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Horror Soundtracks and the Unseen Demonic The Exorcist (1973)

By: Pamela Morrow, MA Music and Culture

One of the key roles music plays in pitches directly affect the human body; the accompanying film is to enhance the emotional higher pitches resonate within the upper body of reactions of the audience. Each film genre uses the audio-viewer, whereas the lower pitches music in different ways depending on the mood result in the vibration of the stomach and lower that is presented by the dialogue and abdomen. Donnelly suggests that these musical corresponding images. Horror music rarely sounds are “tied to the intrinsic sounds of the follows the traditional symphonic leitmotif human body (such as) the high buzz of the structure of classical film scores.1 Essentially, the nervous system and the deep throb of the music that is used throughout horror films does 4 bloodstream and heart.” not generally consist of memorable melodies or Classic horror films of the 1960-80’s era, leitmotifs that are associated with specific such as Psycho (1968), The Exorcist (1973), A characters. The role of this music is primarily to Nightmare on Elm Street (1984), The Shining create psychological experiences for the viewers. (1980) and Halloween (1978) predominantly As a replacement for the leitmotifs and melodies, relied upon exaggerated pitches and stingers to a manipulation of the timbres and range ensure their audiences experienced unsettling associated with the instruments and sounds perceptual, emotional and physiological often creates unsettling sounds that cause responses during the films. The Exorcist and The heightened anticipation or terror in the Shining not only employed the use of extreme audiences. By manipulating these musical and exaggerated pitches and timbres, but also qualities, the music is able to stimulate incorporated exaggerated techniques such as physiological responses in the audience. Donnelly tremolo and sul ponticello (to bow or pluck near discusses how “sounds, particularly music, the bridge). 5 These techniques showcase the stimulate the arousal of the autonomic nervous connection between horror film music and avant- system (ANS), which is measurable via heart rate, garde music of the twentieth century. Donnelly electroencephalogram (EEG) readings of brain suggests that such techniques also have roots in 2 waves, and respiration.” The ANS is frequently nineteenth century Romantic music. 6 In this engaged through the incorporation of respect Berlioz’s Symphonie Fantastique is a exaggerated pitches and tones. Examples would particularly important model. The final section include the drones and “stingers” that are entitled “Dream of a Witches’ Sabbath” has been 3 regularly used in horror films. Very high or low considered a programmatic experience of an encounter with evil and the supernatural. 7 In 1 RENDER | THE CARLETON GRADUATE JOURNAL OF ART AND CULTURE VOLUME ONE

particular, evil is represented through Berlioz’s have a strong religious connection. This religious repetition of the diminished seventh chord, theme is evident throughout horror films such as which is constructed of two interlocking tritones. The Exorcist, further explaining the rationale for Since the Middle Ages the tritone has commonly the use of avant-garde and dissonant twentieth- been associated with notions of the Satanic in century modernist music.13 music.8 Exaggerated techniques such as tremolo From the beginning, William Friedkin had and pizzicato that are employed throughout the a clear idea of how he wanted The Exorcist to beginning of “Dream of a Witches’ Sabbath,” sound and be presented to audiences. His along with the diminished seventh chord, evoke a preferred composer, Bernard Herrmann (who feeling of “strange noises, groans, bursts of famously scored Alfred Hitchcock’s Psycho), laughter and distant cries.” 9 They are most rejected his offer to compose a score for the film, prevalent during the “round dance” that the leaving him to work with Lalo Schifrin.14 Friedkin Witches perform, accompanied by the Dies irae instructed Schifrin to compose a score consisting chant from the Requiem Mass. The strings create of dissonant strings, as Friedkin described his shrill sounds and employ col legno (strings struck ideal score as: with the wood of the bow), the flutes perform [N]othing scary, no so-called frightening music … intense and excessive trills, while half of the only music in the montage sequences. The music orchestra performs syncopated off-beat major- should be like a cold hand on the back of your minor seventh chords for four bars until the neck, a chill presence that would never assert other half answers with simultaneous diminished itself except on the final musical statement over 15 seventh chords on the beat creating a the credits. disorienting bi-tonal pitch space. The Dies irae The notion of not allowing the music to chant has also been consistently associated with instruct the audiences how to feel or perceive the evil, as it “has a