

American Corporate Cinema
- Media conglomerates
- Disney the prototype
o 1920s cartoons 1930s films 1960s theme park
o Disney Works, Its a small world after all
- 1990s Collaboration of Disney and Warner

Disneys Revival
- Disney enters the 90s swinging with The Little Mermaid (1989)
- **Music by Alan Menken he becomes part of the Disney family and it is a
compromise between pop music that is not too wild.
- Disney was known for knowing not to have 60s sex and rock music and more
conservative musical tendencies.
- SCENE: under the sea, the soundtrack was sold separately. It is borderline
racist and sexualized mermaid, however not to the level of shreck where
there are multiple levels of humor
- The formula changes a bit with the lion king, being more rock but still
traditional
- Therefore not really a revival

2. The DVD
- Mid 1990s
- More content
- Special features
- Making of featurette
- it could hold more information than the VHS

Internet and streaming media
- Mid 1990s videos on internet
- Leads to youtube in mid 2000s

Results?
- Everyones an expert
- More films available for people

2. The Rise of Animation
- a new digital world

80s-90s: Computer Generated Imagery (CGI)
- **1982 Tron: brief use of CGI
- 1985 Pixar G. Lucas and K. Lasseter
- 1993 Spielbergs Jurassic Park
o showed the possibility of CGI
- 1994 Dreamworks: S. Spielberg and D. Geffen
- 1995 Toy Story: first completely CGI feature

Toy Story (1995)
- First full CGI feature film
- Pixar-Disney collaboration
- Wall- to- Wall music as well as mickey mousing and traditional music, very
intricate
- M. Randy Newman
- SCENE: wall to wall music and standard orchestral underscore

The Megapic and the Film Franchise

5. Hollyworld
- * this is not in the text **
Megapic of the 1990s owes to Jaws, Alien etc
- Enormously expensive film
- Sold Globally
- Multiple franchoses
- Predecessor was Jaws nicknamed blockbuster in 1975

James Horner
- Old-style composers, classical trained (ch. 33) as opposed to rock trained
form the 1980s.
- 1995 alone: six films, including : Apollo 13, Braveheart, Jumanji
1997 Titanic
- New Megapic
- Most expensive film to date
- Return of the pennywhistle
- Not just the orchestral underscore, but also Dion singing
- In the score for Titanic there is an irrational use of the pennywhistle, which
provides it with a distinctive sound.
- SCENE: Rose theme is the celtic sound with the pennywhistle
- The theme song (pop) appears only at the end title, but there are suggestions
of it in some of the scenes. One is mentally prepared to hear the song before
it is provided.
- SCENE: ending scene and the dion song is heard
- The orchestral underscore is virtually unchanged

Dominance of Classical Score in Megapic
- More rock-trained composers
- M. Kamen (Robin Hood Prince of Thieves 1991)
- Alan Silvestri (Forest Gump 1994)
o SCENE: the opening hooks you up, lovely music lightly and sparingly
theme which will be remembered throughout the entire film until the
end when presented again at the end.
o Not a motif in a conventional sense since it will not appear in the film
until the end.
American Beauty 1999: New sounds
- m. Thomas Newman of the Newman family (p. 423)
- minimalist score
- Opening theme: marimba/xylophone
- Very sparse score between classical and minimalist very glass score and very
rock and roll as well. The very simple motif f the xylophone in the opening
scene was used thereafter.
- Reality shows these types of music keeps popping up
The Matrix (1999)
- m. Don Davis
- Orchestral sore minimalist with techno and heavy metal and the filming is
very innovative use of CGI and live action footage
- SCENE 1: straight classical, same dilemma as King Kong when the music has
to go with the action in the film (?)
- SCENE: 2: techno pop
- SCENE 3: mixes both orchestral and techno pop
- Author uses post modern as a term of mixing both styles, not necessarily
correct though

Popular songs in film

Do The Right thing (1989)
- Titles Hip-hop (Public Enemy)
- Jazz and rock film
Run Lola Run (1998)
- Techno
Pulp Fiction (1994)
- Classical rock, surf music
- Very edgy use of older rock and roll music

Formula: Song in End Titles
- Robin Hood, Prince of Thieves (1991)
- Everything I do introduced sc. 26
- His song saved for End-titles (sc. 45)
- The song is marketed with the film but not added in the underscore, because
it is added until the end of the film.
o Like in titanic the song is suggested very subtly in some of the scenes
o The score is used on the scores in Disney DVDs, which they owned
- SCENE 3: awkward change beween the orchestral and music song