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    Selección del libro de Claudia Gorbman "Unheard Melodies"

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    Selección del libro de Claudia Gorbman "Unheard Melodies"

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    144 vistas20 páginas

    Gorbman - Melodias Invisibles

    Cargado por

    spinalzo
    Selección del libro de Claudia Gorbman "Unheard Melodies"

    Copyright:

    © All Rights Reserved
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    miensene NARRATIVE FILM MUSIC Claudia Gorbman ¥ {FI Publishing, London INDIANA UNIVERSITY PRESS ‘Bloomington & Indianapolis Introduction ‘Let us imagine for a moment that the commercial narative cinema hud developed bit diferenly: let us imagine movie having no background ‘musi! Raised inthis hypothetical tradition, we are thoroughly acustomed to cinematic word in which sounds (sem to issue solely on the depicted rnarative space. This cinematic world resembles the “real” world, more or les, nits conventions of depicting sonic space, Then one day, brought up ‘in ts relatively nonmusical tradition, we attend a screening a lin fom nother dimension say, Mildred Perce, with Max Stine’ lsh and isi tent score full of dramatic, llustrative orchestral coloration, What sheer tlie this would appear to the viewer! What a pseudooperaic fantasy world! What excess: every mood and action rendered hypereplict by a ‘Wagnerian rush of onality and rhythm! What curious muse as well—robbed of is properly musical structure, it modulates and changes color, chame- Teoalike, in moment-to-moment deference to the marative's images. ‘One hardly need emphasize thatthe acceptance of music ia narrative cinema is purely a matter af convention. Such conventions havea long history, much of which predates the cinema itself. But does the notion of convention itself sulce to explain the operation of music in the movies? [Every movieyoer, every film schol, tin eae notwithstanding, becomes avae from time to time ofthe ubiquity and psychologieal power of music in dramatic fms. Such moments of lucidity tend to ocur when we ake ‘ote of how shamelessly emotional or copious a film score has been: what Ins been blaring in the background the ene Hane suddenly comes to the foreground of consciousness. Suddenly the story s perceived to inhabit a world strangely replete with musical sound, rhythm, signification. unt, ‘few scenes or measures ater, we dop ofl, become reinvested in the tory Sin. The the masie “working” nce more, masking ts own iasstence and swing away in the backfield of conciousness. "This book for students and scholars of lm who ae curious aboot the 2 Unhoard Melodies ways of musi in films. It should prove especsly luminating for those who ‘ost sucesflly block out film musio—not only during viewing/imesion atthe cinema, but ao inthe process of reading—conscous, analytic in “estigaton ofthe cinema's workings. For f Marxist and Froudian theory Inve forever destroyed the romance ofthe antonomous pereiving subject, nd i recent film theory has taken on among its primary misions to an- erstnd the istorel,pryehological, and textual positioning ofthe cine ‘matic ectator, we need to start listening to the cinema's wes of muse in order to read fms in Iiterte way ‘Whats msie doing inthe movies, and how dest dt? These questions engender others turn. What and ow does music signify in conjunction With the images and events of story lm? What can we lear fom dramatic forms of the past that employed musio—nineteenth century theater and ‘opera~mand in what way des cinema's particular technological and historical situation give « pei thru o thi nguiry into the iatereelations among, media? Why 4) we tend not to hear music consciously in watching x story film? WAat busines dost music have in @ movie inthe first place? How he standard pretcesofcomposing, mixing and editing evelved, and what alternative practices are posblelconcevable? How does musi film aar- ration create point of experience (nate the visual chauvinism of saying" point ‘tview") for the spectator? ‘The trajectory ofthis book follows, more oles, the history of my own Inquiry ito fil» music. [began in 4 straturalist-semiotic sprit to seck seans of