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A Mythical and Ritualistic Approach to Audiovisual Scoring, from Documentary to Multimedia

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A Mythical and Ritualistic Approach to Audiovisual Scoring, from Documentary to Multimedia A Mythical and Ritualistic Approach to Audiovisual Scoring, from Documentary to Multimedia Alfons Conde Submitted in partial fulfilment of the requirements for the degree of PhD in Composition Royal Holloway, University of London 2019 Declaration of Authorship I, Alfons Conde del Campo, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: March 2, 2019 1 Abstract This research examines the multidisciplinary approaches to the matter of narrative and emotion in music for visual media, focusing on the mythical and ritualistic aspects that stand at the core of every audiovisual composition. Myth, ritual, and symbol, have a strong interconnection with narrative and consequently are frequently analysed in the context of the media arts. However, music is typically omitted from such analysis, or just tangentially mentioned. I aim to determine the validity of this approach in different audiovisual genres, from film to multimedia projects, through the presentation of the methodology I apply both to my academic teaching and in my compositional output. First, I will look at the existing debates about the narrativization of music, and the known methodologies in composing for audiovisuals. Then, I will perform an in- depth analysis of narrative theory: classifying the different theories by chronologically introducing the theorists who formulated them, and showing how they are interrelated. Myth is a central concept in some of these theories, so I will explain the term and its relationship with narrative. I will then go one step further and explore myth-ritual theory, and analyse how myth and ritual can be applied to storytelling in audiovisual media. Music will then be integrated on that analysis, in the context of modern filmmaking and audiovisual theories, the works of others, my personal teachings, and my compositional portfolio. 2 Table of Contents Declaration of Authorship ............................................................................................................... 1 List of illustrative material .............................................................................................................. 6 Chapter 1. Introduction .................................................................................................................... 9 1.1 Research rationale and outline ......................................................................................... 9 1.2 The narrative nature of music ........................................................................................ 11 1.3 Music in audiovisuals ......................................................................................................... 13 Chapter 2. Theoretical Framework .......................................................................................... 17 2.1 Literature review ................................................................................................................. 17 2.1.1 A review of narrative theory .................................................................................. 17 2.1.1.1 Plot throuGh imitation: Aristotle ................................................................. 17 2.1.1.2 Language as a network of signs - usinG linGuistics to examine narrative: Ferdinand de Saussure .............................................................................. 18 2.1.1.3 Expanding the sign: Charles Sanders Peirce .......................................... 19 2.1.1.4 Recurrent narrative structures and patterns: Vladimir Propp ..... 19 2.1.1.5 Structure can interpret all myths: Claude Levi- Strauss ................... 20 2.1.1.6 AnythinG that conveys a messaGe is a myth: Roland Barthes ........ 21 2.1.1.7 The structure of time and narration: Tsvetan Todorov .................... 22 2.1.2 Myth ................................................................................................................................. 23 2.1.2.1 PsycholoGy in myth ........................................................................................... 25 2.1.2.2 SocioloGy in myth .............................................................................................. 26 2.1.3 Myth and ritual ............................................................................................................ 28 2.1.4 Myth and narrative .................................................................................................... 31 2.1.5 Ritual and narrative .................................................................................................. 36 2.2 Myth and ritual in audiovisual music .......................................................................... 46 2.2.1 Semiotics ......................................................................................................................... 46 2.2.2 Culture and ideology ................................................................................................. 47 2.2.3 Psychology and sociology ....................................................................................... 51 2.2.4 Genres ............................................................................................................................. 55 Chapter 3. Compositional portfolio ......................................................................................... 56 3.1 Compositional methodoloGy ........................................................................................... 56 3.2 Valltorta ................................................................................................................................... 61 3.2.1 Introduction .................................................................................................................. 61 3.2.1.1 Sound contributes to art through trance ................................................. 63 3 3.2.1.2 Musical elements ............................................................................................... 64 3.2.1.3 Other elements ................................................................................................... 64 3.2.2 Myth and Ritual in Valltorta .................................................................................. 68 3.2.3 Compositional approach ......................................................................................... 69 3.2.3.1 The use of a woodwind ensemble .............................................................. 71 3.2.3.2 The concept behind the electronic material .......................................... 74 3.2.3.2.1 Electronic material ................................................................................... 76 3.3 The Mystery of the KinG of Kinema .............................................................................. 83 3.3.1 Introduction .................................................................................................................. 83 3.3.2 Myth and Ritual in The Mystery of the KinG of Kinema ............................. 85 3.3.3 Compositional approach ......................................................................................... 87 3.3.3.1 The characters .................................................................................................... 90 3.3.3.2 Instrumentation .................................................................................................. 91 3.3.3.3 Six sources of material .................................................................................... 93 3.4 The Harmony of the Spheres .......................................................................................... 99 3.4.1 Introduction .................................................................................................................. 99 3.4.2 Myth and ritual in The Harmony of the Spheres .......................................... 99 3.4.2.1 From ancient science to esotericism ...................................................... 101 3.4.3 Compositional approach ...................................................................................... 104 3.4.3.1 The shape of ancient sound ......................................................................... 105 3.4.3.2 VisualisinG music ............................................................................................. 106 3.4.3.3 A compositional outline ................................................................................ 108 3.5 Whence Comes the Rain ................................................................................................ 111 3.5.1 Introduction ............................................................................................................... 111 3.5.2 Myth and Ritual in Whence Comes The Rain .............................................. 111 3.5.3 Compositional approach ...................................................................................... 114 3.5.3.1 String Quartet .................................................................................................. 114 3.5.3.1.1 The survival of the fittest .................................................................... 114 3.5.3.1.2 CryinG nymphs ........................................................................................ 119 3.5.3.2 Sound design .................................................................................................... 121 3.6 Bluebeard ............................................................................................................................
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