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Final Flashcards

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1
Q

In which decade did we see an increase in the number of American born composers rising to prominence in Hollywood?

A

1940s

This period marked significant contributions to film music by composers such as Bernard Herrmann.

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2
Q

Who is Bernard Herrmann?

A

Bernard Herrmann (1911-1975)

He was a prominent composer known for his work in film and concert music.

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3
Q

Where was Bernard Herrmann born?

A

NYC

He studied at Juilliard and gained early experience in radio.

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4
Q

What was Bernard Herrmann’s early experience in the music industry?

A

Conducted for the CBS orchestra

He started his career in radio with CBS in 1934.

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5
Q

What notable radio adaptation did Orson Wells do in 1938?

A

The War of the Worlds

This adaptation caused panic among listeners who thought it was a real invasion.

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6
Q

What film did Bernard Herrmann score in 1941?

A

Citizen Kane

Herrmann’s score was written using an orchestra and was almost entirely tonal.

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7
Q

What was Wells’s condition for making movies in Hollywood?

A

Executive producer power

Orson Wells insisted on having control over the film production.

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8
Q

What is the title of the film released in 1951 that is relevant to Bernard Herrmann?

A

The Day the Earth Stood Still

This film showcased Herrmann’s innovative approach to film scoring.

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9
Q

What was Herrmann’s approach to film music?

A

The sound of a score depends on instrumentation

He believed that film music could utilize any instruments, not just a standardized performance ensemble.

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10
Q

True or false: Herrmann believed that film music must be written for a standardized performance ensemble.

A

FALSE

He discovered that film music can be composed using any instruments needed for the recording session.

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11
Q

Who is Jerry Goldsmith?

A

A film composer born in LA (1929 - 2004)

He wanted to be a film composer from a young age.

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12
Q

What inspired Jerry Goldsmith to become a film composer?

A

Spellbound by Rosza

This film had a significant impact on his career choice.

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13
Q

Who was Jerry Goldsmith’s biggest influence?

A

Miklos Rosza

Goldsmith studied with Rosza at USC.

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14
Q

Where did Jerry Goldsmith study film composing?

A

USC

He was the first composer to study film composing while still in school.

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15
Q

In what year did Jerry Goldsmith start working at CBS radio?

A

1950

This marked the beginning of his professional career.

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16
Q

When did Jerry Goldsmith’s work in film begin?

A

1957

His transition from television to film started in this year.

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17
Q

What notable piece did Jerry Goldsmith write?

A

Universal fanfare

This is one of his well-known compositions.

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18
Q

How many Academy Award nominations did Jerry Goldsmith receive?

A

18

He won an Oscar in 1977 for The Omen.

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19
Q

For which franchise is Jerry Goldsmith closely associated?

A

Star Trek

He composed music for several films in this franchise.

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20
Q

In what year was John Williams born?

A

1932

Born to musical parents and trained as a concert pianist at Julliard.

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21
Q

What was John Williams’ father’s profession?

A

Big band jazz drummer

This led to Williams’ career in television, first performing and then composing.

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22
Q

What was John Williams’ first Academy Award for?

A

An adaptation of the Broadway Musical ‘Fiddler on the Roof’

He won this award in the 1960s.

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23
Q

Which film marked John Williams’ early crossover into film music?

A

The Poseidon Adventure (1972)

This film was influenced by modernism and involved collaboration with Irwin Allen.

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24
Q

What was the first collaboration between John Williams and Steven Spielberg?

A

The Sugarland Express (1974)

Jaws (1975) is the important one tho

This was their first collaboration, with Williams in his mid-30s and Spielberg in his early 20s.

