Lecture 11: MUSIC 246

MUSIC246 - Film Scores

Electronic Scores:

• By the 1950s electronic music had become an improtant part of musical modernism.
• RCA Synthesizer - Columbia University
• ”realization”
• Example: “Ensemble For Synthesizer” (1964) composed by Milton Babbit.

Forbidden Planet (1956)

• Musical “realizations” by Louis and Bebe Barron

By the mid 1960s, smaller “modular” synthesizers were replacing the earlier, larger models. In 1964, Bob Moog (rhymes with Vogue) produces the first commercially available modular synthesizer. Plug in chords to produce patch chords. The word patch comes here in terms of syntehsizer music.

Wendy Carlos: (1939 - )

Worked with Bob’s synthesizer Switched On Bach (1968) Carlos’ album popularized the synthesizer in popular culture. Sold 1 million copies. Won 3 Grammys. Made the synthesizers known to the general public.

Synthesizers caught the eyes of Hollywood 👀

Film Scores included:

• A Clockwork Orange (1971)
• The Shining (1980)
• Tron (1982) Stanley Kubrick tends to use classical pieces, Wendy Carlos would play those pieces on a synthesizer.
• Using synthesizers but still in the orchestral tradition.

Late 1960s, early 1970s:

• Musicians working in popular styles begin to experiment with synthesizers.
• Emergence of progressive rock and early electronica. Both made use of extended instrumental works.

The Exorcist (1973)

• Main theme from the album “Tubular Bells” composed and performed by Mike Oldfield
  • Instrumental, long pieces of music released earlier that year (1973).
• Lalo Schifrin Sorcerer (1977)
• Music by electronic music pioneers Tangerine Dream. Halloween (1978)
• Music by director John Carpenter.

Vangelis: (1943 - 1922)

Example: Blade Runner

• Film is a science fiction, but heavily influenced by the style of film noir.
• Synthesizers creating a lush, spacious sound.

By the early 1980s

Synthesizers have become smaller, more powerful, and more affordable.

• 1983: MIDI - Music Instrument Digital Interface.
• When combined with a personal computer in now possible for a single musician to produce long, complex works (such as a film score) without the need for expensive recording studios.
• Will also allow compsers with little or no technical training to work out complex ideas including music for orchestra.
• Why use a real orchestra?

Danny Elfman (1953 - )

• Breakthrough score was for Pee Wee’s Big Adventure (1985) Directed by Tim Burton.
• Frequent collaborator with Tim Burton. Ex: Youtube: Pee Wee’s Big Adventure: Stolen Bike
• Influence of Bernard Herrmann. From Psycho. Stabbing scene.
• Danny Elfman works by ear. Does not play music.

Characteristics:

• Frantic / Carnivalesque (child-like in a nightmarish way)
• Frequent use of 3/4 time (waltz rhythm) and 2/4 (polka rhythm)
• Frequent use of glockenspiel / celeste, low woodwinds, harp glissandi, and wordless choir.
• Hitting the action - to the point of “Mickey Mousing” Hitting the action in a hard way. First composer since 1930-40s to hit the action intensely.

Beetlejuice (1988) EX: Youtube Clip: Beetlejuice - It’s Showtime!

Edward Scissorhands (1990)

• Elements of “Frankenstein” and “Beauty And The Beast”
• Tchaikovsky “The Nutcracker” (1892)
  • Inanimate coming to life.
• Fourth collaboration between Elfman and Burton

Example: Edward Scissorhands - House On The Hill

• Cue starts with the view of the house
• Low woodwinds, harp wordless choir - ominous / warning
• Edward’s theme in an ominous variation - wordless choir
• builds as she approaches the gate, the voices have the quality of a warning.
• change to waltz with the main rhythm carried by the celeste. Sense of threat is replaced with more of a sense of mystery and wonder as she drives up the hill.
• Compare this section with Tchaikovsky’s “The Nutcracker.”
• The tolling of a bell - a slow rhythm of a single strokes often a symbol of death.
• The garden: a new waltz begins, filled with wonder and amazement as she sees the garden. Once again, we hear Edward’s theme but now played without threat or dread.

Single bell tolls Menacing elements: tolling bell, waltz, Self taught, figured out how to do it by ear. Works out his ideas with synthesizer, transfered on paper so it can be played by an orchestra.

Example: Edward Scissorhands - Edward The Barber

• no music at the start - adding a bit of tension to the cutting of the dog’s hair - will this end well or not?
  • The lack of music helps keep us in the dark
  • Yes, dog is beautiful and ready for the competition
• quick polka - chaos the neighbors bring their dogs to see Edward
• Quick changes of instructions from piano to brass - again, an Elfman favorite with the low woodwinds starting at 01:12.
• Change to lighter mood as we see Joyce’s dog - strings and saxophone.
• Joyce’s hair, tango music starts
  • considered a passionate and sensual
• A virtuosic solo violin follows
  • demonic talent
• A return to the tango accompanying a montage or haircuts.
• Edward prepares to cut Meg’s hair. The tango theme changes to a gentler statement of family love. Meg is now seen as a mother figure.
  • same theme, but different tone.