low tessitura (comfortable pitch scenes was very important for Friedkin. He was range) and a restricted range (all the notes of the adamant about making the audience feel alone first two lines are contained within the interval of and to be unaware of what lay ahead. Schifrin’s a perfect fourth) [which] combine to suggest a score was deemed “too scary” because it guided mood of dark foreboding.”10 Translated, the Dies the audiences and focused primarily on dissonant irae refers to the “Day of Wrath.”11 This section strings accompanied by percussion. A child’s of the plainchant has been incorporated by voice was heard singing the traditional “Tantum composers into their works creating a reference Ergo Sacrementum” (“Hence, So Great a to the setting of the Requiem Mass. It has also Sacrament”) while another recording included been used to create an unsettling atmosphere the Requiem Mass excerpt “Libera me Domine de that deals with themes of the supernatural, Morte” (“Lord, Liberate me from Death.”) When witches, madness, darkness and general evil.12 the soundtrack and images were combined, Examples of the use of the Dies irae in nineteenth audiences, including Friedkin were terrified of the and twentieth-century music include Franz Liszt’s result, suggesting that the music greatly “Totentanz,” George Crumb’s “Black Angels” and influenced the way audiences perceived the Gustav Holst’s The Planets, especially in “Saturn, visual images on the screen. 16 Due to the the Bringer of Old Age” (movement 5). overwhelmingly negative response, Friedkin Berlioz’s Symphonie Fantastique also chose to abandon Lalo Schifrin’s original score in evokes countless religious images, suggesting favour of a compilation of previously composed that horror music and exaggerated techniques

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music from prominent twentieth-century excerpt include a piano and synthesizer. The composers. synthesizer provides an alternative sense of The 1973 title-track from the concept exaggeration to the extended techniques on album “Tubular Bells,” written and performed by violin used by Penderecki, Crumb and Webern Mike Oldfield, has become synonymous with The heard elsewhere in the film. Polish composer Exorcist. Oldfield, an English progressive rock Krzysztof Penderecki (1933 - ) and horror film composer and guitarist released the instrumental music have become synonymous with each “Tubular Bells” at age 19. The album consists of other, even though Penderecki’s music was music that has been described as “quasi- commonly used for horror scores before it was minimalist piece(s) at the melodic end of his intention to write film music. Krzysztof progressive rock.”17 Penderecki is an influential twentieth-century The first time this theme is heard in the Polish composer and his music can be divided film is at 15:37, in a sequence that follows Chris into three different style periods. The first period MacNeil on her walk home from the movie set. focuses on timbral exploration; the second Like the other music heard throughout the film it involves his exploration of density and texture is associated with a transitional scene. The music, through expanding older vocal material (such as which begins just after Chris tells her driver that Gregorian Chant), and the third period has been she will be walking home, serves as a background described as having “introduced melody and element, underscoring other sounds such as the harmony as serious compositional elements.”19 wind blowing the nuns’ habits, a motorcycle This final phase introduced “a series of pieces revving its engine and the sounds of the children based upon “post-Wagnerian chromaticism” and playing. As Chris passes the church she hears the traditional form (see for example Symphony voice of Father Karras and stops to listen to what #2).”20 Penderecki’s influential use of “sonorism” he is saying. “Tubular Bells” continues playing (focusing on characteristics and qualities of until an airplane dominates the soundscape, sounds) in his pieces provided a new dimension quieting both Father Karras and the music as the to twentieth-century music that had not been scene transitions to the inside of Chris’s previously explored to this extent. Sonorism apartment. The theme returns during the final could be considered the most important credits for approximately four minutes. approach to musical composition for horror film Oldfield’s “Tubular Bells” was also music, especially The Exorcist.21 The way in which featured in the theatrical trailers, allowing it is favoured in Penderecki’s pieces could explain audiences to create associations between the why it has commonly been associated with music and the action in the trailer. The film horror film scores, and the declaration that incorporates a small section of the Oldfield “Krzysztof Penderecki… [is] at last where he original, choosing the section that has the least belongs.”22 The sonoristic elements employed by complicated instrumentation and rhythmic Penderecki are easily integrated into the musical attributes. The piece has been described as soundscape of The Exorcist because it is a “an deliberately attempting to amalgamate exploration of the pure sound values of the minimalist methods with baroque-like polyphonic sound material,”23 which implies that this music melodies. 18 The small section of the piece lacks a memorable melody, something that highlighted in the film consists of twelve bars of Friedkin adamantly wanted to avoid. By melody repeated, alternating between triple and intentionally incorporating music that consciously quadruple metre. The instruments heard in the refrains from using traditional melodic structures

