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© in This Web Service Cambridge University Cambridge University Press 978-1-107-09839-8 - Understanding the Leitmotif: From Wagner to Hollywood Film Music Matthew Bribitzer-Stull Index More information Index 2001: A Space Odyssey, 123 Barthes, Roland, 87, 112, 302 Baskin, Wade, 317 A.I., 155 Bass, Richard, 148, 302 Abbate, Carolyn, 23, 26, 29, 73, 79, 98, 101, Batman films, 147, 151, 282, 290, 295, 309 108, 113, 118, 121, 129, 164, 167, 180, 195, Bauer, Hans Joachim, 218, 302 198, 208–9, 212, 223, 267, 276, 281–82, Beach, David, 317 301, 304, 314–15 Beckett, Lucy, 320 Adorno, Theodor, 26, 28, 56, 86, 141, 160, 259, Beethoven, Ludwig van, 10, 28, 33, 35, 37, 43, 263, 267, 271, 283, 301, 307 49–50, 61, 94, 98–99, 117, 130–32, 160, Agawu, Kofi, 3, 50, 92, 301 162, 169, 182, 189, 222, 265, 304–5, Agmon, Eytan, 205, 301 308–9, 317 Aldritch, Richard, 24, 301 An die ferne Geliebte,98–99 Allen, Graham, 124, 301 “Auf dem Hügel sitz ich, spähend”,98 Allusion, 60, 114, 124–25, 179, 220, 226, 235, Bagatelle in G Minor, Op. 119, No. 1, 49 242, 246–48, 250, 299 Fidelio, 222 Almén, Byron, 276, 301, 304 “Nimm sie hin denn, diese Lieder”,98 Altman, Rick, 141, 257, 301 String Quartet in F Major, Op. 81, 94 Ambros, August Wilhelm, 22 Symphony No. 3 in E-flat Major (“Eroica”), Anderson, Lyle John, 61, 301 182 Anson-Cartwright, Mark, 46, 68, 70, 121, 301 Symphony No. 5 in C Minor, 130–31 Associative theme. See “Theme, associative” Symphony No. 9 in D Minor (“Choral”), 160 Associative tonality. See “Tonality, associative” Beetlejuice, 152 Associative Transposition, 195–200, 207, 222, Beggs, John M., 133, 302 226, 228, 291–93 Bent, Ian, 317 Associativity, 79–155 Berg, Alban, 100, 228, 231, 316–17 Atlas, Raphael, 312 Wozzeck, 100, 228, 231, 313, 317 Atmospheric film score. See “Film score, Berg, Charles Merrell, 262, 264, 302 atmospheric” Berg, S.M., 257 Attinello, Paul, 309 Berger, Anna Maria Busse, 107, 302 Berlin Alexanderplatz, 265 Babbitt, Milton, 133, 302 Berlioz, Hector, 15–16, 81, 98, 104, 118–19, Bach, Carl Philipp Emanuel, 302 139, 144, 153, 233, 253 Bach, Johann Christian, 21 Harold in Italy, 98, 144, 153 Bach, Johann Sebastian, 37, 46, 94, 109–10, La Damnation de Faust, 118–19, 139, 304–5 153, 233 “Erbarme dich”,94 Symphonie Fantastique,15–16, 104, 253 Fugue #2 in C Minor from Das Bernadoni, Virgilio, 310 Wohltemperierte Klavier, Book I, 48 Bernhart, Walter, 315 Bailbé, J.M., 15 Bernstein, Fred, 98, 302 Bailey, Robert, 52–53, 114, 170, 195–97, 214, Bernstein, Leonard, 87, 107, 311 302 West Side Story, 107 Bakhtin, Mikhail, 124 Berry, Wallace, 34, 302 Ballet, 238, 241, 243–45, 254, 258–59 Blasius, Leslie, 195, 302 322 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09839-8 - Understanding the Leitmotif: From Wagner to Hollywood Film Music Matthew Bribitzer-Stull Index More information index 323 Bloom, Harold, 107, 302 Charpentier, Gustave, 233 Bolen, Jean Shinoda, 120, 302 Chausson, Ernest, 160, 233, 308 Boltz, Marilyn