considering how musi ean sgn in the narative fl, Tt bocame clear thatthe semologieal notion of odes terial othe sty of ow film music means. Firs of al, music has its own purely musical ‘sSgnfcatin, crating tension and ysoltion through highly coded structure Gnd syntar. Pore musical codes are operative i lls, but only i a mite fashion, for inorder to signify, they oblige the Ustener wo ten—ust in ‘restaurant, we may “hear” the din of man speech, but we cannot make enue of utterances until we listen to their vocabulary, aynta, and itona tions Some lms, tclding Jean Mlty’s Pace 231, Walt Disney's Fantasia, and Jean-Marie Strub’s Chronicle of Ama Magdalena Bach, subordinate ‘inematilnarrative loge to musial login thi way "But surely, the vast majority of films emplay muse other ways. While ‘they might contain sequences or "production numbers devoted to musical performances, the organising structure of such fiine—even musicals and “ives of composers” films, preisly acssal parative sith ts owe demands for pacing, development, spatiotemporal stuctre, and soon. Mu sic subordinated tothe narrauve’s demands ‘Music signe in films not only according to pure musi codes, but also 3 Invoduetion cording tocltual musi codes and cinematic musta codes. Any music ‘bear etal associations, and mos ofthese associations have beea further ied and exploited by the musle industry. Properties of nstramentation, thy, melody, and harmony form 3 veritable language. We all now what “adan musi,” battle moi and romance musi sound like in the moves ‘we know that standard fortes in wil choose to introduce its vets fon the screen by means of a sultry ssophone playing a Gershwinesque Imelody. Afr cinematic codes si coed by the filmi context self, ‘tad assumes meaning by vete fits placement in the fin. Begining and end-ite musi, and musical themes, are major examples ofthis musiefiln {nteraction. Based on the Wagneran principles of motifs and letmoti, 3 theme ina lm becomes associated witha character, «place a situation, of sn ematon, It may have a fixed and tate designation, ot ean evolve and entebute to the dynam ow of the narrative by carrying its meaning ito 4 new realm of signification Maurice Jaubert stated in 1836: ‘We do nt goto the cinema to ar mui. We rogue ito deepen and prolong inure screen's ial impresions. It oh Ie he Sop, the cating the decor und the sooting to play its own partial part a taking ler, og uf esti tat tell o god story whch ‘ove all the fit fil So mach the beter, erat, adds the Ps poetry i vm ‘What the “own particular pat” of is music? Approaching this question, we aust start by taking narrative the telling of god story,” into azn. The conventional narrative film constrct 4 Aiogesis—a story wor place ofthe action. Clasial narratives emphasize the dlegesis over the narzation, ec narrational prerence. Modernist forms, on the other hand, problematize the transparency of discourse, pot out thar asthe narration that constructs the digest. Musie enjoys 4 special status in file narration. I canbe degetic muses can payin the 0), ‘radio can be on)—in the trade thi ealled source muie—or nondiegetic (an orchestra plays as cowboys chase Indians on the desert). The reader right objec thatthe human voice js just ar eile i ts freedom to be Aiegetic or nondigetic. But the nondlegetic voiceover i percelved a8 & ‘arate intrusion, and music isnot. Furthermore, musi very often eros, the boundary, even ia the most conventions file, We ae al ful with, soundtrack music that suddenly ceases asa character leans over and turns of adio; or, conversely, a a scene a Novth By Northwest, what seems ie piped.in mosi in a train's dining car becomes more and more cleat nondiegetic®| 4 Unneara Melocies ‘This casein crossing narational borders pute music n «poston to fee the iage from strict realism. As something not very consciously perceived, it inflecsthe narrative sith emotive values via cultural musial codes. A Imusic cues signifiaion eerie, pastoral, jazysophiscated, romantie— ‘ust be italy recognized a such i order to work. The prevaing dialect of flm-musie language has therefore been composed of the nineteenth century ate Romande style of Wagner and Strauss. Bernard Herrmann and others may have gone beyond this style by exploring