| Popis: |
This chapter provides a set of small analytical case studies meant to illustrate important methodological and interpretive issues that arise in the study of chromatic film music. Five central topics organize these analyses, each with interesting ramifications for the structure and expressive content of film music: contextuality, distance, voice leading, equivalence, and patterning. Examples are drawn from a range of film composers and styles, with special emphasis placed on the idiosyncratic and influential work of Bernard Herrmann. A recurring theme throughout is that of leitharmonie—the use of chords and harmonic progressions in a motivic- and symbolic-rich fashion. Increasing emphasis is placed on hermeneutics and the issue of how music, and harmony in particular, aid listeners in structuring and interpreting filmic narrative. |
