When we conceptualize  a scene, much of the musical content and form will be determined by the narrative, editing, dialog and characterization within the scene. 

Characterization:

"In most cases, the concept of the score will be built around the quality and nature of the central character or characters... You cant concptualize the character unless you understand him.  Your musical impression of that characgter can become the concept."

Single Characters

Characters Regional Characteristics (Anthropological Anchor)
Background (Anthropological Anchor)
Personality and motivations (Empathetic or Anempathetic Anchor)
Time of existance (Epoch Anchor)

Multiple Characters

Groups of Characters may at times take on the characterization of a single entity.

Black Hawk Down

00.00 American Rock and Roll signifies Anthropological Anchor to American Forces
1.00  American Rock Guitars vs. African Lute and African Singing signifies Anthropological Anchor to conflict.
1.30  Use of sound design during the helicopter shots of the deployment as anempathetic to the scene and characters
2.15 American Rock Guitars vs. African Lute and African Singing signifies Anthropological Anchor to conflict.

Unseen Characters  and Inanimate Objects as Central Character

Sometimes music can signify a presence not on screen or an inanimate object viewed as central character. 

In this excerpt from Close Encounters of The Third Kind,  Roy and Gillian discover that Roys obsession with a  mound of dirt represents the magical union of alien life forces and humanity.  In this scene the inanimate object becomes the central character as the portrayal of this unity. 

The Single Dramtatic Theme

Another approach to expressing a musical statement within a film is to highlight a single dramatic theme throughout the film.  The dramatic theme will contextualize the emotional thrust of the film rather than create or assign a musical personification. 

Two Dramatic Themes

When a film has two dramatic themes, one may serve as a characterization while the other serves some kind of objective.

We recall Lincoln from Class notes 1 in which the Piano scoring represents Lincoln the man, father and husband and orchestral scoring represents Lincoln the Statesman

Multiple Dramatic Themes

When a film has more than two dramatic themes, one or more may serve as  characterizations while the other(s) may serve an objective
(Thematic characterizations will often have more representations than thematic objectives)

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Just as a large musical work can often be delineated into smaller musical forms including the single movement form, the song form, periods, phrases and motives, so too can a critical anaysis of a film provide insight into similar form structures.  

Case Study:  Musical Film:  Wizard of Oz 1939

Watch the film with a critical eye and ear.  Can you identify

Large Scale Form
Small Scale Form

Single Character Themes
Multiple Character Themes
Dramatic Themes that represent an emotional context
Dramatic Themes that represent an objective

http://personal.stevens.edu/%7Eabrick/scoringformedia/files/hmu495_files_05/wizardofoz[course number].mp4