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and leitmotifs in favour of sound masses this piece incorporated in a horror film that is fulfills Friedkin’s desire to include music that predominantly concerned with the manipulation would not conventionally guide the audience’s of reactions and physical responses from emotions. Sound masses, such as those audiences. incorporated in Penderecki’s pieces avoid Polymorphia consists of a simplistic range conventional harmony and rhythm, making them of instrumentation, composed for forty-eight difficult to associate with traditionally composed strings that are comprised of twenty-four violins, film scores. eight violas, eight cellos and eight contrabassi.28 William Friedkin specifically chose to All of the stringed instruments perform include Polymorphia, along with six other exaggerated extended techniques that involve Penderecki pieces after they were used in Stanley vibrating different parts of the instrument such Kubrick’s 2001: A Space Odyssey (1968). Friedkin as the fingerboard, soundboard, bridges and was drawn to the way in which Penderecki’s tailpieces, string in front of the bridge, and the pieces enhanced the images without strings between the bridge and the tailpiece.29 overpowering them. He found that the music The tools that Penderecki uses to create the “contributed to the film a certain timbre to vibrations, (referred to as inciters) consist of alienate the ordinary and natural scenes… and bow-hair, hand surfaces (palm, fingers), bow stick charge them with negativity.”24 (including the nut) and the strings in front of the The piece Polymorphia is an ideal bridge. Each of the inciters is associated with a illustration of Penderecki’s incorporation of particular vibration source causing the sonoristic techniques. The title Polymorphia instruments to produce unsettling exaggerated refers to “the broadly deployed scale of sounds … noises. the exchange and simultaneous penetration of The beginning section of Polymorphia, sound and noise, the contrast and interflow of which is incorporated into The Exorcist, follows soft and hard sounds.”25 This work is important Chris and Regan through their daily activities in not only because it focuses on the sounds and their home prior to Regan’s possession. 30 By textures instruments can produce, but also associating this section of the music with their because it marks the point at which Penderecki home life, it creates the sensation that Evil is created his own notational system, abandoning present at all times, even during the ordinary the traditional notational system for graphic banal activities of a family’s home life. This scores. 26 The graphic score that Penderecki connection is found between the unsettling created for Polymorphia is notated in red, green, almost inaudible (due to its predominance in the blue and black ink and consists of some musical lower string register) sounds that gesture to the excerpts, numbering, and corrections done in audience the potential presence of demonic pencil.27 The pitch notations are distinctly drawn forces and their ordinary lives. Pendercki played to resemble the brainwaves from an with various techniques throughout this piece, encephalogram traced in blue and black. The creating a series of binaries that are expressed colours also indicate that a sound mass of through the sounds of the instruments. Some of unbroken sliding pitches will be created based on the binaries include (but are not limited to) high actual encephalograms from patients listening to register versus low register, middle register his earlier Threnody for the Victims of Hiroshima. versus extreme register, temporal continuity The notion that this piece was based on versus temporal discontinuity, loud dynamics brainwaves adds an interesting dimension to a versus soft dynamics, and spatial mobility versus