dissonance, harmonic ambiguity, even atonality and scores using az, electronic musi, and musie of other cultures have expanded those boundaries in other directions. But ‘the core musial lesion has tended to remain conservatively rooted in o- ‘mantietonalty, sinc is purposes quick and elicient sigafcation tama. audience Bat enumerating the semiologcl functions of film music doesnot help to confor an sue that beeps returning to aon us: why film mui there in the First place, even inthe mast eat fl, in virally all films abiding by rues of verisimiitde? Few would wish to clam that “east realist cinema’ i realist i the sence of approximating abjctve reality (such a thing were representable)—film sorves wp fantasy in the pute of veri tude. Classical filmi discourse (mis-et-sne, camerawork, editing, sound recording, and mixing) contributes to the portrayal of worl, the repre= sentation ofa diegess The nondiegetic shot or Sound isthe exception, not {he rule—excop in the case of muse, Therefore: hy shai, tn te ighty ‘consolidated “reat” world ofthe youn fl? It gives mood, pacing, emo: ton, yes—but why ist permitted into the narratives regime a all For one thing, it has history on its side. Mosic has gose hand in hand with dramati representation ever since the ancient Greek theater, end no ‘doubt before, ital Kors, ‘When we rad pay sch athe Supt of Arch, aif we wore seeing oly the Ie of sa opera to which ll muse, dnc, and age ecto ave sing. It sec ae dua that he muse sal as hve been the principal means by which the post canwejed his meaning Enripedr The Boston the ths hod, hs fr gre its sconce, ‘but oven here th emotional tensity ofthe india scenes often 0 ‘sucka pth tat asc ad takeover where the words ol jt when ‘peron ss overcome with elng that words fl a he rss to ia ‘late wounds and getees ‘Tradition has it that the departure fom the prosale toward poetry, eme- ‘io, the sation, i served by music. Merely to cite tation, however, 1s necessary but not suficieat inthe ease of film muse. Cinema’ techno 5 Introduction logical speci obliges Further analysis, Why did the resources of editing, faming, and cinematography nt takeover ll the funetions that music had jm previous theatcl forms? In cheptere 2 and 3, T explore some of the ‘tudes inthe development om ninetonth-centry melodramatic the- der tthe "fully degeticsoond fl.” This i by no means a history; fr © istry would etal a book in self (Nicholas Vardacs 1649 From Stage 40 Seren ie preszly such 2 study). Buta sease of the history af some of the techacogial, generic, and conestal conditions that prevailed chrough the arrival ofthe eure sound fi i, 1 think, necessary for asesing the _trength ofthe "continuity of conventions argumest fr explaining the pt= ‘tence of background msc ito the casi! narrative film ‘What does music doin the sound fin? The pychic pay it brings tothe alt regime of sound film mrt he considerable for to have survived, nd thrived, at an integral etponeat of even the most “realistic” moves. ‘What i there about mor self that fects an audience? To understand ‘uckground muse'sAnetions better, and to shed momentarily any cultural sobbishness that might prevent us om considering its most basic fanc- ‘None—bodiy functions before gastronomic ats, i you will—ve might con- sider de socal and prycholoial fonctions of musi that is designed tobe ‘ltarian: ext Istening muste, Muzak Both eay-lstening and film muse belong to larger conterts dents fic, fll narrative; nelther is designed to be closely listened to. Both employ falar musical language, both bathe the listener in affect. Easj-lstening music (at least in theory) helps the ‘onsumer buy, the patient eas, the worker work its gol is to render the ‘ndividaal an ntroublesome soci subject. Flm music, participating ast does in a narrative, is more varied in its content and roles; but peimary ‘among is goals, nevertheless, it render the individual an untroublesome ‘eng subject: les criti, ss “avake" This notion has several important ceonseyuences. Music may set as 2 “suturing” device, aiding the proces of turing enunciation ito fein, lessening awareness ofthe technological ature of film discuorse, Mose gives a"forme-ness tothe soundtrack and tothe cne-naraive comple, Lhear (ot very concious) this