importance of music in film essay

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Importance of music in film (essay)

Works cited.

• Cooke, M. (2008). A history of film music. Cambridge University Press.
• Karlin, F. & Wright, R. (2004). On the track: A guide to contemporary film scoring (2nd ed.). Routledge.
• Kassabian, A. (2001). Hearing film: Tracking identifications in contemporary Hollywood film music. Routledge.
• Kerman, J. (1985). Contemplating music: Challenges to musicology. Harvard University Press.
• Lack, R. (2013). Film music and the sonic imagination. Routledge.
• Larson, R. (2013). Film music in the sound era: A research and information guide. Routledge.
• Pople, A. (2002). A composer's guide to film music. Yale University Press.
• Schellhase, E. (2014). Music and sound in documentary film. Routledge.
• Smith, G. (2010). A history of film music. Cambridge University Press.
• Wierzbicki, J. (2009). Film music: A history. Routledge.

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The Role of Music in Films Essay

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Introduction

Literature review, methodology, findings and analysis, similarities in the two compositions.

Bibliography

The main objective of the research thesis will be analysis of distinctive music based on the concepts of tone, composition, and literary styles. Also, the paper will identify sound effects such as ambient sound within the musical score incorporated to complete other effects such as digenetic sounds dependent on sight upon hearing within different cultures. The objective captures the musical composition by Philip Glass in “ The Hours ” film and Anton Karas in “ The Third Man ” film on the significance of these compositions and distinguish unique characteristics in each. Besides, the treatise identifies literary styles such as repetition, rhyme, and esthetic functionality to create right mood and support various themes narrated in motion picture films.

Music expression in motion picture films assumes different models which often operate simultaneously. Overtime, various authors have investigated these models. Interestingly, these models share same components on the basis of listener, performer, and composer. This part elaborates and comprehensively expands the understanding of significance of musical composition and soundtracks in motion picture films to create an elucidated and in-depth interrelationships existing between image motion and music in the background.

Anton Karas’ composition in the film “ The Third Man ”

Anton Karas performed the score in the film “ The Third Man” . This composition include zither instrument sound common in the late 1940s and early 1950s. In order to depict the mood of the post Second World War in Vienna, the narrative to the film “ The Third Man” demanded appropriate music away from the usual heavy schmaltzy mixed with ‘orchestral waltzes’.

Since Anton Karas music consists of fascinating jangling music of melancholy nature, Reed adopted this kind of music for the score of the film “ The Third Man”. Also referred to as “The Harry Lime Theme”, this instrumental composition by Anton formed the sole soundtrack for the entire film. Zither composition appreciated culture of Vienna at the time of its release. Reflectively, this composition was a melody modification from a practice book. Released as a single, this composition had the “Harry Lime theme” on side A, and “Café Mozart Waltz” on side B 1 .

Philip Glass composition in the film “ The Hours”

An American born composer, Philip Glass is recognized for his contribution in classical music composition in the 20 th century. Philip’s composition is controversially referred to as minimalist. As a soundtrack composer in the film “ The Hours” , Philip presents himself as an author of repetitive structured music which has stylistically evolved over time. The background music for the film “ The Hours” presents a prolific composition which ensembles symphonies, chamber music, and operas 2 .

This romantic and lyrical style played out in the film score for the motion picture film “ The Hour” . Evocated in thematically instigated improvisatory chords, sound tracks for this film demonstrate chamber textured orchestral classic technique of rigorously and precise popular excursions in modern composition 3 . In addition, these soundtracks are inclusive of a fusion of electronic music, ambient music, and world music.

In order to present a clear understanding in of significance of music composition by Philip Glass in “ The Hours ” and Anton Karas in “ The third Man “, it is essential to review the unique feature of each composition and relate them to the themes, that is, qualitative and quantitative analysis of symbolic ‘tonation’, and movement as part of the desired outcome in terms of perception by the audience. Music composition is more than just the sound especially in movies. It reflects the mood of the displayed motion pictures and explains themes through sound.

Through physical observation of the motion pictures in each of the films and the soundtrack in the background for every scene, it is important to interpret the significance of each composition by use of literary analysis tools such as observation of symbolism, ‘tonation’, mood of each episode, the character traits of each character, and other compositions by the same authors. Notwithstanding, the methodology includes analysis of “The Harry Lime Theme”, an instrumental composition by Anton which formed the sole soundtrack for the entire film called ‘Zither composition’ and this style appreciated culture of Vienna at that time after the Second World War 4 .

Analysis of role of music in the film “The Third Man”

The film “ The Third Man ” is often described as a classical masterpiece of the early 1950s due to its unique theme and musical composition by Anton Karas 5 . The unique musical composition score, cinematography, and performances have perfectly fused the narrative by Graham Greene and artistic music by Anton using zither only. Across the film, zither music has expressed the main theme especially when the characters interact depending on emotion and the mood in every scene. Therefore, this part reflects on role of artistic composition by Anton in the scenes across the movie.