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spatial immobility. 31 Each of these binaries is Satan. Similar to The Exorcist, the libretto is expressed in different sections of the piece with based on a book, “The Devils of Loudun” (1952), some overlapping each other. They each add to by Aldous Huxley, released as a non-fiction novel the unsettling discourse especially when about the historical event. 35 The book and associated with the visuals of The Exorcist. This libretto highlight many of the same issues that section of the music begins on the note E, which Regan faces such as demonic possession, is part of the lowest string register, and questioning of religion, sexual repression and subsequently builds creating a cluster of tones acts of hysteria. performed by the contrabassi.32 The texture and The Devils of Loudun is written using unsettling atmosphere associated with the atonal and expressionist techniques. The extreme high and low registers of string extended techniques that were present in instruments is amplified by the addition of a C in Polymorphia are incorporated into this piece and the cellos (the lowest note possible played by the those are the fragments that Friedkin chose to cellos). Even though the notes are generally very incorporate into the film. A brief vocal section of hard to hear due to their predominately low this opera is heard during Regan’s exorcism. The registers the audience is still receiving vocals are heard sustaining dissonant notes physiological signals that something is happening underneath the voices of the various demons underneath the dialogue and visuals.33 that possess Regan’s body. The underlying Friedkin chose to incorporate excerpts dissonant vocals are extremely subtle adding to from six Penderecki pieces that dominate the the bewildering moment of experiencing soundtrack for The Exorcist. Even-though numerous demonic male and female voices Penderecki is featured most frequently, the coming from Regan’s body. This scene, in amount of time his music appears in the film particular, follows the famous “pea-soup scene” ranges from a few seconds to a few minutes per in which she spits a green liquid into the face of excerpt. Friedkin chose to incorporate only Father Karras. fragments of some pieces, for fear that they Not only does this opera involve would have been recognized, and therefore that surprisingly similar thematic elements and plot to they would break the mood he was evoking. The those of The Exorcist, but the incorporation of smallest fragments of Penderecki’s pieces were atonal structures and techniques has also been chosen from his “Cello Concerto” and Die Teufel closely associated with the horror film von Loudun (The Devils of Loudun). soundscape.36 According to Mark Brownrigg, “the To incorporate even a fragment The Devils use of atonality can be heard as the ultimate of Loudun (1968) is an interesting decision by musical enunciation of the chaos depicted in Friedkin, as the atonal opera includes scenes many Horror films; musically, reason has been concerning religion and sexual hysteria like those shown to have ‘left the building’.”37 found in The Exorcist. 34 There are many American composer George Crumb similarities between the plots of The Exorcist and creates a soundscape that exaggerates the The Devils of Loudun. The opera recounts the capabilities and timbre of the instruments. 38 historical tale of mass demonic possession that Crumb himself has described his music as “a occurred from 1632-38 in the town of Loudun, system of proportions in the service of spiritual France. Strong religious themes are present impulse.” 39 Similar to those of Penderecki, throughout the opera including exorcism and the Crumb’s pieces evoke unsettled reactions from involvement of Roman Catholic priests, nuns, and the listener through his incorporation of

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extended techniques (as discussed below). Few Rodriguez suggest that this piece was essential to of his works have featured electric instruments, the film because it played on the social fears of but Black Angels, the string quartet that was the audience. One of the social fears that they chosen by Friedkin for inclusion in The Exorcist, is feel is most prevalent in the film is “the American one of the exceptions. Crumb frequently fear, both in society and in the battlefield, of the incorporates symbolism or numerology into his impossibility of locating the enemy: is the enemy pieces to provide an added dimension of our own government? Is the enemy within our complexity for the listeners. own body?”45 The piece “Threnody I: Night of the Friedkin’s incorporation of Crumb’s music Electric Insects” is the first movement from in the film can be considered the only instance in George Crumb’s string quartet Black Angels. This the film in which the music leads the audiences’ quartet is associated with Evil and Satan through reactions. A short excerpt of “Threnody I: Night the musical language, the numerous of the Electric Insects” is associated with the numerological references to 13 as well as in scene that ultimately convinces Father Karras reference to the name of the quartet.40 A black that Regan is possessed and that an exorcism is angel is an angel who has been expelled from necessary. The buzzing strings create a sense of Heaven. unease through both their speed and the Black Angels is divided into four main exaggerated techniques that create a high movements, each with their own subsections. pitched shrill noise. The combination of these The section from which