Introduction Opening Credits	A:  Dorothy in Kansas	B:  OZ To The Wizard	C:  Wizard to the Witch	B:  Witch to The Wizard	A':  Dorothy in Kansas	Coda/Postlude End Credits
00.00-1.55	01.55-02.30  Introduction of Dorothy Underscore at opening.  Why? 3.30-5.18 Introduction of secondary Protagonists Dorothy as Dorothy Farm Hands as Tin Man, Scare Crow and Cowardly Lion Music: None Question: Why not "if I only had..." Theme as characterization of protagonists? What does this imply in terms of form? Is this an A section or simply an introduction to OZ when the musical characterization appears.   Why wait for music until here with no underscore when underscore is such a critical element of the rest of the film.	19.30 Reveal to OZ.  among the first uses of Technicolor.  Solo Violin Principal Theme Over The Rainbow now used as underscore = away from home. reharmonized What is the focus, the character or the drama?	58.25 Enters Emerald City with Ring of Doorbell Underscore:  Were off to see the Wizard. 59.20  Entry to Emerald City and meeting with Wizard via Ruby Slippers Underscore Over the Rainbow 1.02.20 Message from Witch Surrender Dorothy Witches Theme 1.03.45  King of the Forest = Anthropological Anchor	1.12.40 Cut from Emerald City to Haunted Forest Underscore Witches Theme &  "If I only had..." group characterization Plays anempathetically until the cut to the witch then plays empthetically	1.39.24 cut to Kansas out of technicolor into sepia tone   Underscore  "theres no place like home" 1.40.00 Reintroduction of secondary protagonists Underscore Somewhere Over The Rainbow	1.14.28 Over The Rainbow
	05.18 Central tenet "no place like home" = Principal theme = dramatic theme OR Central tenet 'little girls longing for home" = Principal theme as character theme Music: Somewhere Over The Rainbow Ab I-III-IV(42)-I6  Notice Loss Motive Question: Principal Theme is clearly stated.. does this contradict the form analysis above?  Is it possible to have a principal theme in an introduction?	29.09 Introduce Wicked Witch of the West with Wicked Witch underscore... note how it interacts with Over the Rainbow underscore	1.08.00  Cant meet with Wizard.  Dorothy longs for home Somewhere over the rainbow (2nd contrasting Period) 1.09.30  quartet approaches wizard ... note tempo vs. footsteps	1.16.10 Fade to Witches Castle Dorothy and Toto captive Notice how when we are transported into the Witches Lair, we are focused on the protagonist and antagonist.  By having the underscore devoid of the Witches Theme (except on touching the slippers and tiny statement infront of castle) and focused more on the Characterization of Dorothy through use of Over The Rainbow the audience is led to Dorothy's POV. Witches threat @ 1.17.50 Dorothy's Panic   @ 1.18.08 Dorothy's fear and longing @1.18.20
	08.03 Introduction of Principal antagonist Ms. Gulch as Wicked Witch Introduction of Principal antagonist theme as Wicked Witch theme  G-F#-G-Ab-G-F#-D#/ G tr~b Does this Principal antagonist theme act as a character theme of the evil of Ms. Gulch and the Wicked Witch of the West  or a dramatic theme of good vs. evil? 10.26 reiteration of Principal antagonist theme as Wicked Witch Theme 18.20 reiteration of Principal antagonist theme as Wicked Witch Theme	32.24  Beginning of  main objective Introduction of Secondary theme Were off to see the Wizard 34.08 Introduction of secondary protagonist Scare Crow = Farm hand 36.30 Introuction of "If I only had a...Brain" music characterizes multiple characters.		1.23.20  Dorothy's Rescue Starting with the blatant lift of Mussogorsky's night on bald moutain, the music tempo gives a very neccessary immediacy and urgency that the image does not convey.
	11:25 Introduction of Subordinate Character Professor Marvel as Wizard of Oz Anthropological Anchor = Oboe as Duduk or Pungi Notice how underscore in fortune telling calls upon accompaniment of Over The Rainbow but doesnt explicitly state the theme.	38.40  Off to see the Wizard 40.39 Introduction of secondary protagonist Tin Man = Farm Hand 42.50 reiteration of "If I only had a... Heart" 45.50 wicked witch exposes antagonist threat and foreshadows ending with Fire Vs. Water wicked Witch Theme 47.00 you are the best friends.  I feel like ive known you... underscore implies cadence of Over The rainbow... ends deceptively to...		1.27.30  Fufillment of Objective The wicked witch is dead back to the Wizard in the Emerald City. Wizard Grants wishes: 1.29.50- 1.30.30 scare crows diploma if I only had... 1.30.40 If I were King of the forest cowardly lion courage. 1.31.30 if I only had... heart for tin man 1.32.52 oboe anthropological recall to the Wizard. Here the Anthropological Anchor leads us back to Kansas 1.35.30  Dorothy - Ill never get home - somewhere over the rainbow 1.36.45 What have you learned Dorothy - somewhere over the rainbow
	17.00 Dorothy to Dream Underscore with anticipation of OZ and reiteration of Wicked Witch Theme 19.00 Out on Landing in OZ	47.30 objective continues Off to See the Wizard ... 49.00 Introduction of Secondary Protagonist Cowardly Lion = Farm Hand 52.10 reiteration of "If I only had the.... Nerve" 52.55 Off to see the wizard		1.37.10 Moral reveal and heart wrenching goodbye.  "if I ever go looking for my hearts desire again I wont look any further than my own backyard.  Because if it isnt there, I never really lost it to begin with" Underscore "if I only had a..." empathetic Anchor
		Transition:  Wicked Witches foiled plan 53.20 Cut to Witch in her Castle... Ill take care of you now.... reveals antagonist motivation for power. 53.20 Wicked Witch Theme 54.00 Poppy field to capture protagonists Off To see the Wizard anempathetic or empthetic anchor... brahams lullaby 58.00 Transition ends with Wicked Witch to Emerald City "your out of the woods"		1.38.50  Theres no place like home

Note: The student is encouraged to read the discussion of ethnic/geographic considerations on Pgs 81-99 in consideration of our previous examination of anthropological anchors.

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Homework #1 (HMU495_05)  Complete Film Score Homework from HMU495_04 In a manner similar to the analysis of The Wizard of Oz above, Find a film that contains at least one (or more) recurring character and dramatic themes.  State the time of the first instance of each theme (character, dramatic) and track its use (via time) throughout the film. Provide a transcription  of the first instance of each theme.   At each use comment on themes presentation in terms of emotional context or musical personification and how that use is effected by orchestration, harmony, rhythm and any other varying musical elements.  Present the entire document (including transcription) as a single pdf and email the pdf to hmu495scoringformedia@gmail.com

Film Score Theory Analysis

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