The Magic of Film Music: a Case Study on How Music Enhances Drama in Contemporary Hollywood Films
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The magic of film music: A case study on how music enhances drama in contemporary Hollywood films Sibelius Academy Department of Music Education Master’s Thesis Spring 2005 Henri Wilkinson SIBELIUS ACADEMY : Master’s Thesis 9 Essay Title Pages The magic of film music: A case study on how music 83 + 15 enhances drama in contemporary Hollywood films Author Semester Henri Wilkinson Spring 2005 Degree programme Specialisation option Music Education Abstract The aim of this study is to analyze film music with special reference to contemporary Hollywood films and analyze the ways in which film scores are devised from a composer’s point of view, as well as to develop material for teaching and self-study purposes. I argue that existing music analysis methods are inadequate for studying music in the context of film, and I therefore establish a structured analysis method for the research. The research focuses on the scores of six films (“Gladiator”, “Star Wars: The Phantom Menace”, “Meet Joe Black”, “Monsters, inc.”, “The Matrix” and “K-PAX”) and studies them alongside the visuals and the narrative. The findings contribute to the knowledge of how and when music should complement the visuals and the drama, and of what really are the most common musical elements for achieving a harmony of music and drama. This study may provide future research in the field of film and multimedia music with an analysis method that, in addition to studying the music alone, takes into account the visual and narrative elements. Keywords film music, drama, analysis, Hollywood, elokuvamusiikki, draama, analyysi Additional information SIBELIUS-AKATEMIA : Tutkielma 9 Kirjallinen työ Työn nimi Sivumäärä The magic of film music: A case study on how music 83 + 15 enhances drama in contemporary Hollywood films Laatijan nimi Lukukausi Henri Wilkinson Kevät 2005 Koulutusohjelma Suuntautumisvaihtoehto Musiikkikasvatus Tiivistelmä Tutkielman tavoitteena on tarkastella elokuvamusiikkia erityisesti nykypäivän Hollywood -elokuvissa ja analysoida säveltäjän näkökulmasta niitä tapoja ja keinoja, joilla elokuvien musiikkia luodaan, sekä kehittää materiaalia niin opetukseen kuin itseopiskeluunkin. Esitän tutkimuksessani, että olemassaolevat musiikin analysointimenetelmät eivät riitä musiikin tutkimiseen elokuvan yhteydessä, ja kehitän siksi tutkimustani varten strukturoidun analyysimenetelmän. Keskityn tutkimaan kuutta elokuvaa, (“Gladiator”, “Star Wars: The Phantom Menace”, “Meet Joe Black”, “Monsters, inc.”, “The Matrix” ja “K-PAX”), joiden musiikkeja tutkin rinnakkain kuvan ja draaman kanssa. Tulokset tuovat lisää tietoa siitä, miten musiikin tulisi toimia yhdessä kuvan ja draaman kanssa, sekä siitä, millä musiikillisilla elementeillä musiikin ja draaman harmonia voidaan saavuttaa. Tutkielma tarjoaa tuleville elokuva- ja multimediamusiikin tutkimuksille analyysimenetelmän, joka musiikin lisäksi ottaa huomioon visuaaliset ja kerronnalliset elementit. Hakusanat elokuvamusiikki, draama, Hollywood, analyysi, film music, drama, analysis Lisätietoja TABLE OF CONTENTS CHAPTER 1: PROLOGUE .....................................................................................................................1 PART I: BACKGROUND.........................................................................................................................3 CHAPTER 2: FILM MUSIC THEORY...................................................................................................4 2.1 Pre-existing research....................................................................................................................4 2.2 Functional vs. absolute music.......................................................................................................5 2.3 Visual vs. auditive perception .......................................................................................................6 2.4 Diegetic vs. non-diegetic music ....................................................................................................7 2.5 The functions of film music ...........................................................................................................8 2.6 Dramatic structure......................................................................................................................10 2.7 Tensions and building a climax ..................................................................................................12 2.8 When and how to begin and end a music cue .............................................................................14 CHAPTER 3: CONTEMPORARY HOLLYWOOD FILM MUSIC .....................................................16 3.1 Classical and post-modern aesthetics.........................................................................................16 3.2 A commercial point of view.........................................................................................................17 PART II: RESEARCH ............................................................................................................................19 CHAPTER 4: PURPOSE AND METHODS .........................................................................................20 4.1 Objectives of research.................................................................................................................20 4.2 Analysing music in film...............................................................................................................21 4.3 Tools for a successful analysis....................................................................................................22 4.4 The analysis model......................................................................................................................26 4.5 Selected films ..............................................................................................................................27 CHAPTER 5: ANALYSIS.....................................................................................................................28 5.1 Gladiator.....................................................................................................................................28 5.1.1 Identification ....................................................................................................................................... 28 5.1.2 Analysis chart...................................................................................................................................... 29 5.1.3 General observations ........................................................................................................................... 35 5.2 Star Wars: The Phantom Menace ...............................................................................................37 5.2.1 Identification ....................................................................................................................................... 37 5.2.2 Analysis chart...................................................................................................................................... 38 5.2.3 General observations ........................................................................................................................... 42 Table of Contents iv 5.3 Meet Joe Black............................................................................................................................44 5.3.1 Identification ....................................................................................................................................... 44 5.3.2 Analysis chart...................................................................................................................................... 45 5.3.3 General observations ........................................................................................................................... 49 5.4 Monsters, inc...............................................................................................................................51 5.4.1 Identification ....................................................................................................................................... 51 5.4.2 Analysis chart...................................................................................................................................... 52 5.4.3 General observations ........................................................................................................................... 56 5.5 The Matrix ..................................................................................................................................57 5.5.1 Identification ....................................................................................................................................... 57 5.5.2 Analysis chart...................................................................................................................................... 58 5.5.3 General observations ........................................................................................................................... 62 5.6 K-PAX.........................................................................................................................................64 5.6.1 Identification ....................................................................................................................................... 64 5.6.2 Analysis chart.....................................................................................................................................