music which the characters dont hear, Lexis in this bath or gel oat this sy try, sy fins, uaralling belore me and fr me on the seven (nd out ofthe Toodspeakers) Music lessens defenses agatnst dhe fantasy structures to which narrative provides acess. It increases the spctator's susceptibility to suggestion. The ‘ema has been compare to hypaoss, siace both induce (at lst in good subjects) a kind of tance, The trusting subject (trusting the hypoots, dhe fystem of cinematic narrative) removes defenses to acess to unconscious fntases,Theiypaoist bas hisher induction methods: soothing vie, rept © Unheard Modes on hythm, suggestion of pleasantly enveloping imagery, and focusing the subjcr'atention on one thing tothe exclusion of others. Narrative cinema has its own “induction methods"—inluding the harmonic, rhythmic, me- lodiesuggestveness and channeling elects of music. Film musie lowers thresholds of belief. This begins to explain why’ it has continued tobe in- Aispensable evento “realist” naraive cinema. “The bath of alec in which music immerses the spectator is Uke ex: listening, or the hypootit’s voice, in that it rounds off the sharp edges smasks contradictions, and lessens spl and temporal discontinuities with sown melodie and harmonic continuity. It lessens awarenes ofthe frames lates the censor, drawing dhe spectator futher into the fantasy ‘suggested by mie narration. When we shed a tear during «pregnant mo- ment ina film melodrama (Midred Pierce's ite daughter quietly dying of ‘pneumonsinstead of coling atts exces, mus often present cialyst fn the suspension of judgment But what si about mosie especially ton musi) that has this power? ‘What isthe nature of musta pleasure? Why hae i been regarded since lao as having privileged access tothe soul? Why are “depth” snd “inner "evoked in accountng forthe effect of muss? Here, payhoanal ie tions of sound and music hold particular appeal, Scholars have ex fended Freudian thought to theorize the auditory realm. According tothe pychoanalytic scenario of payehic development, the infantis born into sort of "sonorous envelope,” and i a yt unaware of distinctions between selfand other, inside-outside the body. Further, more than one writer claims thatthe “auditory imaginary” precedes the miror phase the melede bath {the mothe's voce, her songs the musi she plays tothe infnt) provides [eke inne} «frst auditory mirror which i fist wes with te eies”® The imaginary longing for bodily isto with the mother ie never erased; and, these writers argue, the terms ofthis orginal sion are defined in large part by the voice “Thus, primary experiences of round may account for the characteristics of dept and iwardaess, and ofan inelable,preveral attachment to music (hich isthe conscious organization of rounds into harmony and melody), ‘To insist on the auditory imaginary i to suggest a basis for understanding mechanisms of pleasure and identification in music. Ofcourse, msi isa highly structured dacourse of sound: but ie freedom from rferentaty (om language and representation) ensures it sa more desirable, less un pleasurable discourse ‘Muse is pleasurable, sigfying but nonrepresentational discourse. Not unlike the hypnotists discourse, it guides dhe spectatoraudience, and in- ‘creates receptivity tothe narrative nt exces. Music that x naticed, which 7 troduction cells tention to tse, swings away fom the Imaginary toward the symbolic ‘The goal of “clssical”soring i rather to place the auditor’ ears in subject ‘postion harmonious with the spectator’ eyes: to create a uniied phantas Inatc body of entiation, a heightened for-me-nes forthe egressve eg. "This brings ws tothe clase Hollywood cinema, which Is predieated on the subject’ unified body, dhe eBacement of discourse in foro story, ad fa tance-like spectator immersion in ts world. “Classical” seoring has ts ‘wm st of practices in accord with these principles. In chapter 41 have ‘thesized Ist of rules and principles for musie composing. recording, fd mixing in the classed parative film. No one would wish oes that Max Steers sore for Casablanca works acording to exactly the same ‘model as Bernard Herrmann's Vertigo music or David Raksin’s intriguing Sounds fr Abrahatn Polonsly’s Force of Evi. My “degree