excerpts were chosen for techniques makes the audience feel unsettled The Exorcist relates to the first subsection in the even the music is associated with disturbing first movement. The term “Threnody” divides images. The corresponding images depict Regan into its original components, Threnos and Odie, sleeping, tied to her bed after an episode of that refer to a song of lament.41 Kris Ho Ang- trying to harm her mother and other visitors. The Cheng and Victor Rodriguez suggest that Black housekeeper Sharon brings Father Karras into the Angels frequently conjures emotions of sadness room to show him that something unusual is or unease due to its connection to the Vietnam happening to Regan, the music begins as the War. Ho and Rodriguez claim that the piece was camera focuses on her bare abdomen. The created as a criticism for the war to “probe the intense music is heard as the words “Help Me” limits of the American imagination by crafting a become visibly embossed on her skin. The music musical experience where the listening self found abruptly pauses as the camera shifts to a little solace of the strict binaries of enemy and horrified Father Karras and resumes as the friend, but found instead transiting fluid horrifying image of Regan’s stomach fills the boundaries connecting them.”42 visual field. The music ends as the camera pans The tritone, diabolus in musica, is back to Father Karras. consistently present throughout the opening What is Friedkin’s motivation for using Threnody to symbolize the presence of Evil in the this particular piece in this scene? There are piece. 43 Crumb incorporated many extended several possible explanations. Consider the techniques and glissandos into each voice, while pairing of the images and music as well as the use exploring baroque-like terraced dynamics.44 The of foreshadowing from earlier scenes. The sonic quartet evoked such terrifying reactions from its elements of this excerpt, as previously discussed, listeners that it could never be integrated into are used to represent the sensation of noises of popular culture, until The Exorcist. Ho and insects and their association with Evil with the

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incorporation of the diabolus in musica. Father The sound effects that are found Merrin encounters similar sonic elements such as throughout The Exorcist set up the sub-theme of extended techniques, buzzing strings and science versus religion. Possession films dissonant chords in the earlier scenes involving popularize this binary theme, forcing the the discovery of Pazuzu in Iraq. As Father Merrin audience to choose between their religious uncovers the talisman of the demon the buzzing beliefs and their trust in scientific practices. The strings are faintly heard in the underscore, sound effects add a layer of dimension that helps signifying, as Crumb suggests, the entrance of Evil to create imagery beyond that of the music’s forces into the plot.46 The association between capabilities and enhance the overall mood of the the buzzing animalistic string motifs and the particular scene. The science-versus-religion presence of Evil are created near the beginning of theme is particularly important for The Exorcist as the film and continued throughout, thus building it creates a binary between the two worlds. until “Threnody I: Night of the Electric Insects” is Following the questioning of God’s existence by included in a scene that justifies the presence of Time Magazine, in which they ran a cover Evil for Father Karras. demanding “Is God Dead?” and the declaration Mark Evans suggests an association from Pope Paul VI in 1970 strongly between animal sounds and the demonic in The recommending Catholic Priests to resume their Exorcist while examining the sound effects used studies of Satan and evil, there was a resurgence throughout the film.47 He effectively concludes of interest in the archaic practice of exorcisms.48 that the incorporation of sounds like dogs John Kenneth Muir comments that following fighting (heard as Father Merrin gazes at a these events “God might be dead, but the Devil enormous statue of Pazuzu) and insects buzzing was alive and well and playing at your local (a potential reference to the sounds created by theatre,” after Hollywood responded with a slew the strings in this piece and the sonoristic of demonic themed films such as The Exorcist and techniques in Polymorphia) create an underlying The Omen throughout the 1970’s. 49 Not only allusion to Evil. were popular religious beliefs brought into The connection between the buzzing question but there was also the emergence of technique of the strings within “Night of the medical practices and disorders that were not yet Electric Insects” and the abdomen of the fully understood. This combination of events left possessed Regan implies that the music audiences understandably fearful of the domain symbolizes Evil and can be used to convince the of the unknown and unexplained which was skeptics in the audience of the possession. By further exacerbated