The type of music used as soundtrack for the movie “ The Third Man” is a composition of Zither. A single but frothy composition, this kind of music best suits the culture of Vienna at the time of its release, as it symbolizes evocation purpose especially after the aftermath of the Second World War. To align to the traditional setting aspects on production design and the society, this composition heightens hyper-real palate of emotional expression 6 . Moreover, this choice of music was essential in the need for a proper balance of production aural, sound accordion, and permeates scenes. Subsequently, this balance has facilitated the addition of decadent love feeling across the film and in the cast. Therefore, the choice of instrument used and monotony of the soundtrack in the film “ The Third Man” to create the unique coded sounds for recognizable geographical access 7 .

In line with the nature of structures at the time of its release; bombed buildings, decaying facades, and cracked streets, the sound of the background music from zither creates an enigmatic visual production laced with an in-depth feeling of historical dark moment expressed via creation of a sound production that is laced with instrumental creation of dread. To dramatize this state, the score was created by Anton and directed by Carol Reed.

In addition, this composition presents the instinct of two extreme situations to the viewers. As viewers absorb the acts in oppressive scenes, Anton Karas’ music composition creeps in the background of the motion pictures and create a caricature in the minds of the audience as a reminder of the lost in the just concluded war such as destroyed buildings, cracked streets, and poor lighting. Besides, this juxtaposition startles with its hallmark score of single instrumentation to create successful film music for the movie “ The Third Man”.

Throughout the film, Karas’ musical composition has helped to fine tune the two main themes of “The Harry Lime Theme” and “The Café Mozart Waltz Theme”. Musically, this presentation is but a simple expression of various themes occurring in a series of events. Intrinsically, on the facets of nostalgia, these variations speak tones of dormant and tonic expression to create a sentimental charm carried outside the frame of viewing. Besides the “Harry Theme” and “The Café Mozart Waltz” theme create a lilting melody of more ironic nature especially with the arrangement of dormant and tonic expressions aligned to perfectly fit in the context 8 .

The sound in this composition is uniform, with rich, deep bass strings, proper ‘tonation’, and upper register brightness. Besides, the performance of this masterpiece composition on zither instrument creates a feeling of sensitivity and general panache. According to Richard Wagner, proper use of musical instrument in film soundtrack creates a feeling of complete uniformity as it expresses the hidden components which cannot be explained by mere words 9 . Therefore, to create a comfortable impact, the composition of this film is solely from Anton who perfected the balance between consummated symbolism and cinematic images. Anton, in his creation, used catchy and ‘twangy’ soundtrack music for the background of the film to work out a match between the displayed images and emotions.

Analysis of the role of music in the film “ The Hours ”

Philip Glass musical composition for the film “The Hours” is often described as a comprehensive repetitive art since it contain numerous emotive haunting, and lyrical music produced by Glass. This composition perfectly and superbly complements the theme of the movie and expresses different emotions as displayed by motion pictures. Philip’s composition in the movie “ The Hours” has transformed this motion picture film into a powerful drama.

In the film background, Glass uses repetition for emphasis of emotional balance and mood across the shots or scenes 10 . This kind of musical composition is unique in the sense that it uses cycle system most appropriate for the theme of the film “ The Hours”. In the film, Stephen Daldry’s narrative is a collection of script representing three different women who live in different dimensions of time, but are represented as coexisting simultaneously in one film.

Music is symbolic of the invisible aspects of emotive and themes in a piece of literature such as motion picture film. Across the film, Glass’ music is consistent though repetitive and lavish especially on the facets of non-separately rhymes and swirling music. In order to fully understand the kind of music use in the film, it is of essence to reflect on repetition, the magnitude of the same, rhymes and rhythm, and their connection to what is displayed in the screen 11 .

As a matter of fact, Glass’ musical composition in the film is described as a score which defines synopsis of the storyline by application of reacquiring esthetic, dramatic, visionary, and pleasing soundtrack which appeals to the audience. Besides, this masterpiece has been used by the director to lightens up intense scenes and provide a compact connection between different scenes occurring concurrently. In line with Glass’ composition, the repetitive music reflects what is displayed in the screen.

In the process of creating ambience and affirming the plot, musical composition in the film “ The Hours” is the most appropriate for the film. The features such as repetition and rhyme creates a lasting impact that artistically facilitates the evocation of emotions of the cast of characters, while at the same time, making the viewers develop same notion and feeling. In instances where repetition is frequent, the audience is in a position to predict the mood and prepare for an eerie infatuation of tension or joy 12 .

Without Glass’ composition, the film would be incomplete and almost impossible to understand especially on the periphery of emotional display. Interestingly, this kind of music evokes sensation and relates situational occurrences across the shots. For instance, a slow dragging composition would inform the audience of sadness, and a light song resonate a relaxed mood the character feels. Therefore, a happy composition lightens the perceived mood in the film 13 .

Stephen Daldry’s film “ The Hour” cannot function properly without Glass’ composition as its soundtrack. Despite the different time setting for the three women balanced simultaneously in the film, Glass’ music bridges the gap of variance in time through repetition. The main actor, Virginia Woolf displays minute kindness acts, randomly swinging moods, deviation from normalcy. These tendencies are artistically brought out in the film through use of music to depict in different emotions.