ero” for the ‘sel ilm score corresponds tothe generalized paradigm of lasical Hol | ywood ifr of the thirties and forties—a leble model, or rather, a ange of posibiltis. “The reader will note frequent references to scores by Max Stoner in hupter t's exposition of csszal scoring principles, Steiner was surely one (ofthe most melodramatic of Holjywoeds great film composers. His pseudo- ‘Wagnerian orchestrations and harmonies draw on 4 well-established res- ‘envic of exotive signification. A Steiner score explctes, underscores, ltates, mphasizes narrative actions and moods wherever posible; it wears itsheurtontesleve,contbutestowsed the depiction ofa dramatic universe ‘whose sole transcendental moray might be that of emotion itself ITT have falled upon Steiner's musi illustrate facets of the model of lassie sor- ing ti because, findamentally, the casi Hollywood fin is melo- Arana drama with must. Final, here is ist of some things this ook snot L.A history of film muse. 2. A study of representative film musie composers, 23. A study of muse ia the following genres: dhe musi, the docu- mentary, and experimental films 4. Keomposer'-eye view of film music. “Theannotated bibliography includes references for readers interested in the subjects above CHAPTER IV Classical Hollywood Practice: The Model of Max Steiner ‘Chapter 1 explored the ways i which musi can function formally and nar ‘ively lm, Chpter 2 and 3 examined sestht, histori, tose Inga and pochosnaytlly erientedexplanatees fr the development snd Fonctioning of ondiegtic muse fa dominant (Hollywood) native ‘hema In ths chapter {shall dese the actors mii take in Hal Tyo fils, and the pcs determining. Fist. however we must ‘uate our lvertgation inthe conta ofthe “casieal model” of mazratve “icra in general, forthe ciation of atstecm bas everthing Yo ‘wth the mse lsgage that ges wath "To wie the torn “csi emt” rine understanding thi inn a8 an istiton, and a ls of text whch ts nition produces. The cla ‘ical ln tet hich a te most speci a Haywood featre im af the thts a foes) sa cnjunetre of several economies, a arate course determined bythe organization of lr and money i the nest ‘nds. byfia Weoley. and by the mechan of please operating on subject inthis clare: Christin Metz reminde st of there internnected ‘specs the ystems 1 nt enough forthe sud ta a ve pled le mebuni ‘ede ete ply ements sl a tbe reed 71 Classical Holywood Practice: The Modelo! Max Steiner tote place, And hice iid och one of, a sori age sip yt ped th ie tr sag in What are thes tts produced by the case cinematic ssittion? In the sense that we canot Kent the one prottypled assim, noone textual made est. Rather hee exist poole eoventons, of on, whose combitnin ad recombination constitutes an easly recognized dis ‘cursive field. We ow that even allowing ora wide divert of gees and ‘todo and authorises, thor s something Wentifabl sls Hl- Iwo cinema an impli model ht determines the daraton of a the possibiies ofts narrate strutre, ans onantzton of sptten poral dimension vis miseon sine, cincmatograpy. eng (that the Fantinaty stem), and sound esd and ising “André Bai iflential ess "The Evlutin ofthe Langue f Cine sna" Hen the lsc age ofthe sound il a the Inte tiie. 251 109th alin Gl ry nF ed in he Unit send et oa pant aon tea ‘hg firs Kods of ass dete ue ep en road pt tl fom eset none eo he tie often pore” Bazin lions the tat of cinematic form othe equlcam profile of = bed: at as golgilequiirtam rez rom the request of im genres and narrating techniques reched tw ably ‘Seca ae the coming af ound le decibes 1638-1008 3 moment of “lassi prfectan” ofthe eatore il, exemplified by Stagecoach, Jebel, snd Le Jourse ise. What pie he canal mode a rartvedssarc? For Busi, storytelling ints ems characterized by an editing ese purposes nati dramatic. and pycologia. The asa im rcnariy nls in sever hundred shots, but these shots do wo bud vp a maraive In the synthoti langage of Soviet montage. Casal decoupage presup- poses ued scents ace, Ht renders thi space vis “etalhing” Jone) Shots and sbsequent breakdown spat tlt ssafepared by such device athe IBD degre rl, the eyline match, apd the shot revere shot patter. Further cuting is motiated by dramatic andor psyehalogcal Jog, accommodating othe spectators