in Hollywood films associating the music with the visuals of the throughout the decade.50 words “Help Me” emerging from her abdomen The sound effects and imagery in The there is a sense that a struggle is occurring Exorcist revel in combining “social evils” and between Evil forces inside Regan and her normal traditionally interpreted symbolism of evil. Mark persona. The animalistic or buzzing noises of the Evans’ in-depth study of the sound effects and strings are related to the demonic forces but the rhythmic analysis of sounds in specific scenes rapidity of the movements and the sharp changes demonstrates how good and evil can be of pitch could imply some form of fight or chaos. represented through sounds.51 Each of the scenes The sounds of chaos are stopped as the camera that Evans analyzed can be correlated to either pans away from the girl, suggesting that this pole of the science-versus-religion theme. While activity is contained within her body. the theme is subtly evident throughout the film,

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two scenes in particular bring the fears Ashhadu an lā ilāha Allāh associated with science or religion to the I testify that there is no deity but God forefront. Ashhadu anna Muhammadan rasūl Allāhu The religious scene that scholars have I testify that Muhammad is the Messenger of God predominantly examined is the opening Hayya’ ala al-salat Hurry to prayer56 sequence taking place in Iraq. John Kenneth Muir claims that opening the film in Iraq creates a Colleen McDannell suggests that Friedkin sought foundation for a debate about the universe and to include the prayer at the beginning to aurally the nature of human existence. 52 Before the project the association of exoticism and scene even begins, the mood for the rest of the Orientalism onto the location within the Middle film is set. The title of the film is shown in red East. 57 By including a prayer, in a foreign letters and accompanied by a chant, in a foreign language, Western audiences would be unaware language that most Western audiences would not of the overtly religious subtext that the prayer understand.53 If a listener were unfamiliar with provides to the scene and the movie overall. The the chant, or its specific religious source, they prayer is important for establishing the presence would assume that it is being sung. The prayer at of the science-versus-religion theme that builds the beginning read is by a muezzin (mu’adhdhin), throughout the film. who recites the opening prayer from the Qur’an According to Mark Evans, the combination before the congregation joins in the prayers that of voice and pickaxes, establishes the rhythmic follow. 54 The words that accompany the standard for the remainder of the scene in Iraq.58 visualization of the title The Exorcist are “Allāhu The inclusion of hand drums emphasizes the Akbar, Allāhu Akbar.” This sentence is repeated sound of the natural order when they are twice before the next line in the chant is read. consistently being struck on beats two and four. The line “Ashhadu an lā ilāha Allāh” is When the drum beats shift to eighth notes, Evans accompanied by the image of a white circle. As suggests that this symbolizes that evil is being the circle fades to yellow the audience becomes released.59 aware that it is a representation of the sun within Aural symbols of evil are found the scene. As the camera pans out, the frame is throughout the opening scene in Iraq through the filled with the images of the desert and ruins as combination of the wind, drone and chant as the the line “Ashhadu anna Muhammadan rasūl artifact of demon Pazuzu is uncovered and the Allāhu” is heard. The camera focuses on a group inclusion of animal sounds.60 The animal sounds of men with pickaxes whose sounds begin to sync are not solely limited to this particular scene, rhythmically with the chant. The final line of the they are found throughout the film in banal chant “Hayya’ ala al-salat” is accompanied by the scenarios. The setting of frightening or evil noises appearance of the words “Northern Iraq,” which against everyday scenarios, heightens the sense indicates the location of the archeological dig that evil is intruding into the ordinary. These that the audience is about to encounter. The noises are incorporated into the film to provide words of the chant that have been recited during allusions for the audience, such as the fighting the opening of the film is the “Islamic Call to dogs encountered in Iraq. The dogs allude to the Prayer” (adhān).55 The translation of the “Call to violence, evil and horror that will be unleashed Prayer” heard in the opening sequence is: later in the film, through Regan. The Allāhu Akbar, Allāhu Akbar God is most incorporation of fighting dogs, ‘angry’ bee sounds great, God is most great and noises of slaughtered pigs into scenes in