G., 278, 302 Roi Arthus, Le, 233 Boretz, Benjamin, 44, 303 Cherlin, Michael, xxiv, 93, 230, 248, 253, 305, Boulanger, Lili, 153, 235 312 Faust et Hélène, 153, 235 Cherubini, Luigi, 20–21 Boult, Adrian, 243, 303 Chion, Michel, xx, 305 Brahms, Johannes, 61, 109, 144–45, 154, 160, Chomsky, Noam, 87, 305 167, 200, 243, 250, 259, 270, 312, 318 Christmann, Johann Friedrich, 116 “Wie Melodien”, 144–45 CIN. See Conceptual Integration Network Breig, Werner, 169, 303 Close Encounters of the Third Kind,33 Bribitzer-Stull, Matthew, xx, xxii, xxiv, 2, 15, Cognition and perception, 18, 34, 42, 44, 54, 24, 27, 29, 46, 63, 68, 132, 142, 161, 193, 66, 70, 80, 106, 120, 257, 276 197, 200, 205, 220, 226, 295, 303, Cohen, Anabel J., 100, 132, 141–42, 256–57, 306, 313 276, 278, 305, 313 Britten, Benjamin, 128, 236 Cohn, Richard, 136, 305 Albert Herring, 128, 236 Complexes, thematic. See “Thematic Death in Venice, 237 Complexes” Brooks, Mel, 129, 281 Comuzio, Ermanno, 275, 306 High Anxiety, 129, 281 Conceptual Integration Network, 11 Brown, Hilda Meldrum, 28, 168, 303 Cone, Edward, 245, 306, 318 Brown, Kristi, 110, 304 Contextual Reinterpretation, 194–212, 217, Brown, Matthew, xxiii, 66, 70, 136, 237, 304 285 Brown, Royal, 132, 141, 261, 268, 304 Contour, 34, 39, 44–45, 48, 51, 59, 114–15, 177, Brown, Stephen, 121, 304 179, 235 Bruneau, Alfred, 233 Cook, Nicholas, 141, 276, 306 Buck, Pearl S., 269 Cooke, Deryck, 22, 24, 28, 64, 68, 86, 117, 168, Good Earth, The, 269 188–89, 192, 194, 306 Buhler, James, 5, 12, 54, 142, 149, 267, 273–74, Cooke, Mervyn, 272, 306 295, 304, 313, 315 Copland, Aaron, 271 Buller, Jeffrey L., 207, 209, 304 Cord, William O., 8, 306 Burke, Kenneth, 107, 110, 304 Corruption, harmonic. See “Harmonic Burkhart, Charles, 46, 134, 304 Corruption” Burkholder, J. Peter, 101, 110, 123, 304 Corse, Sandra, 108, 113–14, 123, 306 Burnham, Scott, 37, 304 Counterpoint, 14, 35, 43, 46, 51, 68, 131, 134, Burton, Tim, 4, 147, 284 189, 200, 284. See also “Polyphony” Busoni, Ferruccio, 45, 304 Cowboys, The, 272 Butler, David, 106, 257, 304 Craggs, Stewart R., 313 Byrd, Craig L., 273, 305 Cumming, Naomi, 94, 306 Cadwallader, Allen, 50, 54, 189, 305 Dahlhaus, Carl, 9, 19, 27–28, 54, 62, 67, Campbell, Brian, 248, 305 113–14, 117, 141, 162, 164–65, 167, 169, Caplin, William, 34, 38, 40, 305 176, 189, 192, 207, 216, 218, 302, Carpenter, Patricia, 36, 305, 317, 319 306–7 Carr, Maureen, 254, 305 Danuser, Hermann, 309 Casablanca, 281, 309 Darby, William, 267, 272, 306 Categories, 18, 64–66 Darcy, Warren, xxiii, 2, 7, 10, 24, 26, 37–38, 40, Cenciarelli, Carlo, 110, 305 53, 68, 72, 113, 182, 188, 193–95, 200, 205, Change of Mode, 170, 172–73, 175–76, 192, 207–9, 212, 218, 306, 309 224–26, 228, 243, 245, 284–86 Darrow, A., 106, 307 Change of Texture, 184–87, 223–24, 245–46, Daverio, John Joseph, 83, 182, 307 253–54, 274, 293, 300 Deathridge, John, xxiv, 27, 54, 67, 105, 113–14, Chansons. See Lieder 117, 167, 189, 303, 306–7 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09839-8 - Understanding