need to ace deals martin portance ‘Since Basin, work on sch isa Stagecoach (130), Young Mr. Lincoln (4550, The Big Sleep (1946, Supt (181), Midd Pree (945, and The Malte Fle (194) ba tied festares of eding and macton in the contest of Hollywonds strongly consldted "case sytem. These 72 Umrears Metodes Imterrlted “clase” featrespredoniate in enemas Er back a the teens and into the commercial inal he prevent, swell tn commeri cine of many ater counties. "oent ln scholrship hrc the Bazan desertion ofthe cases nie system ia evo major ways. Fist, hs phonomendogial concept ‘ation ofthe spear a an autonomous peeing sbjet—vho wants” ‘asec drunatcly important etal and whose reopen ier satsier—ha ven way to a antidalit stance which ropa a rl the fils teologel and psychi prong of fs viewing subject. The ‘es postion the spectator does the looking sistant th spat Classical editing hs been recnsidered and nderstodin iht of par tieully compelling testes of chaneling the spect’ dees, giving fhe “impression of realty," and eneourauing inaainary Henteation wile the “The second change incites emphasis gps Ian hand wih the Si. story ert the naratve world and what happens int andi soars refers tall the mans of articulating the story. casa! Helle ln ‘works toward the gal of tanparet ov dco, ad promi Tlst nvlvenent inthe story. For ister, cating i «potently dis pie charctertic of fine dacourse Haywood “eflacet” the don ‘tty that fe pt and parcel of eting by sears of cantina eling Contin edting ra Knd of work that mas tan trace highly ced symbole discourse permitig the spectator’ illest sentation wih he fi, se Mets expla: {the nicht fh ind af dco al he very pe of Se eticinonen sane, prec tht bert al ce he ‘toca snd manguudestesny a fdamenal Sooo he ee nor ad te eine doa iy eg atl gu the woes te pats of tary rete crag ts Serre be Now, a prt of thi Uscourse, background muse clearly coneiates a aor loment ofthe chai arative ink stem. W persis arose most tenes, om marcato detective Bins, sence Ht, war, and adventare Ane rom screwball comes wo domestic melodrama, The very fat that Usoreticans of cus Mini dicourse, even thove wha write sbaat the soundteack, hve slide the specie uses of muse a ths cinema tests to the strength af music's rstance to anys Nonetheless, prcpee ‘sae wo thse atclte wih epee o csi eting fd ther sub. system of Holywood arative in) unde thecompastion, ing nd 73 Classical Holywood Practice: The Mod of Max Steiner sudo eng of ln musi. Manis nd articles om sound recording ‘nd mising. and esthetic ad praca writings on sie empostn and ‘king, well athe line themsee, provide scat o these principle ‘What ills, then, 2 syathei oun f the recip of mise com pton, ming, and editing inthe clas arate fl. desrbes Slur il aber hun a monolith ystems wih vila rls. Whe shal ot ae for eqilram profiles or peness, shall emphasize the pero fhe te itis to the fort, inorder to contribute Uo «= "ulhed and growing body oflnowedge abot the fel of dae crema samples shall be dram in puticulr ow sires by Mat Sterol ‘tbh bis work ar» paradigm, but bossue of hit voluminous proence ‘Sd iflsence inthe asa period. That many ofthe is be sere ave ‘been the abet of rls by contemporary fin scolar a render hin central tothe study of Hallwod’s ln muse nora Classical Fim Music: Pincples of Compasiion, Mixing, ang Eating 1. Iii: the ei spptes of oondioatc mic mutt bo isle “Tne” Musi nt etn obs consol. Ae such Should subordinate tet dialogue to vss, tthe primary vehicles the nanatve I Signi of enaion: Sovndrick music may st specie monde and ‘nphase parila mations sgerted in the narrative (.#1N), bat ist nd Soremest. is signe of emotion sl —refeentialnarratice: music gives referent and waratve eves, Indeating pin of view. sapplyng formal demarstions. and establish seting at ert ‘Sovotatv, msi “interprets” and “Utustaes” native event V. Conny: aie provide ol and rhythm coatinty—berween shot, taston between sees, by flings VL Unity: i epettin sod vation o use materi nd iste tation, mut ae the contortion foal nl nara iy ‘ILA given filo sore ry at any the ria above, providing the voaton eat the service of the her pines, 1 ivistity “The physical sppurat ofl mus orchestra, microphones, et), like the files eer tedinaloeal apprates, such 36 the