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which they do not, according to Evans, belong, doctors and the moans or whimpers coming from creates an unsettling experience for the audio- Regan. viewers, enhancing the horror already being The scenes involving the examination of experienced in the scenes. Evans suggests that Regan, prior to the realization that she is the demonic attributes associated with the possessed (and not mentally or physically ill), animal sounds are also found in the demonic heightens the audience’s uncertainty and fear voice projected through Regan.61 that was associated with scientific investigations Through the medical examinations that during the 1970’s. By wrongly diagnosing Regan Regan undergoes in an attempt to solve her with a relatively new disorder at the time problems scientifically, the audience is shown the (Attention Deficit Disorder) and prescribing horrors associated with technology. These Ritalin, it exaggerates an implicit question. If scenes exemplify the hyperrealism that Friedkin there really is no God, and technology is unable favoured through associating a significant lack of to create cures and provide answers, then what music with the medical examinations. Friedkin will happen in the future?65 allowed the instruments to be filmed in their The uncertainty and fear of the future and natural environment without the addition of the unknown is a main theme that runs unnatural sound effects or musical interludes throughout the film. Director William Friedkin that would either exaggerate or subdue the was very adamant about taking artistic control emotional reactions of the audience. Kenneth over his creation. This meant that each scene, Muir suggests that “the camera does not express musical attribute and sound effects were the horror of Regan’s experience with modern purposely chosen by Friedkin to enhance the medicine it only records it.” 62 By merely audience’s experience without guiding them recording Regan receiving needles, computed through. The year 2013 marks the 40 anniversary axial tomography (CAT) scans, psychiatric of the original release of The Exorcist in theatres. examinations and other procedures, without the Even now after four decades, this film is still addition of music to guide the audience, these ranked as the scariest film that has ever been procedures seem more invasive. 63 The camera made and a film that still makes viewers question never specifically focuses on one element in the their own beliefs in God, just as Friedkin had room over another, with the exception of one hoped. glimpse of Chris MacNeil’s reaction to her daughters’ pain. Michel Chion suggests that “the impression of silence in a film does not simply 1 come from an absence of noise.”64 For silence to K. J. Donnelly, “Demonic Possession: Horror Film Music,” in The Spectre of Sound: Music in Film and Television, be used as a tool to create realistic scenes, there London: British Film Institute, 2005: 93. must be sounds and voices so that the audience 2 Ibid., 96. can become aware of an interruption of the 3 Ibid., 105. 4 silence. Chion suggests that silence may also be Ibid., 105. 5 Ibid., 96. employed by subjecting the audience to a series 6 Ibid., 96. of noises without accompanying music. This 7 Nicholas Donlevy, “The Symbolism of Evil in Berlioz’s technique is very similar to that employed by Symphonie Fantastique,” MA diss., McMaster University, Friedkin, as there is no music but only the noises 2003, 3. 8 from the machines, a few instructions from F. J. Smith, “Some Aspects of the Tritone and the Semitritone in the Speculum Musicae: The Non-Emergence

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of the Diabolus in Musica,” Journal of Musicological 26 Mandrell, “Compositional aspects of two early works for Research, 3 (1979): 70. string orchestra by Krzysztof Penderecki,” 14. 9 Donlevy, “The Symbolism of Evil in Berlioz’s Symphonie 27 Peggy Monastra,“Krzysztof Penderecki’s Polymorphia and Fantastique,” 2. Flueorescences,” The Moldenhauer Archives, accessed 10 Malcolm Boyd, “‘Dies Irae’: Some Recent January 10, 2012 from Manifestations,” Music and Letters, 49, (1968): 347. http://memory.loc.gov/ammem/collections/moldenhauer/ 11 Robin Gregory, “Dies Irae,” Music and Letters, 34 (1953): 2428143.pdf , 2000: 3. 135. 28 Mirka, The Sonoristic Structuralism of Krzysztof 12 Ibid., 134. Penderecki, 229. 13 The early twentieth-century involved a turn in musical 29 Ibid., 229. practices towards music that was more intellectual and 30 Mundhenke, “The Exorcist (1973) als Beispiel der harder to listen to. Composers (example: Schoenberg, Relevanz von Filmmusik in genre-spezifischer und Stravinsky and Webern) created music that was not readily filmhistorischer Hinsicht,” 50. accessible for all audiences frequently incorporating 31 Mirka, The Sonoristic Structuralism of Krzysztof extended techniques, exaggerated dissonance and Pendercki, 229. incorporation of atonality among many other avant-garde 32 Ibid., 231. techniques. 33 Donnelly, “Demonic Possession: Horror Film Music,” 105. 14 Florian Mundhenke, “The Exorcist (1973) als Beispiel der 34 Roger Parker, The Oxford Illustrated History of Opera, Relevanz von Filmmusik in genrespezifischer und New York: Oxford University Press, 1994, 328. filmhistorischer Hinsicht,” Kieler Beiträge zur 35 Ibid., 328. Filmmusikforschung, 2009, 3: 47. 