In the words of Virginia Woolf, “the question of things happening, normally, all the time” 14 is vital in selecting the right composition for a film soundtrack. The nonesuch composition by Glass comes in handy to solve the puzzle. The abrasive mixture of harmonies in this composition signifies loathing uncertainty, and faster rhythm signifies pursuit, and sustained high pitch is symbolic of prosthetic horror heralded to ensure that the audience gives the film undistracted attention 15 .

This music signifies emotions besides suggesting the same in the film. As an aspect of narrative cueing, this composition has referential significance as it reflects on formal demarcation, establishing character traits and geographical setting as an indication of connotative intercepts and events occurring simultaneously as a illustrated by motion pictures. In addition, Glass’ music offers continuity to the film by use of repetition. Through rhythmic continuity and formal shots, this aspect creates a consistent and in-depth transition from a scene to another as it fills the gaps found between two scenes. Glass states that “writing music is listening to music; you don’t have to imagine it, it’s already there” 16 . Through series of consistent variation and repetition in the instrumentation and musical material, this musical composition facilitates contraction of relevant and formal unity in the story line and synopsis.

Glass’ music conveys the thoughts, feelings, and internal life of characters in the film “ The Hours”. In the process of augmenting expressed but unspoken implications and thoughts, this composition creates an interesting tool for understanding the underlying drama and psychological refinements. Through “The Hours” score, each character is conveyed and associated with a composition theme, that is, the audience is able to associate a particular sound to a character or character trait of that character.

Without Glass’ composition, this aspect would remain void and various character traits and significance of a character would not be fully realized or altogether cease to function symbolically 17 . A cross the shots, use of music to personify a character are consistent and communicate coherent ideas which are defined clearly to maintain the created identity especially when the same has been modified in the previous appearance. In the process, this aspect of music purpose to symbolically represent a trait, idea, mind state, and place 18 .

Reflectively, the music used in these two films coalesces on the same symbolic meanings to create a sense of sequential order. On this facet, these compositions are intrinsic of same sound movements. Though these compositions are simple in creation, they represent a recurrent theme characterized by emphasis on the beginning and ending. Moreover, these compositions assign connotation to align ambiguity to memory and visualization of scenes.

Conclusively, Anton and Glass have succeeded in incorporating their composition as soundtrack for the films “ The Third Man” and “ The Hours” respectively. Accented on attentive structure alignment, focusing devise in understanding the role of musical composition in a film should be inclusive of a continuum of relevant score as component of digenesis which allows the viewers to make prior judgment and remain attentive as the film rolls. Generally, from the stimuli created by movie excerpts and series of dynamic structural alignment, Anton and Glass’ music have played dominant role as associational judgment shifts from accent structure to receding support role in these films.

Boltz, Marilyn. “Musical Soundtracks as a schematic influence on the cognitive processing of filmed events”. Musical Perception 18, no. 4 (2001): 427-454.

Cohen, Annabel. “Music as a source of emotion in film. ” In Music and Emotions: Theory and Research , edited by Patrik Juslin, 21-34. New York: Oxford University Press, 2001.

Grenade, Anthony. The Hour. DVD. Directed by Daldry Stephen. 2002. Los Angeles, LA: Sound trackers, 2002.

Soderbergh, Steven, and Gilroy Thomas. Commentary of The Third Man . IMDB, 2007. CD.

Zingale, John. The Third Man . DVD. Directed by Carol Reed. 1949. London, UK: Liverpool University, 1951.

• Anthony Grenade, The Hour, DVD, directed by Daldry Stephen (2002; Los Angeles, LA: Sound trackers, 2002.), DVD.
• Grenade, The Hour
• Annabel Cohen. “Music as a source of emotion in film ” , in Music and Emotions: Theory and Research , ed. Patrik Juslin (New York: Oxford University Press, 2001), 31.
• Cohen. “Music as a source of emotion in film , 37.
• Steven Soderbergh, and Gilroy Thomas. Commentary of The Third Man (IMDB, 2007.), CD.
• Marilyn Boltz, “Musical Soundtracks as a schematic influence on the cognitive processing of filmed events,” Musical Perception 18, no. 4 (2001): 432.
• John Zingale. The Third Man , DVD, directed by Carol Reed (1949. London, UK: Liverpool University, 1951.), DVD.
• Annabel Cohen. “Music as a source of emotion in film ” , in Music and Emotions: Theory and Research , ed. Patrik Juslin (New York: Oxford University Press, 2001), 39.
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IvyPanda. (2020, June 17). The Role of Music in Films. https://ivypanda.com/essays/the-role-of-music-in-films/

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IvyPanda . 2020. "The Role of Music in Films." June 17, 2020. https://ivypanda.com/essays/the-role-of-music-in-films/.

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IvyPanda . "The Role of Music in Films." June 17, 2020. https://ivypanda.com/essays/the-role-of-music-in-films/.

The Functions of Film Music: Essay Example

Introduction.

Music plays an important role in films. Music helps the audience to be able to capture the atmosphere of various scenes, and this enables the audience to understand the plot better.

By incorporating music in film, it is possible to arouse emotions through the characters in the movie or film so that the audience is able to share what the characters experience.

When music is played together with film, the audience is able to perceive through both sight and hearing. This paper will discuss how music has been used in the movie Curious Case of Benjamin Button.

