MORGAN, CATHERINE P., M.M. Good vs. Evil: The Role of the Soundtrack in Developing a Dichotomy in Harry Potter and the Sorcerer’s Stone . (2011) Directed by J. Kent Williams. 139 pp. Scholars have noted various characteristics of John Williams’s film music, such as the presence of character-based themes and leitmotivic composition that creates score unity. What scholars have failed to address, however, is the link between these elements. The purpose of this paper is to develop these connections within the context of Harry Potter and the Sorcerer’s Stone , and to show that Williams utilizes specific musical elements to highlight the extremes of good and evil in the main characters. In Harry Potter , musical themes centering on the main character and his arch- nemesis aid in developing the characters themselves and highlight the tension between good and evil. Exploration of musical unity uncovers similarities among themes for specific characters as well as between different characters, which suggests a deeper connection between characters and the idea of good vs. evil. GOOD VS. EVIL: THE ROLE OF THE SOUNDTRACK IN DEVELOPING A DICHOTOMY IN HARRY POTTER AND THE SORCERER’S STONE by Catherine P. Morgan A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Music Greensboro 2011 Approved by Committee Chair APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair ____________________________________________ Committee Members ____________________________________________ ____________________________________________ Date of Acceptance by Committee iii TABLE OF CONTENTS Page LIST OF FIGURES ............................................................................................................................................................... v CHAPTER I. INTRODUCTION .......................................................................................................................................... 1 John Williams: Leitmotif, Character-based Theme, and Associative Theme ................................................................................................................................................. 8 John Williams: Score Unity ...................................................................................................... 16 Harry Potter Connection ........................................................................................................... 18 II. HEDWIG’S THEME ................................................................................................................................... 22 Harry Potter: Plot Synopsis ..................................................................................................... 22 Hedwig’s Theme ............................................................................................................................ 23 Hedwig’s Theme: Connections with Harry ...................................................................... 27 Hedwig’s Theme: Connections with Magic ...................................................................... 31 Hedwig’s Theme Projects Magic ........................................................................................... 38 Schenkerian Analysis .................................................................................................................. 39 Harmonic Analysis ....................................................................................................................... 46 Conclusion ........................................................................................................................................ 51 III. HARRY’S REFLECTIVE THEME AND THE NIMBUS 2000 MOTIVE ................................ 53 Harry’s Reflective Theme ......................................................................................................... 53 Harry in the Hut on the Rock .................................................................................................. 55 Harry’s Reflective Theme: First Night at Hogwarts and the Mirror of Erised ................................................................................................................................................ 59 Harry’s Reflective Theme: Leaving Hogwarts................................................................ 63 Harry’s Reflective Theme: Analysis ..................................................................................... 67 The Nimbus 2000 Motive ......................................................................................................... 72 Motivic Analysis ............................................................................................................................. 79 Conclusion ........................................................................................................................................ 84 IV. THE FORBIDDEN TREASURE MOTIVE AND VOLDEMORT’S THEME .......................... 86 The Forbidden Treasure Motive ......................................................................................... 87 Voldemort’s Theme.................................................................................................................... 99 Musical Connection between the Forbidden Treasure Motive and Voldemort’s Theme ............................................................................................................. 110 Harry vs. Voldemort .............................................................................................................. 113 V. CONCLUSIONS ....................................................................................................................................... 118 REFERENCES ................................................................................................................................................................. 122 iv LIST OF FIGURES Page Figure 1. Hedwig’s Theme Reduction and Harmonic Analysis ............................................................... 25 Figure 2. Hedwig’s Theme Melodic Contour .................................................................................................... 27 Figure 3. Hedwig’s Theme Opening Statement............................................................................................... 28 Figure 4. Hedwig’s Theme Phrases 1 and 2 (PIP): Arrival of Baby Harry ........................................ 29 Figure 5. Foreground Sketch Hedwig’s Theme Phrases 1-2 .................................................................... 40 Figure 6. Middleground Ć-line, Ć-line Interrupted, Ć-line Hedwig’s Theme.................................... 41 Figure 7. Hedwig’s Theme Chromatic Pitches and Altered Dominants ............................................. 45 Figure 8. Harry’s Reflective Theme First Statement .................................................................................... 57 Figure 9. Harry’s Reflective Theme, First Night at Hogwarts.................................................................. 60 Figure 10. Harry’s Reflective Theme, Mirror of Erised............................................................................... 62 Figure 11. Harry’s Reflective Theme, 3 Statements ..................................................................................... 67 Figure 12. Harry’s Reflective Theme Final Statement ................................................................................ 69 Figure 13. The Nimbus 2000 Motive .................................................................................................................... 74 Figure 14. Hedwig’s Theme X and Y ..................................................................................................................... 80 Figure 15. Hedwig’s Theme Grouping and Metric Structures ................................................................. 81 Figure 16. Harry’s Reflective Theme, X and Y Motive Fragments ......................................................... 82 Figure 17. The Nimbus 2000 Motive, X and Y Motive Fragments ......................................................... 83 Figure 18. Forbidden Treasure Motive ............................................................................................................... 88 Figure 19. The Forbidden Corridor Statement ............................................................................................... 91 Figure 20. Harry Confides in Professor McGonagall .................................................................................... 96 Figure 21. Voldemort’s Theme in Ollivander’s Shop ................................................................................ 101 Figure 22. Chromatic Neighboring Motion (m2) in Voldemort’s Theme ....................................... 103 v Figure 23. Prominent Interval Content in Voldemort’s Theme .......................................................... 103 Figure 24. Cluster and Parallel Minor Thirds (a), Shenkerian Voice Leading (b)...................... 104 Figure 25. Harry Attacked in the Forest .......................................................................................................... 107 Figure 26. Prominent Intervals, Forbidden Treasure Motive .............................................................. 111 Figure 27. Forbidden Treasure Motive Statements