36 Mark Brownrigg, “Film Music and Film Genre,” PhD diss. 15 Ibid., 47. University of Stirling, 2003: 115. 16 Ibid., 48. 37 Ibid., 118. 17 38 Alan F. Moore, “Oldfield, Mike,” Grove Music Online Richard Steinitz, “George Crumb,” The Musical Times, th accessed November 5 , 2012, 119 (1978): 844. http://www.oxfordmusiconline.com.proxy.library.carleton. 39 Don Gillespie, George Crumb: Profile of a Composer, New ca/subscriber/article/grove/music/46253. York: C.F. Peters Corporation, 1986: 77. 18 Mark Evans,“Rhythms of Evil: Exorcising Sound From The 40 Arthur Olsen, “Musikk og mening: I semiotisk oh kognitiv Exorcist,” in Terror Tracks: Music, Sound and Horror metaforteoretisk perspektiv med analytisk utgangspunkt i Cinema, ed. Philip Hayward, London: Equinox Publishing George Crumbs Black Angels,” MA diss. University of Oslo: Ltd., 2009: 115. Institute of Musicology, 2011: 82. 19 Nelson Eugene Jr. Mandrell, “Compositional Aspects of 41 Ibid., 82. Two Early Works for String Orchestra by Krzysztof 42 Kris Ho Ang-Cheng, and Victor J. Rodriguez, “Music and Penderecki,” MA diss. University of Illinois at Urbana- the Politics of War: George Crumb’s ‘Black Angels’ and the Champaign, 1989: 1. Vietnam War,” Presented at the International Proceedings 20 Ibid., 1. of Economics Development and Research, June 2012: 203. 21 Danuta Mirka, The Sonoristic Structuralism of Krzysztof 43 Olsen, “Musikk og mening: I semiotisk oh kognitiv Penderecki, Drukarnia: Music Academy in Katowice, 1997: metaforteoretisk perspektiv med analytisk utgangspunkt i 7. George Crumbs Black Angels,” 82. 22 Mundhenke, “The Exorcist (1973) als Beispiel der 44 Ibid., 82. Relevanz von Filmmusik in genre-spezifischer und 45 Ang-Cheng and Rodriguez, “Music and the Politics of filmhistorischer Hinsicht,” 50. War: George Crumb’s ‘Black Angels’ and the Vietnam War,” 23 Jósef M. Chomiński, and Krystyna Wilkowska-Chomińska. 203. Mate formy instrumentalne. Formy muzyczne I. London: 46 Olsen, “Musikk og mening: I semiotisk oh kognitiv Polish Music Publishers, 1983: 126. metaforteoretisk perspektiv med analytisk utgangspunkt i 24 Mundhenke, “The Exorcist (1973) als Beispiel der George Crumbs Black Angels,” 82. Relevanz von Filmmusik in genre-spezifischer und 47 Evans, “Rhythms of Evil: Exorcising Sound From The filmhistorischer Hinsicht,” 52. Exorcist,” 113. 25 Wolfram Schwinger, Krzysztof Penderecki: His Life and 48 John Kenneth Muir, Horror Films of the 1970's, Jefferson: Work: encounters, biography and musical commentary, McFarland & Company Inc., 2002: 428. London, Schott & Co, Ltd., 1989, 131. 49 Ibid., 428. 10 RENDER | THE CARLETON GRADUATE JOURNAL OF ART AND CULTURE VOLUME ONE

50 Ibid., 265. Donlevy, Nicholas. “The Symbolism of Evil in 51 Evans, “Rhythms of Evil: Exorcising Sound From The Berlioz’s Symphonie Fantastique,” MA Exorcist,” 113. 52 Kenneth Muir, Horror Films of the 1970’s, 265. diss., McMaster University, 2003. 53 Colleen McDannell, “Catholic Horror: The Exorcist (1973),” in Catholics In the Movies, ed. Colleen McDannell, Donnelly, K.J. “Demonic Possession: Horror Film New York: Oxford University Press, 2008: 197. Music,” in The Spectre of Sound: Music in 54 Ibid., 198. Film and Television, 88-110. London: 55 Ibid., 197-198. 56 British Film Institute, 2005. Ibid., 197-199. 57 Ibid., 198. 58 Evans, “Rhythms of Evil: Exorcising Sound From the Dudenhoeffer, Larrie. “‘Evil against Evil’: The Exorcist,” 112. Parabolic Structure and Thematics of 59 Ibid., 113. William Friedkin’s The Exorcist,” Horror 60 Ibid., 115. Studies, 2010, 1: 73-88. 61 Ibid., 120. 62 Kenneth Muir, Horror Films of the 1970’s, 267. 63 Larrie Dudenhoeffer, “‘Evil against Evil’: The Parabolic Evans, Mark. “Rhythms of Evil: Exorcising Sound Structure and Thematics of William Friedkin’s The Exorcist,” From The Exorcist,” in Terror Tracks: Horror Studies, 2010, 1: 76. Music, Sound and Horror Cinema. edited 64 Michel Chion, Audio-vision: Sound on Screen, New York: by Philip Hayward. London: Equinox Columbia University Press, 1990, translated by Claudia Publishing Ltd., 2009. Gorbman, 39. 65 Kenneth Muir, Horror Films of the 1970’s, 268. Gillespie, Don. George Crumb: Profile of a

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Boyd, Malcolm. “‘Dies Irae’: Some Recent Mandrell, Nelson Eugene Jr. “Compositional Manifestations,” Music and Letters, 49, Aspects of Two Early Works for String (1968): 347-356. Orchestra by Krzysztof Penderecki,” MA diss. University of Illinois at Urbana- Brownrigg, Mark. “Film Music and Film Genre.” Champaign, 1989. PhD diss. University of Stirling, 2003. McDannell, Colleen. “Catholic Horror: The Chion, Michel. Audio-vision: Sound on Screen. Exorcist (1973),” in Catholics In the New York: Columbia University Press, Movies, edited by Colleen McDannell, 1990, translated by Claudia Gorbman. 197-227. New York: Oxford University Press, 2008.

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