Movie Overview

The movie is based on a short story by Scott Fitzgerald, which goes by the same title. The movie tells the story of reverse aging, and it is directed by David Fincher. The main character, Benjamin, is born while aged and grows younger and eventually dies as an infant. Music and dance have been incorporated to achieve different effects.

The music is directed by Alexandre Desplat, and features include various songs like a moment of greatness by immediate music, my body in a cage by Arcade Fire, the return by APM. Didn’t Leave Nobody but the baby, Ill fly away and a song by the beetles (twist and should). In total, the songs used in movie number forty-five and were used to produce the soundtrack and score for the movie.

The music played at the beginning of the movie is slow and soft but increases to become a little bit and then continues slowly again. The first scene in which the music plays lasts for around three minutes and five seconds during the introduction part of the movie.

When the soundtrack is played, it easily arouses emotions that lead to deep reflection, and as a consequence, the audience remains alert as it draws one towards being attentive. The soundtrack can also lead one to perceive that the visual images appearing on the screen are those of the countryside.

Therefore it can be said that the main role of the introductory music at the beginning of the movie is to set the geography and period for the movie, this mainly seeks to capture the attention of the audience before the story of the movie unfolds (Adapted from Functions of film Music by Oppenheim, 1997-2010, Para 1-4).

The music that plays in the scene where Benjamin is alone at night lasts for two and a half minutes.Through this piece of music, the audience is able to capture the feelings of sadness that characterize Benjamin’s life at this particular moment in his life, and it is conclusively be said that the use of this piece of music in this particular scene is to provide emotional focus.

A piano is used to create the musical beats used for the performance of the bethena song within the movie. The majority of the songs used for the soundtrack and score of the movie are jazz compositions by the Hall jazz band and various orchestra bands. Seven of the songs that are featured in this movie belong to the Hall Jazz Band.

The other music contributors are various orchestra groups like the Orchestra Del Teatro San Carlo, Frank Trumbauer and His Orchestra, Louis Armstrong and his cotton orchestra band and a host of other bands, individual and group singers(Reel soundtrack blog, 2008, para 1)

Based on this, it can be concluded that the source music for the movie is jazz. There is a prolonged play of music in the scene sunrise on Lake Pontchartrain, which lasts for about three and a half minutes.

This soundtrack is mainly used to capture the cool serenity associated with the lakeside, and this greatly enhances the imagination of the audience on how spectacular watching the sunrise near the lake would be like. The importance of using this piece of music at this point clearly helps to define the location in the movie (Oppenheim para 5-8).

A composition of jazz by Schubert is performed in a scene where the character Daisy goes to audition for ballet dance. Although the music plays for a very short period of time, the character Daisy is able to hear the music.

In another scene, Benjamin watches Daisy dancing during the night, and it seems like Benjamin was hearing the music playing in the background. Dasiy is also able to hear the music playing in the background again in another scene which takes place in her ballet school (Reel soundtrack blog para 1)

There is the probability that music appears in the plotline in order to build the characters of Daisy and Benjamin. The score in the two instances is sorrowful jazz, which also serves to elicit an emotional response from the audience.

Classical music has been used in the movie to set the location and time for different scenes in the movie. Classical jazz music, as used in the movie, seems to be majorly associated with the middle class. Benjamin Button and his friend Daisy are fond of Jazz music, and the music is used to develop their character and shape their roles in the movie.

Works Cited

Oppenheim, Yair. “The Functions of Film Music”.2010.

Reelsoundtrackblog. “ All 45 Songs from The Curious Case of Benjamin Button ”.2008.

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The Role of Music in Film: How Soundtracks Enhance Storytelling

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Music is an integral part of our lives, subtly shaping our moods, emotions, and experiences. It’s no surprise that it plays a pivotal role in the world of cinema as well. When used skillfully, music can heighten tension, evoke deep emotion, or provide rhythm to a film’s narrative flow. It’s not just a background element, but a key component that enhances storytelling, making the cinematic experience more immersive and impactful.

This blog post aims to delve into the critical role of music in film. We’ll explore the evolution of music in cinema, from its humble beginnings in silent films to today’s intricate scores. We’ll discuss how composers craft soundtracks to underscore the narrative, amplify emotional depth, and even influence pop culture. Through this exploration, we aim to shed light on the complex relationship between music and film, demonstrating how they work in harmony to create unforgettable stories. Whether you’re a film buff, a music lover, or someone intrigued by the creative process, this journey through the world of film scores promises to be enlightening and engaging.

The History of Music in Film

The history of music in film is a fascinating journey that reflects the evolution of technology and artistic expression. In the early days of cinema, during the silent film era of the late 19th and early 20th centuries, films were anything but silent. Live musicians, often pianists or small orchestras, would perform in the theater, providing a dynamic soundtrack that brought the on-screen action to life. This live accompaniment helped set the mood, punctuate comedy, and heighten drama.

With the advent of ‘talkies’ in the late 1920s, synchronized soundtracks became possible. The Jazz Singer (1927) was one of the first major films to include synchronized music and dialogue, marking a significant turning point in cinematic history. This development opened up new possibilities for film scoring, allowing composers to create intricate, timed scores that could underscore the narrative more effectively.

