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Phillip Barry Taig the Musicality of the Sublime Romantic Sensibilities

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Phillip Barry Taig the Musicality of the Sublime Romantic Sensibilities Phillip Barry Taig The Musicality of The Sublime Romantic sensibilities in film music The Conservatorium of Music (Musicology) The University of Sydney A thesis submitted to fulfil requirements for the degree of Master of Music (musicology) by research Awarded 11/01/2021 2 I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Phillip Taig 28/9/2020 3 In acknowledgment and in dedication I am grateful to all the staff of the musicology department and at the Conservatorium of Music, Sydney, for sharing their knowledge and welcoming me in friendship. In particular, I am extremely grateful for the scholarship, wisdom and friendship of my supervisor, Associate Professor Goetz Richter. His guidance and understanding of music and philosophy proved potent and perceptive time and time again. I dedicate this work to my wife, Julie, without whom I would not know love and the true value of living life well. It was she who encouraged me to undertake this study, and supported me with her brilliant mind, her musicianship, and her enthusiasm for embracing opportunity. She is the true beginning of my passions. 4 CONTENTS Title page 1 Acknowledgment and dedication 3 Contents 4 Abstract 6 INTRODUCTION 7 A beginning… 8 Symphonic orchestral film music 10 A concise history 11 Matters not so straightforward 13 The Aesthetic 15 The Romantic DNA 16 Adumbration of the argument 20 A brief summary of the philosophical argument 24 CHAPTER ONE 26 Symphonic orchestral film music 26 Exemplars 27 A note of clarification 33 CHAPTER TWO—PHILOSOPHICAL 38 Das Musikalische 38 Schiller’s concept of Das Musikalische 39 Spieltrieb 41 Extension of the concept of musikalische 43 Musical and language 45 The Crisis of the Enlightenment 51 The political aesthetics of Romanticism 54 New Mythology, Longing and the Sublime 61 CHAPTER THREE—HISTORICAL 68 A history of the dark sublime aesthetic From philosophy, to art, to entertainment 68 An emerging gothic sensibility 69 Gothic Noir and the Sublime 77 Symphonic Music and the Gothic Noir 79 Victorian Melodrama 84 Melodrama in film 89 Underscoring film 92 5 CHAPTER FOUR 96 A mythological interpretation of a symphonic aesthetic 96 An identity crisis 99 Thinking about mythology 101 The character of mythical thinking 104 Wagner’s new mythology 108 The philosophical complexion of mythology 110 Like a chorus in a tragedy 114 Nietzsche’s insight and film music 116 Wagner’s take on mythology 119 Wagner’s force of musicality 122 Myth making at Bayreuth 125 Wagner and filmic Leitmotive 127 CHAPTER FIVE 136 Romanticism applied: a brief interlude 136 The novella and the film 139 Personal cinematic experience 143 CHAPTER SIX 147 Romanticism applied: two examples explicated 147 Opening credits on Bond 148 Bond as Don Juan 150 Film music and mood 152 Apollo and Dionysius fight for Gotham 154 Pan-diatonic harmony transformed 158 Musical gestures and tropes 162 CONCLUSION 166 YOUTUBE REFERENCES 169 FILMOGRAPHY 172 BIBLIOGRAPHY 174 6 ABSTRACT This thesis gives a cultural and philosophical account of the meaning of music through the analysis of romantic film music as it underscores dramatic, narrative film. The argument is furnished by thinkers and poets of the Romantic revolution in thought, language and sensibility that took place at the end of the eighteenth century and into the first third of the nineteenth century. The main claim is that romantic orchestral music is particularly suited, and has become ubiquitous as a standard, for expressing the darkness of the human heart; exhilarated and awed by the thrills and terrors of the sublime; elated and tortured by its pleasures and pains; recognizing that even happiness, pleasure and love are underwritten by the dark reality of our divided selves engaging a world riven by contradictions. Schiller’s conception of das Musikalische, as a pre-conceptual reflection of the importance of music, provides a potent starting point for this argument. The ability of music to express a characteristic darkness, which finds its way into romantic orchestral film music, is enlisted precisely because only it can express such darkness in consonance with the existential and chiaroscuro darkness of film and cinematic experience as a spectacle of the sublime. Chapter one cites some examples of symphonic orchestral film music in order to locate the style of music to be discussed. Chapter two presents a philosophical argument that justifies the main claims of the thesis. Chapter three presents a concise historical account, connecting the dark sublime of romantic literary practice with the evolution of dark themes in popular entertainment, leading