The Soul of Cinema: Film Music (4th Edition)
Contents
A comprehensive guide to film music with an emphasis on how to listen to and appreciate it. The fourth edition includes new chapters on popular films and film music since 2010, as well as updated and expanded discussions of film music from around the world.
Introduction
“Cinema is the synthesis of art forms of which music is the most expressive, the most personal, and the most immediate.” This quote by Roger Ebert adequately sums up the integral relationship between film and music. Ebert, of course, is not alone in his belief that music plays a vital role in cinema. In fact, many experts have argued that film music is one of the most important, if not the most important, aspects of cinematic storytelling.
What is film music?
Film music is music composed specifically to accompany a film. The musiс can be diegetic, meaning that it is presented as part of the action on screen, or non-diegetic, meaning that it is presented separately from the action. In either case, film music serves to enhance the emotional impact of the film.
Film music has a long and rich history, dating back to the early days of cinema. One of the earliest examples of film music is “Funiculì, Funiculà,” which was composed in 1880 by Luigi Denza and used in the short film “L’Arrivée d’un Train en Gare de La Ciotat.” Since then, film music has evolved and changed to reflect the changing styles and sensibilities of each era.
Today, film music is an integral part of cinema and plays a vital role in creating an emotional connection between the viewer and the film.
The history of film music
The history of film music is a long and varied one. Early silent films used a mix of existing classical and popular music to accompany the action on screen. As the medium developed, original scores began to be composed specifically for films. This practice became increasingly common as the years went by, and by the mid-20th century, film music had become an integral part of the cinema experience.
Today, film music is more popular than ever, with new scores being composed for both big-budget Hollywood blockbusters and independent films. No matter what type of movie you’re watching, there’s a good chance that it features an original score that enhances the viewing experience.
The Function of Film Music
The relationship between cinema and music is a long and complicated one, but film music occupies a special place in the hearts of moviegoers. A great film score has the power to transform a good film into a great one, and the best scores become iconic in their own right. In this edition of The Soul of Cinema, we’re going to explore the function of film music, and how it can be used to enhance the emotional impact of a film.
The three main functions of film music
Film music has a number of important functions in the cinema. These can be broadly grouped into three main categories:
1. diegetic function: where the music is part of the action and can be heard by the characters on screen;
2. non-diegetic or source music: where the music does not form part of the action and cannot be heard by the characters;
3. extra-diegetic or commentary music: where the music reflects on or comments on the action taking place on screen.
Other functions of film music
In addition to the communicative functions of film music analysts have also identified other important ways in which music contributes to our experience of film. These include:
adding atmosphere and mood;
enhancing or growing tension and suspense;
marking the passage of time;
emphasizing the ridiculous or humorous;
establishing the seriousness of a character or scene;
acting as a counterpoint to on-screen action;
iconically representing diegetic genres such as westerns, musicals or horror movies; and
signifying changes in plot direction.
The Relationship between Film and Music
Music and film have been inextricably linked since the birth of cinema. On the one hand, music can be used to intensify the emotional impact of a scene or to convey a character’s internal state. On the other hand, film can be used to create an atmosphere or mood that would be difficult to achieve with music alone. In this book, we will explore the many ways in which film and music interact.
The different types of relationships
Music has always been an important part of film, but its role has varied greatly from one era to the next. In the silent era, films were often accompanied by live music, which helped to set the mood and underscore the action onscreen. With the advent of sound film in the 1930s, music became an even more integral part of the movie-going experience. Composers began writing original scores for films, which added another layer of meaning and emotion to the images onscreen.
Today, film music occupies a unique position in popular culture. It can be heard in everything from big-budget Hollywood blockbusters to independent films, commercials, and video games. And while some film music is created specifically for a movie, much of it is now drawn from preexisting pop songs or classical pieces that are repurposed to fit a particular scene or mood.
There are many different ways to think about the relationship between film and music. On one level, music can be seen as simply an accompaniment to the visuals onscreen. It can provide atmosphere and ambience, helping to set the tone for a scene and create an emotional response in the viewer. Music can also be used to diegetically, meaning that it becomes part of the story itself—as when a character sings or listens to music as part of the unfolding narrative.
In some cases, music may even take on a more central role in a film, serving as one of its primary characters—as in The Red Violin or Walt Disney’s Fantasia. No matter how it is used, though, music plays an essential role in our experience of cinema.
The different approaches to film music
For the majority of film history, music in film was primarily diegetic, meaning that it was coming from within the world of the film and could be heard by the characters on screen. An early example of this can be seen in D. W. Griffith’s 1908 short film THE MUSIC BOX, in which a boy sits at a music box and plays a tune; as he does, the action on screen begins to imitate the melody. However, diegetic music was not always original to the film; in many cases, it was pre-existing popular music that was used to score a scene. For example, in THE JAZZ SINGER (1927), the first feature-length film with synchronized sound, Al Jolson sings “Dirty Hands, Dirty Face” and “Blue Skies” as part of his vaudeville act before breaking into dialogue. In both of these examples, diegetic music functions primarily as entertainment for the characters on screen and for the audience watching them.
With the advent of sound cinema in the late 1920s, filmmakers began to experiment with non-diegetic or source music, meaning music that exists outside of the diegesis and cannot be heard by the characters on screen. This type of music is usually introduced via montage sequences or dream sequences and is often used to convey emotional states that cannot be expressed through images or dialogue alone. One early example of non-diegetic music can be seen in Edward Sedgwick’s OUR Gang short MUSH AND MILK (1933), in which a montage sequence set to “Smile, Darn Ya, Smile!” accompanies Andy Samuels’ daydream about being wealthy. Another early example can be seen in Alfred Hitchcock’s MARNIE (1964), in which Bernard Herrmann’s score accompanies Sean Connery and Tippi Hedren during a series of flashbacks relating to Marnie’s childhood trauma.