As film technology advanced, so did the role of music. Composers like Max Steiner, Bernard Herrmann, and John Williams emerged, each leaving their indelible mark on cinema. Steiner’s score for King Kong (1933) is often cited as one of the first instances of a fully original, thematic film score. Herrmann’s innovative use of instrumentation in movies like Psycho (1960) pushed boundaries, while Williams’ iconic themes for Star Wars (1977) showcased the power of leitmotifs and symphonic scores.

Through the decades, music has continued to evolve and adapt to the changing landscape of film, always serving to enhance the storytelling process. It’s a testament to the power of music that some of the most memorable moments in film are inextricably tied to their scores.

Understanding the Role of a Film Score

The film score is an often unsung hero of cinema, silently working in the background to enhance the viewer’s experience. But what exactly is a film score, and what role does it play in a movie?

A film score is original music written specifically to accompany a film. This can include everything from full orchestral pieces to electronic soundscapes. The score forms an integral part of the film’s soundtrack, which also includes dialogue, sound effects, and sometimes pre-existing music.

The film composer’s job is to create music that underscores the narrative journey of the film. They work closely with the director and the sound design team to craft a score that complements the pacing, tone, and emotional arcs of the story. Their work starts with understanding the script, the characters, and the director’s vision for the film.

A well-crafted score can subtly guide the viewer’s emotional response to the story. It can build suspense in a thriller, evoke wonder in a fantasy, or heighten the heartbreak in a drama. It can also help to establish setting and character, with specific themes or musical motifs associated with different characters or locations.

In essence, the film score is a powerful storytelling tool. It enhances the visual narrative, adding depth and dimension to the cinematic experience. It’s the emotional pulse of a film, quietly shaping our journey through the story.

The Art of Using Music to Enhance Emotion in Film

Music has a profound ability to evoke emotion, and in film, it is deftly used to amplify the emotional undercurrents of the narrative. The art of using music to enhance emotion in film is a delicate balance of subtlety and impact, requiring careful consideration of timing, tone, and theme.

A poignant piece of music can underscore an emotional scene, making the audience feel the characters’ joy, despair, fear, or triumph more intensely. For instance, a slow, melancholic melody might play during a character’s moment of loss, deepening the viewer’s sense of sorrow. On the other hand, an uplifting, triumphant score can make a victory scene feel even more exhilarating.

However, the power of music isn’t only about matching the mood of the scene. Sometimes, contrasting music can be used to create dramatic irony or tension. A classic example is the use of cheerful or seemingly innocuous music in a suspenseful or horrifying scene. This creates a dissonance that can unsettle the viewer, making the scene even more impactful.

The use of recurring musical themes, or leitmotifs, can also enhance emotional storytelling. By associating certain melodies or motifs with specific characters or ideas, composers can evoke an emotional response from the audience whenever that theme is played.

Music in film is a language of emotion. It speaks directly to our feelings, bypassing logic to tug at our heartstrings. When used effectively, it can transform a simple scene into an unforgettable cinematic moment.

The Use of Leitmotif in Film Scores

Leitmotif, a term borrowed from the world of opera, plays a significant role in film scoring. A leitmotif is a recurring musical theme associated with a particular character, idea, or situation in a film. It serves as an auditory cue, subtly guiding the audience’s emotional response and understanding of the narrative.

One of the most famous examples of leitmotif usage in film is probably John Williams’ score for the Star Wars saga. Each major character has their own theme, instantly recognizable and evoking specific emotions or associations. For instance, Darth Vader’s ominous “Imperial March” immediately signifies danger and evil, while the heroic “Star Wars Main Theme” conjures images of adventure and bravery.

In the Lord of the Rings trilogy, composer Howard Shore uses leitmotifs extensively to represent different characters, cultures, and places. The ethereal, haunting theme associated with the Elves, for example, perfectly encapsulates their ancient wisdom and otherworldly nature.

Leitmotifs can also evolve along with the characters or narrative. For example, in the Harry Potter series, composer John Williams introduces a light, whimsical motif in the first film to represent the wonder of discovering the magical world. As the series progresses and the tone becomes darker, the motif is adapted and transformed, reflecting the changing circumstances and mood.

The use of leitmotif is a powerful tool in a composer’s arsenal, allowing them to weave a rich auditory tapestry that complements and enhances the visual storytelling. It creates a sense of continuity and thematic cohesion, making the film score an integral part of the narrative journey.

The Impact of Soundtracks on Pop Culture

Film soundtracks have had a significant impact on pop culture, often transcending the films they were created for and becoming cultural phenomenons in their own right. They have the power to define a generation, influence music trends, and leave a lasting legacy.

Take, for example, the soundtrack for “Saturday Night Fever.” The Bee Gees’ disco-infused tracks didn’t just complement the film; they ignited a global disco fever that defined the late ’70s. Similarly, the “Pulp Fiction” soundtrack, with its eclectic mix of surf rock, soul, and pop, had a notable impact on ’90s music trends and is still iconic today.

In some cases, a film soundtrack can introduce a new generation to classic tunes. The use of Simon & Garfunkel’s music in “The Graduate” or the nostalgic 60s rock hits in “Forrest Gump” exposed these songs to younger audiences, giving them a renewed relevance.

