Unit 5 The Rise of the Symphonic Score
Objective:
- In this unit we will discuss the rise of the symphonic score and how custom scores affected motion pictures.
- Leading composers of the time in the 1930s will be discussed and analyze their compositional trademarks.
- Musical excerpts as well as movie clips from the era will be evaluated. The unit will end with a group discussion project.
- The Great Depression forced theaters to sell concessions (candy, drinks, popcorn) to earn more money and attract people back to the movies
- Remember music that accompanied films from 1927-1933 was not meant to make a lasting impression on both filmmakers and filmgoers
- Early films had mostly dialogue with little to no underscoring
Composer Spotlight: Max Steiner
- 1888-1971. Born in Austria
- Major pioneer of original music
- First serious composer of sound era
- Score for King Kong was landmark score in 1933
- Deemed filmmusic's greatest achievement in the early 1930s
- Demonstrated just how effective a custom score can greatly enhance the film
- Scored over 300+ films
- Distinctive style was to parallel or "Mickey Mouse" much of the action-A trademark of many of his scores
King Kong
- Cost $650,000>Grossed $2,500,000
- Landmark score
- Pioneered and demonstrated the incredible effect a custom score can have on a film
- Score was composed for 46 musicians-Considered large (compared to 96+ today)
- Took 8 weeks to complete
- Silence plays an equally important part in the film
- Music is basically non-existent through the first 1/3rd of the film-Steiner's idea
- Music would enter when the crew leaves depression torn New York on the way to Kong's Island. Why?
- @ 21 minutes into the film the music underscoring is heard throughout the rest of the film
- Used the leitmotif approach
- Use of secondary musical motives assigned to lesser characters, geographical locations, and dramatic situations
- Who else was most famous for the leitmotif approach in their music?
The Score
Score for King Kong contains three principle leitmotifs:
Kong Leitmotif
Ann Darrow Love Theme
Ann Darrow In Trouble-Variation of Kong Theme and Love Theme
Courage Motive
Max Steiner wrote the main title music last. The opening theme states the descending three-note leitmotif representing Kong followed by a fragment of the Ann Darrow Theme:
Kong Main Title
Silence is also used effectively in the final scene when Kong is on top of the Empire State building being attacked by airplanes.
Max Steiner's trademark "Mickey Mousing" technique used in the film