Herrmann 1960

Question 1

Context

Answer 1

American film compsoer, collab with Hitchcock in Vertigo, 49 Steps
Not too long after first film score, King Kong by Max Steiner
Ominous masterpiece where runaway Marion meets Norman who has an unsettling relationship with his mother
Matched the B&W images with B&W music to creates moments of madness and tenderness

Question 2

Melody

Answer 2

Made up of short motifs
Some leitmotifs associated with characters and psychological states
Varied repetition melodically and harmonically
Sequences

Question 3

Made up of short motifs

Answer 3

P, quaver & semiquaver triplet ostinato made from 2 interlocking major thirds

Question 4

Some leitmotifs associated with characters and psychological states

Answer 4

F, 3 note Madness motif
(Same, Psycho, Madhouse, v prominent)
P, upwards quaver semitone ostinato used throughout film, duality of Bates’ mind, Steiner motive

Question 5

Varied repetition melodically and harmonically

Answer 5

Duality motif developed in many cues such as
P, doubled in 3rds, inverted
M, augmented note values, intervals inverted
T, verticalised in bass to bring unity to often fragmented visual language of cinema

Question 6

Sequence

Answer 6

TCe, 8 bar subject rises sequentially, internally bar 2 & 4 related sequentially
TCe, chromatic scales, desc sequence, reflects how Lila went down the stairs, (Steiner, King Kong, ascending sequence as KK climbs ES)
Ideas all evolve into desc chromatic scale as cue ends, to bring unity to often fragmented visual language of cinema

Question 7

Harmony

Answer 7

Predominantly non functional harmony, used for sound than role in prevailing tonality
Mainly v dissonant
Devils interval often used
Conventional harmony
Impressionistic harmony

Question 8

Mainly v dissonant

Answer 8

P, Hitchcock chord, vvv unstable at head of film, not developed, does not lead anywhere (min chord w added maj 7th) disturbing, unsettling
(Vertigo, Hitchcock, dissonant D major, Eb min superimposed)
D, extension chords, C#7 w min9, make maj triads dissonant, disturbing, unsettling

Question 9

Devils interval often used

Answer 9

M, interlocking aug4ths, reflect horror on screen
F, closing chords, D bass w Ab min triad, dim 5th, ending is unresolved, sinister
(Black Rain, Takemistu, Death and Resurrection, Aug 4th built up note by note)

Question 10

Conventional harmony

Answer 10

M, based on falling chromatic scale but still tonal, used only for sound, not for role in tonality
(After, The Omen, Goldsmith, quiet romantic passages)

Question 11

Impressionistic harmony

Answer 11

TCi, dim7th, half dim chords
T, parallel chord mv from 4 note chord, hazy ambiguous unsettled
(Before, La Mer, Debussy)

Question 12

Tonality

Answer 12

Generally avoids tonal centers
Some tonal cues
Some modal cues
Some atonal cues
Some reference to a tonal center

Question 13

Some tonal cues

Answer 13

Ma, diatonic C maj, but ends with Hitchcock chord sense of yearning, romantic
(After, The Omen, Goldsmith, romantic scene)

Question 14

Some modal cues

Answer 14

T, Phrygian E, however against E pedal and F pulse, v disconcerting

Question 15

Some atonal cues

Answer 15

M, harsh unforgiving sound

After, The Omen, Goldsmith, atonality pervades all cues, represents horror, atmosphere of terror

Question 16

Some reference to a tonal center

Answer 16

P, very dissonant and chromatic but based around Bb

Question 17

Texture

Answer 17

A variety of contrasting string textures
Mel dom hom
Homorhythmic
Contrapuntal
Ostinati layered on top of each other

Question 18

A variety of contrasting string textures

Answer 18

TCe, tremolando quavers against sul ponticello and arco, create panic, fear
(After, The Omen, Goldsmith, Music for the death of Father Jennings
TCi, lush 8 part bowed writing w octave doubling, intimate, romantic