the Leitmotif: From Wagner to Hollywood Film Music Matthew Bribitzer-Stull Index More information 324 index Debussy, Claude, 26, 123, 159–60, 220, 233–36, E.T., 60, 127, 149–50, 274 242, 259, 307–8, 312 Edgerton, Gary R., 304 Pelléas et Melisande, 233–35, 308 Eisler, Hanns, 141, 258–59, 263, 268, 271, 283, Definitive thematic statements, 64, 67, 72, 74 301, 307 Deliège, Irene, 70, 307 Elders, Willem, 192, 307 Delius, Frederick, 236 Elfman, Danny, xxii, 6, 27, 56, 60, 105, 124, Village Romeo and Juliet, A, 236 141–42, 147, 152, 154, 268, 283–84, Dempster, Douglas, 304 305, 309 Dennison, Peter, 35, 61, 113–14, 307 Elgar, Edward, 10, 153, 160, 242–44, 251, 303, Development, thematic xxiii, 3, 10–12, 17–20, 314 25, 27–28, 37, 43, 46, 51, 55–56, 58, 61–62, Apostles, The, 243–44, 303 71–72, 100, 106, 129, 160, 164–65, Caractacus, 242 167–69, 171–72, 183, 185, 188, 192, 203, Dream of Gerontius, The, 242–43 212, 218, 220, 224, 228, 234–37, 239, 243, Kingdom, The, 243, 303 245, 248, 256, 262–64, 268, 271–72, 274, Light of Life, The, 242–43 279–80, 284, 293. See also “Entwicklung” Scenes from the Saga of King Olav, 153, 242 and “Variation” Ellinwood, Leonard, 84, 307 Diegetic, 60, 280, 300 Ellis, William Ashton, 101, 319–20 Diegetic music, 60, 95, 128–29, 280–81, 293 Emotion, 8–9, 12, 15, 26, 72–73, 82–83, 90, “Dixieland”, 126 94–95, 97, 101–3, 105–6, 110, 116, 118, Dixon, Graham, 307 132, 164, 168, 234–36, 266, 278, 289 Djawadi, Ramin, 112 Empfindsamer stile,85 Donington, Robert, 22, 24, 120, 187, 307 Empire Strikes Back, The. See “Star Wars films” Donnelly, K.J., 295, 305, 307 Endless melody, 42, 167, 264 Douglas, Craig, 307 Entwicklung, 62, 169. See also “Development, Douthett, Jack, 310 thematic” and “Variation” Drabkin, William, 38, 307, 317 Erben, Karel Jaromír, 253 Drake, Warren, 72, 307 Evensen, Kristian, 273, 307 Drama, xxii, 2–3, 6–10, 14–15, 18, 20, 23, Evolution, thematic. See “Thematic Evolution” 27–28, 37, 53, 64, 70, 72–73, 82–83, 86, Expression, xxi, 9, 14, 26, 37, 52, 64, 81, 83–86, 89–92, 95, 100–2, 104–6, 113–14, 117, 90, 119, 176, 186, 211, 234, 237, 266–67, 123, 128, 131–32, 140, 142–43, 152, 271, 298 159–61, 163–64, 167–70, 176, 181, 186–87, 191, 194, 196–97, 207–8, 212–14, Fantasy (films and literature), 134, 142, 154, 216, 218, 222, 230, 234–35, 241, 245, 248, 266, 280–81, 283, 293, 315 250, 252–56, 258–59, 261–62, 265–66, Feisst, Sabine, 270, 308 270–73, 276, 278–79, 283, 288–89, 295, Film score 299–300 Atmospheric, 141, 258, 271 “Dresden Amen”, 161–62, 164, 226 Leitmotivic, 141, 256–58, 275 Dreyfus, Laurence, 262, 307 Monothematic, 141, 258, 264, 271 Du Bois, Jack, 272, 306 Film, silent, 12, 256–57, 267 Dvořák, Antonin, 79–82, 98, 239, 241, Flinn, Caryl, 259, 264–65, 271, 304, 308, 253–54 313, 315 Holoubek (The Wild Dove), 253–54 Floros, Constantine, 89, 100, 108, 182, 308 Polednice (The Noon Witch), 148, Fly, The, 258 253–54 Foreshadowing, 72–73, 163, 208, 218, 239, 278, Rusalka, 239 295, 299.
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