Soundtracks can also create chart-topping hits. Celine Dion’s “My Heart Will Go On” from “Titanic” or Whitney Houston’s “I Will Always Love You” from “The Bodyguard” are prime examples of film songs that dominated the airwaves and became defining songs of their era.

Moreover, soundtracks often contribute to the enduring popularity of a film. Memorable scores become synonymous with their movies, instantly evoking imagery and emotions associated with the story. John Williams’ “Jurassic Park” theme or Hans Zimmer’s “Inception” score are instantly recognizable, even to those who haven’t seen the films.

The impact of film soundtracks on pop culture is profound. They shape our musical landscape, influence our collective memory, and contribute significantly to the cultural legacy of a film.

To Sum It Up

The role of music in film is multifaceted and profound. It guides our emotions, enhances storytelling, and often leaves a lasting impact on pop culture. From the early days of live accompaniment to today’s intricate scores, music has remained an integral part of the cinematic experience, underscoring the narrative journey and creating unforgettable moments.

If you’re a musician or composer inspired by the power of film scores, why not take the next step in your creative journey? At Novecore, we offer comprehensive music distribution services that can help you share your music with the world. Whether you’re crafting your own film score or exploring other musical genres, we provide the tools and platforms you need to reach a global audience. And the best part? You can start for free . Visit novecore.com today and let’s make your music heard!

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1 What does film music do?

• Published: May 2010
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Music in film achieves a number of things: it establishes setting; it creates atmosphere; it calls attention to elements; it reinforces or foreshadows narrative developments; it gives meaning to a character's actions or translates their thoughts; and it creates emotion. ‘What does film music do?’ shows, using the example of ‘Stuck in the Middle With You’ from Pulp Fiction , how music adds an extra dimension to a film, uniting a series of images and encouraging audience absorption into the story. Music in Hollywood operates differently from that in other world cinemas such as Hindi, Brazilian, or Bengali. National and cultural traditions create distinct practices of film music.

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The Power of Music in Film: Unleashing Emotions & Enhancing Narratives

• Published: July 31, 2023
• By: Yellowbrick

The Role of Music in Film

Music in film serves several purposes. It can set the tone for a scene, create an emotional connection with the audience, and enhance the overall impact of a film. Music can also be used to foreshadow events, create tension, and build suspense.

One of the most significant roles of music in film is to create an emotional connection with the audience. Music has the power to evoke emotions like sadness, happiness, fear, and excitement. When used appropriately, it can help the audience connect with the characters and the story on a deeper level.

Another essential role of music in film is to enhance the narrative. Music can be used to highlight important moments in the story, like a character’s realization or a significant event. It can also be used to create a sense of time and place, like using classical music in a period drama.

Types of Music Used in Film

The type of music used in a film depends on the genre and the story. For example, horror films often use music with a slow tempo and low pitch to create a sense of danger and tension. On the other hand, romantic comedies often use upbeat and catchy songs to create a lighthearted and fun atmosphere.

Classical music is often used in period dramas to create a sense of time and place. The use of classical music can also give the film a sense of elegance and sophistication.

Pop songs are also frequently used in films, especially in romantic comedies and coming-of-age stories. Pop songs are often used to create a sense of nostalgia and to connect with a younger audience.

Music and Sound Design

Music is just one aspect of sound design in film. Sound design includes all the sounds in a film, including dialogue, sound effects, and music. Sound designers use sound to create a sense of space, time, and mood.

Music and sound design work together to create a cohesive and immersive experience for the audience. When used correctly, sound design can enhance the impact of a film and create a more memorable experience.

Career in Music for Film

If you’re interested in pursuing a career in music for film, there are several paths you can take. You can become a composer and create original music for films. You can also become a music supervisor and select music for films.

To pursue a career in music for film, you will need to have a strong background in music theory, composition, and sound design. You can gain experience by working on student films, independent films, or by creating your own music for film projects.

Key Takeaways

Music plays a significant role in film, serving several purposes such as creating an emotional connection with the audience, enhancing the narrative, and foreshadowing events. The type of music used in a film depends on the genre and the story. Music and sound design work together to create a cohesive and immersive experience for the audience.

If you’re interested in pursuing a career in music for film, gaining experience by working on student films, independent films, or creating your own music for film projects can help. Consider taking the NYU x Billboard | Music Industry Essentials online course and certificate program to gain a deeper understanding of the music industry and its role in film.

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• DOI: 10.54097/ehss.v23i.13123
• Corpus ID: 266670781

The Roles of Music in Films

• Chenyue Zhuang
• Published in Journal of Education… 13 December 2023

11 References

Music for the flickering image: american film scores, viewers' interpretations of film characters' emotions: effects of presenting film music before or after a character is shown, understanding the score: film music communicating to and influencing the audience, the soul of cinema: an appreciation of film music, the non-diegetic fallacy: film, music, and narrative space, film music:.

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The Importance of Music in Film and its Narrative Impact

How it works

Highly regarded as one of the greatest films ever made is The Godfather. Francis Ford Coppola’s 1972 film kick-started the movement of the gangster genre as a true cinema classic. Innovative elements of the film make it not only one of the best of its time but also a staple in the industry even today.