Question 19

Mel dom hom

Answer 19

P, Psycho leitmotif floats over restless tremolo and quaver ostinato
(Jaws, Williams, wind melody over relentless 2 note ostinato)

Question 20

Homorhythmic

Answer 20

P, Thick homophonic Hitchcock chords, agressive and violent texture
(Before, Stravinksy, LAP, stomping chords)

Question 21

Contrapuntal

Answer 21

C, 4 part fugal,
F, starts monophonically, built up into 3 part contrapuntal texture, 3 directionless melodies create unsettling atmosphere as mother talks

Question 22

Ostinati layered on top of each other

Answer 22

P, Duality motif, semiquaver triplet motif, stabbing motif,

After, The Omen, Goldsmith, cacophony of ostinati

Question 23

Sonority

Answer 23

Limited to a string orchestra
Unusual use of con sordino
Highly contrasting string textures used

Question 24

Limited to a string orchestra

Answer 24

Total contrast to Hollywood norms, used to reflect B&W images with claustrophobic sound, budget restrictions
(Before, Max Steiner, Casablanca, for symph orch)

Question 25

Unusual use of con sordino

Answer 25

Normally used to reduce the resonance like in Prokofiev’s Romeo and Juliet,
Creates repressed sombre mood for cues except Murder, ffz, 8 note cluster chord, more piercing, shocking
(Before, Bartok, String quartet used mutes in this way)

Question 26

Highly contrasting string textures

Answer 26

P, hammered down bow chords, rough and aggressive sound
(Before, Stravinsky, Rite of Spring)
TCi, lush 8 part bowed writing w octave doubling, intimate, romantic
TCe, tremolando quavers against sul ponticello and arco, many string techniques, panic, fear

Question 27

Rhythm, tempo and meter

Answer 27

Mixture of metres, rhythms and tempi chosen to match psychological intentions of scene

Question 28

Use of 2/4

Answer 28

P (allegro agitato), TCe, D (allegro feroce), fast cues, unrelenting, unforgiving pace (Before, Stravinsky, LAP, similar feel)

Question 29

Use of 3/2

Answer 29

M (molto forzando e feroce), fast cue, relentless, unforgiving

Question 30

Use of 4/4

Answer 30

TCi, Ma, slow cues, show serenity of the city (After, The Omen, Goldsmith, romantic scene, similar feel)
Tt, slow cues, unnerving

Question 31

Incessant quaver movement

Answer 31

P, inforgiving, relentless,

After, The Omen, Goldsmith, persistent driving quavers

Question 32

Equal note values

Answer 32

C, listless, timeless feel

Vertigo, Hermann, romantic scenes

Question 33

Down bow accents

Answer 33

Murder, create vicious pulse, sharp stabbing motions

Before, Stravinsky

Question 34

Augumentation of rhythms

Answer 34

T, M against throbbing crotchet pulse in lower strings

Question 35

Use of rests

Answer 35

C, use of rests, fragment movement, create fear

Question 36

Bleak directionless rhythms

Answer 36

F, avoid sense of metre

Question 37

Structure

Answer 37

Leitmotifs used to bring unity to often visual language of cinema, associated with characters and psychological states
Conventional use
More complex gesture than Wagnerian model, include harmony, texture, rhythm as well as melody

Question 38

Leitmotifs used to bring unity to often fragmented visual language of cinema, associated with characters and psychological states

Answer 38

(Before, Wagner’s Ring Cycle)

Question 39

Conventional use of leitmotifs

Answer 39

F, 3 note Madness motif, associated with Bates’ madness

Question 40

More complex gesture than Wagnerian model, include harmony, texture, rhythm as well as melody

Answer 40

P, stabbed Hitchcock chords, obsessive short ostinatos, repeated dotted block chords w offbeat low pizz ,conventional conjunct melody associated with characters escaping in cars
TCi, varied repetitions of opening, associated with characters in mundane situations
M, slashing chords with gliss, associated with murder