camera, mast under 74 Umeard Motaies mot cicumstnces nat be vison the xren, In an ate on fl sound techonlogy, Charles Altman seer ‘he step tht ll scallsion devices mnt be biden fam the camera ln th he eomglmeny ation alien {pisces aon th cree) an tis revealing to exaige RKO's KingKong (838, core by Ma Seine) with epee tothe "rls" beng Formulated here For Kong was one the arly 100 percent talkies to ave a sutind drama sre and the very aces in which #exhdseafudeses help reopen etorpest ‘what woud son beome the soothed-ut verso of cs fil scoring {odedting Early nthe fl, when adventure maker Cal Debary ae ‘hf dozen compunins go ashore to vestigate Sl nd, the priaile ‘finvabityroower an intresting tretment. ‘Ate of ates stsnga spectacle nial tthe ot ofthe enormous wll that separates the iad’: aman denizens frm te iansions one. Simestives, desea ae gear, dnce- Others ore draping ower plans ‘onto ative virgie i w wllearn ht hey are preperng hero serie toappeae the great ape Kong Dean marss his compancns behind vme folge and, 2 pants coldceally hide he, stands bei a el pl Ihe prs some pam rds to look. “Holy mckorel, hat shou” he x ‘uns. The spectacle, the excitement, the sing frenzy ofthe exibition (cates and the voyerins (Dena tc) bud a tandem with he mui. “at mone? Well, indeed, musk overeling the sundtace a hic poit, We can hearth el cating and dram beating. which we scopt 1 dngetic—ae wel ar the RKO studio orchestra (abe considered mond ‘xi plying bythe repetition figure in acompaniment ‘orie mogul Denham cant stand to ose" ths spectacle, He haus his movie camer ot into the vpen and starts ernking The val apparatus {5 exgosd, ae wile. The nal chef sees that hes ing lied or something ke that; he as presumably never seen a movi camer) Like 2 hug: Bc fathered orchestes condor, the chi ves an imperious ‘ios The heretofore uneliomsciou dancing chanting, drumming ed nondiegtic orchestra sap abl ‘Something—the foes of convention, perbspe—made 2 acceptable for ‘Denham opt the pal nd, eetig a eye trough wiih ogc {and ear unseen find une). But one cannot move one's Key ost Into the open witout being seen, withot “bresking the diet ion” 75 Clasecal Holywood Practice: The Medel of Max Steiner {to make parle betwee the lm spectator aed te mtv ak. But he ‘hic of snd ecology het King Kops orth sven ore myst “Arewetoeve dat Desham s shooting silent im all ths dancing lanting. drumming? No sound recoding spp gets ght laren telco slong withthe camer Ifa miropbone and 2 woundman were c- ‘ompunying Denham, what would the eke pk up? Would ecrd the ‘ramming, the chanting, andthe RKO orchestra? We Bow the “evo “anoer otis question eis sene seems tots i ey oviostes in ‘limiting on the dg level, a soundiman along with Dean and is ‘mera: as snd inn bas no tecooogal bse, vaes no ‘work, tcl and wl snply “shop” ust ke the spectacle Dene ‘witness Further, the cas paradigm would have ws believe that no Mrorktha o0e sto the ound of what we wither Sound rt there, cing ‘om the images we ae, The principle of nab of the wound-alecting ‘apparatus is seibet more deeply into the fiona test than the corse sponding visa prince ofthe camer iis. ‘Some further rmarts othe pine of vsti are inorder “When the muse operates vile, the msi "naturale a “Algetic®Hacepions tend to prove the rae- Eee Rahmers Perea (57S) ‘tows ws oer posites, ar medieval mascans ae sen i ame acon Danying the sized actions. Preval des nat actly break the rl, ot by and age attempting tobe a gate Hollywood film, bt othe ‘contrary, Sr approimating conventions of medieval dramate performance. “Anather exception acre when the Codd of Prénm: Carmen (1984) teruts sopnents showing a sting quartet reusing Beethoven, withthe Tieton story of banker Cannen and her companion, The gout Siuted problematical inthe fan via the fae silat who apes ‘nce or tei mina scenes ofthe princpal naraive. Otherwise, thse Shots of musidans havea wholly ambialet stats are they nondleetc {outside the "sry or nt? Athi Knd of example i fen found in Hol Iywoodflncomedy and masa: Me Broo nd Woody Allen have made hie we of degeiing” background mase by pacing musicians in 35 tnlieyise-e-etne (eg, Count Bass ja reso the esters phn of Bling Sad, 3 Ordinal, then, the vial representation of sie making