eventually to the films of Hollywood’s Golden Era. Chapter four connects the mythological programme of Wagner’s conception of music drama with the New Mythology of the Romantics, and demonstrates how this programme came to influence symphonic film music. Chapters five and six give a musical and filmic analysis that illustrates the claims made throughout the thesis. Chapter five examines an instance of music composed in the late-Romantic period being applied to a film. Chapter six gives a detailed analysis of two films that demonstrate abundantly the application of a dark sublime aesthetic to cinematic experience through the use of symphonic orchestral film music, and extends the insights gained to other, illustrative examples. 7 INTRODUCTION The studio executives were concerned about Merian C. Cooper and Ernest B. Schoedsack’s film King Kong (1933).1 Willis O’Brien’s animated model of King Kong rampaging through a model New York was drawing derisive laughter from test audiences rather than gasps of horror. Viewed in silence (watch the clip with the mute on), the technics of animation seemed ridiculous. Their solution was to call upon the services of the composer, Max Steiner, who was tasked with the composition of music that would instil terror in the hearts of the audience as they watched King Kong rampage through the metropolis of New York. (Now watch the same clip with the sound turned up.) Steiner was to find in King Kong a film, “…made for music—one which allowed you to do anything and everything.” It proved to be a watershed moment in the underscoring of film (at least in Hollywood legend), for Steiner had demonstrated resoundingly that music had, “…the power to add a dimension of reality to a basically unrealistic situation…”2. What can Steiner’s assessment of film and music tell us about the 1 King Kong (1933) – Climbing the Empire State Building Scene (9/10)/Movieclips, accessed September 28, 2020, YouTube video, 3:33, https://www.youtube.com/watch?v=8qkahQVFzMI 2 Christopher Palmer, The Composer in Hollywood. (London, New York, Marion Boyars:2 Christopher 1990 )Palmer, 27-8 The Composer in Hollywood. (London, New York, Marion Boyars: 1990) 27-8 3 James Wierzbicki, Film Music: A History. (New York & London, Routledge, 2009). 8 complicated relationship between music and meaning? A beginning... The critical thinking motivating this thesis began with the simple observation that symphonic orchestral film music is a widespread, ubiquitous choice of filmmakers, composers and orchestrators for underscoring filmic creations. Whether that creation is a film shown in the cinema, broadcast on television, streamed online, or an action-packed game played on a computer, symphonic orchestral film music seems to be the go-to choice for underscoring dramatic emotions in any context that evokes the complex interior feelings typically associated with the darkened, chiaroscuro cinema. To anticipate somewhat the conclusion of this thesis, an argument will be put forward that symphonic orchestral film music trades principally in a dark sublime aesthetic that says something radical and profound about our subjective experience in the world and our contemporary culture. Of course, there is no one definitive description of subjective experience, given that it is particular to each individual. But a general account can be given with some measure of confidence, because there are experiences identifiable through objective and communicable processes, demonstrably 9 held in common through the power of imagination and memory, creatively and discursively recreated in the arts and sciences. In the case of this thesis, the common experience to which it will be argued that symphonic orchestral film music refers is the experience of conflicting emotions, connected with the rise of a self-consciously individual response to the unprecedented social and political changes wrought by the advent of modernity in the age of revolutions from the seventeenth-century onwards. In particular, we will derive our understanding of this feeling of autonomous individuality from the romantic revolution in thought and sensibility that arose in response to world-shaping events such as the American Revolution (1775-1781), the French Revolution (1789), and the Industrial Revolution that evolved and expanded throughout the nineteenth and twentieth centuries from its beginning in mid-eighteenth century England. This romantic revolution formed in response to the Enlightenment concept of universal critical reason, the universal declaration of the ‘Rights of Man’, and the social implications of the application of critical reason to technologies that both promise and threaten freedom. The most potent and varied articulation of this romanticism, to which we will refer, is that of the thinkers and poets
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