With the introduction of sound cinema came an increased use of leitmotifs, recurring musical themes associated with specific characters or objects that appear throughout a film. These themes serve to underscore important plot points and maintain narrative coherence across multiple scenes and shots. One early examples of leitmotif can be found in Carl Theodor Dreyer’s THE PASSION OF JOAN OF ARC (1928), which features several leitmotifs associated with Joan herself as well as with key objects and events within her story. Another example can be found Sergei Eisenstein’s ALEXANDER NEVSKY (1938), which features a recurrent leitmotif known as “The Battle Hymn of Nevsky” that underscores Alexander Nevsky’s victories over his enemies both on and off the battlefield.
With the introduction of sound cinema also came an increased use of Voice-over (VO) narration, which is often used to provide background information or exposition that would otherwise be difficult to conveyed through images or dialogue alone. In some cases, VO narration is used to bridge together diegetic and non-diegetic elements within a single scene; for example, in Orson Welles’ CITIZEN KANE (1941), Charles Foster Kane’s dying words are heard over a series of non-diegetic flashbacks set to Bernard Herrmann’s score. In other cases, VO narration is used to connect together disparate sequences within a larger whole; for example, voiced letters are read aloud over different scenes in Max Ophüls LE PLAISIR (1952) as a way of linking together its three vignettes about love and pleasure
The Development of Film Music
The early years
The early years of film music were dominated by two men: Richard Wagner and John Philip Sousa. Wagner, the great German opera composer, was one of the first to see the potential of film as a new art form. His work on the score for The Birth of a Nation (1915) was revolutionary. He used leitmotifs – short, recurring musical themes that represent different characters or ideas – to great effect, creating a whole new way of telling a story in music. Sousa, the “March King”, was equally influential in early cinema. His rousing military marches were perfect for adventure films and helped to create the exciting, larger-than-life atmosphere that audiences loved.
As cinema developed in the 1920s and 30s, so did film music. New genres such as the musical and the screwball comedy demanded new styles of scoring, and composers rose to the challenge. Irving Berlin wrote some of his most famous songs for films like Top Hat (1935) and Holiday Inn (1942), while Duke Ellington created jazz masterpieces for movies like Cinderfella (1960) and Anatomy of a Murder (1959).
Meanwhile, in Europe, composers were experimenting with different ways of using music in film. Sergei Prokofiev wrote scores that commented on the action on screen, while Erich Wolfgang Korngold created lavish, romantic soundtracks that added to the drama of films like The Adventures of Robin Hood (1938) and The Sea Hawk (1940). These European composers would have a profound influence on American film music in the years to come.
The development of film music in the 20th century
There are four main periods in the development of film music in the 20th century. Each period is defined by the prevalent style of music at the time and the particular challenges faced by filmmakers and composers.
The first period, from the late 1800s to the early 1920s, is known as the silent era. During this time, films were not yet synchronized with sound, so music was often used to provide emotional cues to audiences. This meant that composers had to be very creative in their use of instruments and sound effects to convey the desired mood.
The second period, from the early 1920s to the late 1930s, is known as the golden age of Hollywood. During this time, films were fully synchronized with sound, allowing composers to score entire scenes with music. This led to a greater use of leitmotifs, or recurring musical themes, to reinforce certain characters or emotions throughout a film.
The third period, from the late 1930s to the late 1950s, is known as the silver age of Hollywood. This was a time when film scores became more complex and expansive, often featuring entire orchestras and choirs. This period also saw the rise of popular songs being used in films, which became particularly important during World War II when patriotic songs were used to bolster morale.
The fourth and final period, from the late 1950s to present day, is known as the new Hollywood era. During this time, film scores began incorporating electronics and synthesizers alongside traditional orchestral instruments. This led to a more experimental approach to film scoring and a greater focus on creating unique sonic worlds for each film.
The Future of Film Music
The future of film music is an exciting and ever-changing field. With the advent of new technology, film music is constantly evolving and becoming more accessible to filmmakers and audiences alike. This edition of The Soul of Cinema explores the future of film music and its impact on the industry.
The challenges faced by film music
There are challenges facing film music, particularly in the area of ownership and control. With the ever-increasing power of the major Hollywood studios, it has become more difficult for composers to retain control over their work. In addition, the recent trend toward “temp scoring” – using preexisting music to temp-track a film during editing, rather than commissioning an original score – has reduced the role of the composer in the filmmaking process. As a result, many composers are finding it difficult to make a living solely as film and television composers.
The potential of film music
Given the current state of the film music industry, it is clear that the potential for growth and innovation is tremendous. In recent years, we have seen a steady increase in the use of digital technology in film music composition and production. This trend is likely to continue, and we believe that the future of film music will be defined by the use of new and emerging technologies.
One of the most exciting aspects of this trend is the increased potential for collaboration between film composers and other artists from different disciplines. As digital tools become more commonplace, it will be easier for composers to work with visual artists, sound designers, and other creative professionals to create truly unique and innovative works of art.
We are also seeing a renewed interest in traditional orchestral scoring, as well as a growing appreciation for more experimental and avant-garde approaches to film music composition. In both cases, there is a clear demand for new and interesting ideas, which we believe will result in a more diverse and vibrant film music industry in the years to come.