sale ‘ttlly dierent narrative order at the deg, governed by com ‘entions of werinlitade eg ance band paying a might sone “nd ths, even when the visa presentation telly the soure af the Imusic we haar. When Stlan, the Lois Jourdan character in Later from ‘ov Unknown Woman, plays the plana, Louis Jourdas sa peyingthe plane 76 Unneard Metadet Plano music hs been dubbed onto the soundtrack to proce the sion, [A Holywood musi elitr ys bare the ait of mort dete mune ‘when he tres to deeb a tpl playback vesion on wet (hee tors are fled to sch with prerecorded "diegeti” mus) Youned soto wach stn mans, They ae wt muse ho se wed cones where hy sre ype be lng. bt he her sorry uendinge pack Pay sayy py th pasty hive set the tein n quote bees, ofcourse, iim muse can abvayz behead. However—and somewhat analogy tothe “aby” af cone tty edition the image rack—ast of conventional praticsisursive practices and viewnglistening habits) has evolved which result nthe spec: {ator no normally hearing or attending tos eonsciusy Is yolune mond nd sto must be subordinated to the dramatic and emotional dette of the iim manatine: Leonid Sabancey (or pedhaps his tarsltr) expresses ‘hs pcp partly telling ange gnu ns sal dest hat in cea hol eles ‘main ne cond ssp atonal atn thee band” the melo the steed tt ba busines ben he had ‘strep it the regan i ese tly? ad busines, precy, Sr good business to give uke buyers what they have come fo, namely a story, ot u concert. This story is the ight and melody, the oes of tention and doi: lm marie poets # with Trmonyin fact, es ising resonance. ‘ere are some practices dead by the prinpe of inaudy. 4 Mosalfoi genelly determined by or subordinated to marative form, The ration of mu oes determined by the duration of aly represented action ora vequenoe, Thu Sameer ives much practic advice shout how to compore Meal and net] mune hat may be stretched or trimmed athe ily ease atthe stadia should lengthen oraharten sees Inthe final ut "One might eal telat or extensie msi" He encourages ‘composers build pauses and sstuined notes Ino the musi, fr one ear ‘ra them out further ithe sequence i Tengthened wi aed shat. The ‘composer should write in short msl phrase, alo fr ate of eting Sequential progresions are convenient and there encouraged. And sn be well forthe compaser to have sal pices of nxtral musi ready 1 Classical Hotjoed Practice: Tho Modelo! Max Steiner for any emenseney—sistined nots on vous struments, rls on the eum or the eps, suing plat chads of ett te" KingKong core i rely constrced in ths wy, especialy he cota section where Denham, ack Drea, and eter crew members, themselves Dred by the ans acy ested monsters are atempling to iad ‘Ann and rescue her fom Kong eltces, Sequential progressions—euch Tevtatement ofa mative belaning a sep ora third higher han the hast— ‘ul tension cessnty and lentes, ad at the sane tine sel proved ‘napa in iting withthe Binal cating ofthe mage. Steiner eres tigate Sabancevs psripton fr cic, exten lm mani, and thi predilection fr sequential repetition i lllmark of his se thovshoat Riscace, iy Subordination to the ace." should away be remerbered 8 Sit principle of the aesthetes of muse nthe enema, that ge regures| i to pve way to dialogue Sabaneer means narrative loge: Diogu, any naratvely silent sounds for that mater us receive ist par Ayn the punk mi, componerErest Gold learned What eda oe va he compose ding] sein! Mat ener als bs fr prt a he at soe es emt eters ‘jure wb the retarded cry a tact et ort opt tventhte tec en thee s fOr aspect Slimac_ddom toast p bcuseae fran td Fie eth it mans nod cla an ipo sry pot” Parsing the notion that mise mst not drown ot speech, Sabunce, al renty otal date by Hollywood stacdars, scemmends in 150 the tll “euaton of mi while there dilgueo the ound orale out ey ‘nl “ompetiion”andtensre the dla’ arty. Inthe United Stats, the practic flowering the volume of muse Bbind digi, ater thn climinatiogt, wa aren de riqune. A machine nicknamed the "opal Bowne.” developed 3 ey a 194 had ats purpose t relate muse ‘itomatily. When dialog spas entered the sundae, the and ‘owner reed the msi sa In apart about the upand-lwrer, ‘ound Edvard Kell ges «poyholgesl rationale forthe asi

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