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25
What style of composer is John Williams considered?
(the first) Neo-romantic composer ## Footnote He is noted for his orchestral style, reminiscent of Korngold.
26
What film did John Williams score in 1977 that marked a return to orchestral style?
Star Wars ## Footnote Spielberg advised George Lucas to hire Williams for an old-fashioned score.
27
What was the significance of the score for **Jaws** (1975)?
Re-established the orchestra as an important force in film music ## Footnote It marked a shift in attitude towards orchestral music in film.
28
What was notable about the release strategy for **Jaws**?
First wide release on 400 screens ## Footnote Profit was made within 13 days, marking it as the first 'summer blockbuster.'
29
Describe the shark theme in **Jaws**.
A deep heartbeat with no beginning or end ## Footnote This theme plays with intensity and symbolizes the shark's actions.
30
What musical style is John Williams known for?
Neoromantic ## Footnote This style reflects a return to Wagner/Korngold after the Modernist movement.
31
What role did John Williams hold from 1980 to 1993?
Conductor of Boston Pops Orchestra ## Footnote This made him a cultural icon and popularized film music in concert settings.
32
What was the dominant musical style in the 1980s influenced by John Williams?
Neo-Romantic fused with elements of modernism ## Footnote Main themes during this period tended to be tonal.
33
Name three notable composers influenced by John Williams in the 1980s.
* James Horner * Michael Kamen * Alan Silvestri ## Footnote These composers moved back to orchestral music as a starting point.
34
John Williams and Spielberg collaborated on what summer blockbuster?
Jaws (1975) (add in the box, is a blend of modernism)
35
ex1 Jaws: Get Out of the Water
- shark theme (st) enters w underwater shot (shark's POV) - t rises intensity before the attack - **modernism** - psycho-like strings during Brody's reaction - theme fades away to tell us the shark has left
36
ex2 Jaws: The Fishermen
- **note the change in intensity as the dock stuff (there is a man in the water, shark gets excited!)** - theme fades away, tells us shark go bye
37
ex3 Jaws: He Made Me Do It
- visual elements from first attack present (no music bc the attack is a prank) - **music clearly linked to presence of the shark (the music IS the shark)**
38
ex4 Jaws: You're Gonna Need a Bigger Boat
- **sharks pops up w/o any musical warning**
39
ex5 Jaws: The Barrels
- st builds, new themes (seeing the whole shark for the first time), **modernist but grandeur/wonder/amazement** - st builds up the harpoon shot, then pirate tonal music, music is exciting/uplifting until the shark pulls the barrel under the water **(music deepens and slows done, energy dissipates)** - energy dissipation technique used in The Seahwak
40
Who is **James Horner**?
Another film composer born in LA (1953-2015)
41
What is Horner's lore?
grew up in England, attended Royal College of Music, returns go LA in teens
42
When and who for, did Horner begin composing for film?
at UCLA in 1978 for the American Film Institute
43
What's Horner's first major film score?
The Lady in Red (1979)
44
What's Horner's breakthrough?
Star Trek II: The Wrath of Khan (1982)
45
What was Horner's greatest success, that he won Academy Awards (AA)?
Titanic (1997), won 2 AAs for Best Original Score and Best Original Song
46
How did Horner die?
He was an avid pilot, killed in a single seat plane crash in 2015
47
What is Horner's style?
- strong melodic composer - Neoromantic/tonal and modernist
48
Who among the composer's does not have a strong background in music theory?
Hans Zimmer and Danny Elfman
49
What does "hitting the cuts" mean?
strong synchronizing music to visual elements such as scene and camera changes (add mm in the lil box, under horners style)
50
James Horner: Glory (1989)
- hitting the cut - electronic processing of trumpet and snare = sense of historical distance - main theme (mt) for mc sung by children's choir - symbolizes his innocence
51
Star Trek II: The Wrath of Khan (1982)
- primarily orchestral and tonal, also includes some modernist elements and electronic instruments - mt: elec instru (violin harmonics = lack of warmth/humanity) - grand and lyrical but lacks "action hero"
52