• 1 The Role of Music in The Godfather
• 2 Character Representation through Instrumental Choices
• 3 The Instrumental Representation of Vito and Michael
• 4 Foreshadowing through Music
• 5 Scene-wise Musical Transition and Character Evolution
• 6 The Transformation of Michael as Signified through Music
• 7 Michael’s Ascent to Power: Marked by Music
• 8.1 Works Cited

The Role of Music in The Godfather

Coppola’s rendition of Mario Puzo’s best-selling novel tells the story of an unconventional New York family that experiences a transition of power from the mafia patriarch to the apprenticing son.

Coppola delivers this thrilling experience to his audience through a variety of ways that assigns the film the reputation that it has maintained through the decades. One of the most subtle yet revealing ways he successfully tells the story is through the score he accompanies to his film. The music in The Godfather highlights the difference between normalcy and the mafia lifestyle in order to show Michael’s journey to becoming the Godfather.

Character Representation through Instrumental Choices

The score, done by composer Nino Rota, foreshadows the transition of power from Vito to Michael by using the same main title track for both characters, only with different instruments. Rota’s instrumental choices were made for the sensational sounds and general connotations that these classic instruments are known for.

The Instrumental Representation of Vito and Michael

The trumpet is an instrument often paired with more traditional Sicilian instruments, which speaks to the strong Italian-American culture that influences the film. The trumpet also historically symbolizes deference and is known as the “top dog” of the brass family, as its high pitch always stands out in the orchestra (Metcalfe, 2017). It is for this reason that Rota chose the Trumpet to portray Vito, the passionately-cultured head of the mafia. The other instrumental solo piece in the main title is the oboe, which is “clean and clear” while also carrying a dark timbre that “provides relief” from other brass instruments (Curtis, 2017). This is the instrument that will represent Michael, for his pure appearance but dark nature.

Foreshadowing through Music

In the case of The Godfather, the music can be seen as a foreshadowing device that signals to the viewer that Michael will take over as the head of the family business from his father. While many viewers probably did not pick up on these hints during their first viewing, a closer examination will prove that Coppola’s use of this score was not solely for the traditional Italian folk sound—he added to the thematic experience by emphasizing the actions on the screen with dramatic connotations in the score. This technique is something that can be found in numerous other films, as it’s known that “music can be used as foreshadowing, especially when the dramatic context doesn’t permit a director to prepare an audience for an event” (Giannetti 208). Coppola specifically did this by asking that Vito and Michael both have their own versions of the main title that the audience will be able to attach to their character when it is heard. With the same base of the track, Vito’s principal instrument was the trumpet, and Michael had the oboe. At climactic points in the film, Vito’s signaling trumpet fades out as Michael’s oboe takes over the track. This accompanying use of the score with the film helps to solidify the important dramatic features of the film, as it is an artistic component of the film that contributes to the storyline without plainly showing the actions on the screen. In keeping with the realistic aspects of the story, the music “can suggest [the] internal—hidden—emotions” when “actors are required to assume restrained or neutral expressions” (Giannetti 208). In this case specifically, these “emotions” relate to the desire for power that is being foreshadowed. To specifically portray this aspect of the hidden ideas in the score, Rota created musical motifs to indicate who is of importance in the film and what their future in the story will shape out to be; “characterization can be suggested through musical motifs” (Giannetti 210). Even though Vito and Michael share the same title and music, their differing sounds contribute to their individual characterization. This characterization allows the viewer to see a side of them that has not yet been portrayed on the screen, so there is a foreshadowing effect happening. We can learn from the music alone that Michael will transition from an innocent family outsider to a power figure in the mafia business because of its characterization and foreshadowing.

Scene-wise Musical Transition and Character Evolution

At the opening of the film, we first hear the main title track, called “The Godfather Waltz,” which will become Vito’s signature sound. This version of the track is enunciated by the sound of the trumpet, which continues to play as we meet Vito Corleone, in his dark office, in the midst of his business affairs. The trumpet used in this piece is in the key C minor, which is appropriate to the context of the scene as it produces a darker, more dramatic sound (Metcalfe, 2017). Immediately, we correlate the sound of the brooding trumpet with Vito himself, and from this first scene, we get a sense of Vito’s position of power. The family business continues on as usual, leading up to the scene where Vito is shot on the street by a rival family. It’s almost 45 minutes later in the film that we finally hear that signaling trumpet again. Yet this time, as Vito lay almost dead in the street, the trumpet is much less pronounced than in the opening scene and is now frail and subdued. So far in the film, this track has only been played whenever Vito has been the only truly powerful figure in the scene. In this way, it’s clear that the trumpet is a pure indication of Vito’s strength. As this scene of an injured Vito dissolves into the next scene, we see Michael and Kay outside of Radio City Music Hall. The trumpet quickly fades out before Michael is seen on the screen, alluding to the fact that Michael is trying to live a normal life outside of his family’s business operations. It’s important to note, however, that Michael is now being seen on screen closer to when the main title is being played. This may be the notion that Vito being shot is the beginning of his end of the rule and when Michael will have to unconsciously start to take over the family business.

