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An Examination of Jerry Goldsmith's THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. To my very first music teacher, Wayne Jones, your passion was infectious, and you made music fun. Thank you to Mon Josef and Lisa Kadey, whose steadfast friendship and 24/7 probleM-solving and advice have meant so Much. From technical help to proofreading Many tiMes, you have not only put out many fires but have eMpowered me to expand tiMe. Many thanks to my good friend and colleague, Kirk Chau, whose insights have given me food for thought on numerous occasions. Thank you also to Aaron Rosenthal for your interest in this subject and for your many helpful suggestions. To Michael Coghlan, my graduate supervisor at York University, your vision and flexibility have allowed me the freedom to explore divergent ideas. To my “Grad” teaM, Mark ChaMbers and Bill Thomas, your ongoing support is greatly appreciated. Special thanks to Hans Offerdal for generously supplying me with a copy of his insightful thesis on GoldsMith’s filM Music. I aM indebted to John O'Callaghan for his exhaustive analysis of GoldsMith’s Apes score. Your groundbreaking book, Simians and Serialism, was a godsend. To television and filM historian and journalist, Jon BurlingaMe, thank you very much. Your comMents and suggestions helped to provide insight into GoldsMith’s experience at Fox in the early 1960s. Many thanks to Warren Sherk (Head of Special Collections at the AcadeMy of Motion Picture Arts and Sciences) and Jenny Romero (Special Collections DepartMent Coordinator at the Margaret Herrick Library in Beverly Hills, California). Your assistance in providing an opportunity for me to exaMine v GoldsMith’s original sketches is greatly appreciated. To Fran Block (Senior Manager, Licensing) and all the folks at Fox Music, Inc., and especially Eric Swanson at JoAnn Kane Music Service; an iMMense thank you for providing me with PDF copies of GoldsMith’s score for Planet of the Apes. My unending gratitude goes to Apple, Literature and Latte, and the OMni Group without whom this project would not have been possible. I’m ever grateful for my heritage, not only my own personal genealogy but Music’s faMily tree as well: John WilliaMs, Miklós Rózsa, Gustav Holst, Alban Berg, Anton Webern, Arnold Schoenberg, Max Steiner, Richard Strauss, Gustav Mahler, Aaron Copland, Igor Stravinsky, Richard Wagner, Johannes Brahms, Ludwig van Beethoven and…well…you know the rest. I’ve left so many out but each one has added their own unique voice to the rich tapestry we all inherit. Finally, to Jerry GoldsMith, whose career and music have never ceased to be an inspiration. The “freshness” with which you have iMbued every note is a wonder. vi CONTENTS ABSTRACT .............................................................................................................................................. II DEDICATION………………………...................................................................................................................III ACKNOWLEDGEMENTS .......................................................................................................................... IV CONTENTS ............................................................................................................................................. VI LIST OF TABLES ..................................................................................................................................... IIX LIST OF FIGURES ..................................................................................................................................... X INTRODUCTION ...................................................................................................................................... 1 CHAPTER 1. MUSIC AND EMOTION ......................................................................................................... 5 1.2 TONAL MUSIC ............................................................................................................ 8 1.3 TRENDS .................................................................................................................... 13 1.3 TEMP MUSIC ............................................................................................................ 17 1.4 DISSONANCE ............................................................................................................ 18 1.5 UNIVERSAL AUDITORY CUES ................................................................................... 20 1.6 THE VISUAL ELEMENT ............................................................................................. 21 1.7 NON-TONAL FILM MUSIC ........................................................................................ 23 CHAPTER 2. SCI-FI FILM MUSIC ............................................................................................................. 33 2.1 TRENDS IN FILM PRODUCTION 1930S-60S ................................................................ 37 2.2 FILM MUSIC IN THE 1950S ....................................................................................... 42 2.3 SCI-FI FILM COMPOSERS .......................................................................................... 45 2.4 FILM MUSIC IN THE 1960S ....................................................................................... 49 2.5 SCI-FI TV MUSIC OF THE 1960S ............................................................................... 55 vii CHAPTER 3. BIOGRAPHY, INFLUENCES, STYLEM .................................................................................... 61 3.1 1930S-40S – EARLY TRAINING ........................................................................... 61 3.2 1950S – CBS ............................................................................................................ 66 3.3 1960S – REVUE STUDIOS AND FOX .......................................................................... 71 3.4 STYLE ...................................................................................................................... 74 CHAPTER 4. PLANET OF THE APES DECONSTRUCTED ............................................................................. 98 4.1 PLANET OF THE APES PLOT SYNOPSIS .................................................................... 103 4.2 SYNAESTHESIA ....................................................................................................... 104 4.2.1 “Main Title” ................................................................................................... 106 4.2.2 “Crash Landing” ............................................................................................ 109 4.2.3 “The Searchers” ............................................................................................. 113 4.23 “The Clothes Snatchers” ................................................................................. 115 ................................................................................................................................. 121 4.2.4 “A New Mate” ............................................................................................... 121 4.2.5 “The Revelation” ........................................................................................... 123 4.3 RHYTHMIC SEQUENCES .......................................................................................... 126 4.3.1 “The Hunt” ..................................................................................................... 126 4.4 MOTIVIC CELLS ..................................................................................................... 132 4.4.1 Leading Tone Motifs ...................................................................................... 133 4.5 TEXTURE (LAYERING) ............................................................................................ 136 4.5.1 “The Forbidden Zone” ..................................................................................
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