ex1 Star Trek II: Leaving Space Dock
- music volume drops as Kirk enters the bridge - wonder and excitement/uncertainty - music starts new statement of theme, Spock asks "take her out". comedy w Kirks nervy reaction, Horner doesn't break mood of the music - music builds w closeup exterior shot of the Enterprise - full statement of mt synced to full shot of Entp
53
ex2 Star Trek II: Khan
- Khan's theme entirely modernist - atonal clusters and moans slowly build until we see face for 1st time - music change to slow pulse. theme based on semitones: 1st into obsession of Khan - as narrative develops, slow pulse + its accompanying theme of semitones grow into articulation of Khan's rage
54
ex3 Star Trek II: Surprise Attack
- Battle between Kirk and Khan - "battle" between musical themes - domi of khans theme = attack, khan overwhelmed - kirks theme returns in minor (thematic variation) w the demand for surrender
55
ex4 Star Trek II: Kirk's Reply
- "clear the bridge" music is quiet and uncertain, but the rhythm suggests order and precision of Kirk, not vengeance of Khan - message: kirk can't beat khan tryna be old self (macho punchy man), gotta be who he is now (old, experienced man)
56
The Man With The Golden Arm (1955)
- Otto Preminger asks Bernstein to write a score for this film - score strongly jazz/**pop** music influenced - jazz music was associated w the darker seedy side of the urban landscape, related to his drug abuse (in the film)
57
High Noon (1952)
- score based on a **popular song** composed by Dimitri Tiomkin, tonal themes - song was "prereleased" and established the use of "movie songs" - promote film - notable for the high level of integration of the song melody within the score
58
What happened during the 1960s?
- continuing growth of **popular music** influences - orchestral scores still produced, cost factors = smaller ensembles or **popular music scores**
59
Planet of the Apes (1968)
- blend of orchestral instruments w elements such as animal horns and mixing bowls - the score for POTA is 12 tone -the entire score is constructed using tone rows, which is why this film score is such a **pinnacle of modernism** - uses strong modernism (beyond atonal) - astronauts and apes get the 12 tone rows - bc they are intelligent
60
John Williams work from the Poseidon Adventure (1972) was influenced by what?
Modernism
61
Similarity between Star Wars and Back to the Future?
Tense scenes: modernism/atonality
62
Who worked on Avengers?
Alan Silvestri
63
Who is **Danny Elfman**?
- American born in 1953 - he got into film work bc his bro was in a theatre group " The Mystic Knights of the Oingo Boingo" - ^ decided to do a movie called Forbidden Zone (1979)
64
What was Elfman's breakthrough score?
Pee Wee's Big Adventure (1985)
65
Who directed Pee Wee's Big Adventure?
Tim Burton (and Elfman frequently collaborated tgt)
66
Who was Elfman's influenced by most?
Bernard Herrmann
67
Edward Scissorhands (1992)
Elements of Frankenstein, Beauty and the Beast, The Nutcracker
68
ex1 Edward Scissorhands: House on the Hill
- cue starts w view of house (low ww, harp, wordless choir - ominous) - edward's theme - ominous (wordless choir) - music builds as mom figure gets to gate, voices like a warning - church bell = menacing - reaches garden, new waltz, es theme but w/o threat or dread
69
ex2 Edward Scissorhands: Edward the Barber
- no music = tension, cutting dogs hair - quick polka, chaotic - quick changes from piano to brass - change to a lighter mood as we see the dog - joyce's hair - a tango plays - ed preps to cut meg's hair - familial love music
70
What instruments did Danny Elfman love to use?
Harps and woodwinds
71
Who is **Hans Zimmer**?
Born in Germany in 1957, is a self taught keyboardist
72
Who emerged in the 2000s like no one else had?
Hans Zimmer, he composes w the use of tech
73
in 1980, who did Zimmer catch the attention of while working on jingles?
British film composer, Stanley Myles
74
What is Zimmer's breakthrough film?
Rain Man (1988) (bc rain man got a lotta attention hans also got a lot)
75
What was Zimmer doing in the late 70s/early 80s?
pop music keyboardist/synth programmer
76
What was the first mv that MTV played that Zimmer worked on?
The Buggles on the Video Killed the Radio Star
77
What are synthesizers/samplers?
keyboard instruments that played recorded sounds of acoustic instruments