The Transformation of Michael as Signified through Music

When Michael begins to help out his hospitalized father in his daily responsibilities, we begin to sense that Michael may be starting to get more involved in the messy affairs. Coppola emphasizes this artistically by transitioning the main title, waltz, from being played primarily by the trumpet to the oboe. The waltz comes in again when Clemenza shoots Gatto in the car, but this time the trumpet component is skipped since Vito is still recovering from his injury and therefore is not the main powerful figure in the scene; in fact, he cannot even be in the scene at all. The scene then dissolves to Michael sitting pensively before dinner. The song starts out as the classic version previously heard in the film, but as soon as the scene cuts to Michael, the melody section of the piece that would hold the trumpet is now occupied by the oboe. The low registered oboe brings a separate dark, heavy, melancholy tone that symbolizes Michael’s general mood of the film (Vienna Symphonic Library). This clear instrumental transition is an excellent foreshadowing that Michael will take over his father’s duties as Don.

Michael’s Ascent to Power: Marked by Music

When Vito finally realizes his weakness in age and health, he begins directing all of his business to Michael. After Michael’s successful business trip to Las Vegas, he has proved himself to the family as being able to uphold the responsibilities of Don. A few years later in the film, Coppola shows a peaceful sit-down conversation between Vito and Michael wherein Vito describes more of the responsibilities that Michael must take on as Don. As the same waltz begins to play under the dialogue, we start to hear the same familiar sound resembling power. This is the first scene. However, that is played with both Michael and Vito in the same scene. The waltz comes in just as Vito is handing over the final arrangements of the job to Michael. Instead of the trumpet melody, however, we only hear the oboe being played in representation of Michael, as Vito tells him, “I never wanted this for you.” This time, the song signals the complete transition from Vito to Michael as Don. Michael is now the head of the mafia, and Vito, the bystander, the role reversal audience members may not have seen coming from the beginning.

In a marvelous concluding scene, we watch as Kay looks into Don’s office to see Michael conducting the horrific affairs. It’s almost a full circle effect, as the waltz plays for the last time, where it all began. We opened with “The Godfather Waltz” playing as Vito sat in that very office amongst his business, and now we close as the waltz plays and now Michael is the one in the office. Now, however, instead of a prominent trumpet or replaced oboe, there is a melodic mixture of the two instruments. Yes, Michael has taken over the business, as it was nodded to the last time we heard the waltz, but now there is a nostalgic reminiscence of Vito lingering in his undertakings. It is in this scene that Michael is first called “Don Corleone” and paired with the music; this truly signals that Michael’s journey to the position of power is complete. The mix of the oboe and trumpet tell the audience that Michael’s solo sound, the oboe, is now combined with the sound previously associated with the Don. Michael’s innocent side is far gone, and his commitment to the family business is in full effect.

The Role of Music in Cinema

Musical scores can either make or break a film. Composers and directors of the past and present attribute their success to one another, and those who do not work cohesively do not find favorable outcomes from the audience. That being said, most viewers do not even realize that the music is there, or if they do, they do not remember the sounds after the movie is over. Yet we continue to add the element of music because films would truly be empty without it. Coppola relied heavily on Rota for The Godfather to produce a score that uniquely matched his envisionment for the film. Today, that score is respected as one of the best of all time, not only for Rota’s accuracy of Italian folk music to match cultural aspects of the film but also with characterization and foreshadowing through musical motifs. Rota’s “The Godfather Waltz” was adapted into several versions in order to best fit Coppola’s story. The song is absent during Michael’s outsider lifestyle but soon represents him when he transitions into the head of the mafia. First, we lose the dominant trumpet with Vito’s power, and then the melody features an oboe as Michael rises to the position. When all is said and done, Michael fully takes over as Don, and we hear a mixture of oboe and trumpet, as Michael is the same person he was before in the film but now claims his father’s status as Don. The musical score in this film is something so subtly artistic that it doesn’t spoil the film for unsuspecting viewers but craftily hints at the plot’s destiny in a way that only adds to the excitement of the film. The viewer is unrecognizably able to connect sounds with images and can come to the realization better and faster with this layered detail of the score. The Godfather’s music fills the empty space of the film artfully and in a way that projects the outcome meaningfully.

Works Cited

• Metcalfe, J. (2017). The role of the trumpet in cinematic scores.
• Curtis, A. (2017). The dark timbre: Understanding the oboe in film music.
• Giannetti, L. (2019). Music as foreshadowing in cinema.

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Telling Stories with Soundtracks: An Empirical Analysis of Music in Film

Jon Gillick , David Bamman

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[Telling Stories with Soundtracks: An Empirical Analysis of Music in Film](https://aclanthology.org/W18-1504) (Gillick & Bamman, Story-NLP 2018)

• Telling Stories with Soundtracks: An Empirical Analysis of Music in Film (Gillick & Bamman, Story-NLP 2018)
• Jon Gillick and David Bamman. 2018. Telling Stories with Soundtracks: An Empirical Analysis of Music in Film . In Proceedings of the First Workshop on Storytelling , pages 33–42, New Orleans, Louisiana. Association for Computational Linguistics.