78
What early films made extensive use of synthesizers/samplers?
Rain Man and Driving Miss Daisy (1989)
79
What movie is an all synthesizer score?
Driving Miss Daisy (1989)
80
The Thin Red Line (1998)
Hans is asked to write all the music before the film was done - asked to write 6-8 hrs of music before the film was shot - not written to pic, written before film shot
81
What does **The Thin Red Line** mark for Zimmer?
The first time he experiments w a new style: Hybrid-Orchestral
82
What are Zimmer's most notable collabs?
w Christopher Nolan (Dark Knight trilogy)
83
What is **Minimalism**
simple idea – repetition, complexity of layers, slow changes over time (music can be incredibly powerful but you aren’t basing what you do on long melodies – the musical material is very simple but developed through layers/slow changes over time)
84
Interstellar (2014) - final scene
- Slow repetitive development of basic thematic idea, the addition of multiple layers builds the intensity Gradual build in dynamics and range (gets louder and instruments get both higher and lower)
85
Inception (2010)
- Zimmer composes music during or even before the film is in production - music and film are edited tgt, cues are sometimes assembled from multiple pieces of music
86
ex1 Inception: Final Sequence
- Minimalist, simple basic idea – gradual build through layering - Slow build in dynamics, range and rhythmic complexity
87
ex2 Inception: The Kick
- the kick (the beginning of **hybrid-orchestral**, minimalist build) - Cue is assembled from three separate pieces of pre-recorded music composed by Zimmer before the film was finished
88
What is hybrid-orchestration?
electronic and acoustic instruments
89
The Zimmer Effect
Mad Max: Fury Road (2015) Dune (2021)
90
New Trend: **Neo Minimalism**
composers are writing music similar to Hans Zimmer but gentler and not as aggressive
91
Electronic Scores
- 1950s electronic music became an important part of musical modernism - synthesizers were the domain of modernist composers
92
Forbidden Planet (1956)
attempt to use synthesizer for the film scoring - musical "realizations" by Louis and Bebe Barron
93
Mid 1960s, smaller "modular" synthesizers were...
replacing the earlier larger models
94
In 1964 what did Bob Moog do?
Moog produces the first commercially available modular synthesizer
95
Wendy Carlos (1939-)
- brings synths to public attention - rlly interested in elec & worked w Moog on the design of the synthesizer
96
What abt Wendy's album?
decides to use the synths in 1968 to create an album called Switched on Bach - album won 3 grammy awards - ^this is the moment that ppl found out synths existed!
97
Wendy Carlos did scores for what movies?
A Clockwork Orange (1971), The Shining (1980), Tron (1982)
98
Late 1960s, early 1970s
- Musicians working in popular styles begin to experiment with synthesizers - Emergence of progressive rock and early electronica, both made use of extended instrumental works
99
More and more films turned to synthesizers for their score
Sorcerer (1977) and Halloween (1978), more recent example would be Stranger Things! ## Footnote John Williams still rules so majority of music is still neoromanticism, but synthesizers are getting big
100
What movies used hybrid-orchestral scoring?
The Thin Red Line (1998) and Inception (2010)
101
1983: MIDI (Music Instrument Digital Interface)
allowed you to connect synthesizers together so sound building has become almost unlimited
102
When was the worst of the times for Hollywood? But for film history the best of the times?
the 1950s
103
1950s – Louis B Mayer resigns from MGM in 1951
The most important technological developments in Hollywood were largely in response to TV
104
Two competing systems made widescreen films possible
**Cinerama (3 camera) and CinemaScope (1 camera)**
105
Two technical changes in film happen during the 50s
use of colour film and widescreen cinematography
106
Dimitrik Tiomkin – brings idea of prereleasing music to film industry
- High Noon is the first film to win AAs for both dramatic scoring and song - Theme songs quickly became a rage
107
Single pitch/chord with a crescendo – characteristic of minimalist film scoring...
Emphasis on repetitive rhythms and avoidance of tuneful melodies
108
Music 246
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