Course Modules

General Info

General Info General Info

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21M.284 Syllabus Fall 23.docx NOTE: THIS IS AN UPDATED VERSION WITH A FEW CORRECTIONS OF DUE DATES etc. 21M.284 Syllabus Fall 23.docx NOTE: THIS IS AN UPDATED VERSION WITH A FEW CORRECTIONS OF DUE DATES etc. 1

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21M.284 Fall 23 Quiz 1 Format.docx 21M.284 Fall 23 Quiz 1 Format.docx 3

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21M.284 (Fall 23), Module I. THE SOUND TRACK AND FILM NARRATIVE: BASIC CONCEPTS

21M.284 (Fall 23), Module I. THE SOUND TRACK AND FILM NARRATIVE: BASIC CONCEPTS 21M.284 (Fall 23), Module I. THE SOUND TRACK AND FILM NARRATIVE: BASIC CONCEPTS

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Class 1 (W Sep 6) / Introduction I: "The Audio-Visual Contract" 1

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Key Excerpts 2

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CASABLANCA (1942): Sam sings "As Time Goes By," and Rick re-meets Ilsa (about 40 minutes into the film). NOTE: As will be discussed in a later class when the whole film is assigned, the song "As Time Goes By" was not by the film's score composer (Max Steiner). It came out in 1931, and was written by Herman Hupfeld. (This is trivia, not something you have to know!) CASABLANCA (1942): Sam sings "As Time Goes By," and Rick re-meets Ilsa (about 40 minutes into the film). NOTE: As will be discussed in a later class when the whole film is assigned, the song "As Time Goes By" was not by the film's score composer (Max Steiner). It came out in 1931, and was written by Herman Hupfeld. (This is trivia, not something you have to know!) 3

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THE UNTOUCHABLES (1987), directed by Brian De Palma, score by Ennio Morricone: music for the opening credits (Main Title), called "The Strength of the Righteous" on the soundtrack album. THE UNTOUCHABLES (1987), directed by Brian De Palma, score by Ennio Morricone: music for the opening credits (Main Title), called "The Strength of the Righteous" on the soundtrack album. 4

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THE UNTOUCHABLES (1987): music for the closing credits (= "End Title") THE UNTOUCHABLES (1987): music for the closing credits (= "End Title") 5

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BIRTH (2004; dir Jonathan Glazer); music by Alexandre Desplat--opening 4' BIRTH (2004; dir Jonathan Glazer); music by Alexandre Desplat--opening 4' 6

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HIDDEN FIGURES (2016), directed by Theodore Melfi, music by Benjamin Wallfisch, Pharrell Williams, and Hans Zimmer; opening 4' HIDDEN FIGURES (2016), directed by Theodore Melfi, music by Benjamin Wallfisch, Pharrell Williams, and Hans Zimmer; opening 4' 7

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Supplemental Excerpts -- Which open onto other ways of connecting (or "dis-connecting"?) music and images! 8

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A WOMAN IS A WOMAN (i.e., "UNE FEMME EST UNE FEMME," 1961; film by Jean-Luc Godard; 1961): music by Michel Legrand. Opening segment: Watch 4- 5' or so, more if you are intrigued! A WOMAN IS A WOMAN (i.e., "UNE FEMME EST UNE FEMME," 1961; film by Jean-Luc Godard; 1961): music by Michel Legrand. Opening segment: Watch 4- 5' or so, more if you are intrigued! 9

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PERSONA (1966), film directed by Ingmar Bergman (in Swedish with English subtitles); music by Lars Johan Werle. NOTE: At the time this film was released, Ingmar Bergman was considered one of the greatest film directors in the world. The film is very tough on the viewer ... it's an intense psychodrama that stretches the language of cinema. But it also gives various women wonderful acting roles! A further side note: The film was adapted into an opera a number of years ago, with music by MTA's chair, Keeril Makan, directed by Theater Arts Professor Jay Scheib, conducted by MIT Music Professor Evan Ziporyn! PERSONA (1966), film directed by Ingmar Bergman (in Swedish with English subtitles); music by Lars Johan Werle. NOTE: At the time this film was released, Ingmar Bergman was considered one of the greatest film directors in the world. The film is very tough on the viewer ... it's an intense psychodrama that stretches the language of cinema. But it also gives various women wonderful acting roles! A further side note: The film was adapted into an opera a number of years ago, with music by MTA's chair, Keeril Makan, directed by Theater Arts Professor Jay Scheib, conducted by MIT Music Professor Evan Ziporyn! 10

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DO THE RIGHT THING (1989): Film opening, with song "Fight the Power" by Public Enemy DO THE RIGHT THING (1989): Film opening, with song "Fight the Power" by Public Enemy 11

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Class 2 (M Sep 11) / Introduction II: Components of the Sound Track 12

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21M284 Fall 23 Class 2 ASSIGNMENT Sheet.docx 21M284 Fall 23 Class 2 ASSIGNMENT Sheet.docx 13

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Class 2: Main Film Excerpts (All of these are discussed in the assigned reading.) 14

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CATCH ME IF YOU CAN (2002)--Christmas Eve Phone Call CATCH ME IF YOU CAN (2002)--Christmas Eve Phone Call 15

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THE FELLOWSHIP OF THE RING (2001) -- Frodo Awakens in Rivendell THE FELLOWSHIP OF THE RING (2001) -- Frodo Awakens in Rivendell 16

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SLEEPLESS IN SEATTLE (1993) -- Second Botched Meeting SLEEPLESS IN SEATTLE (1993) -- Second Botched Meeting 17

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GOOD WILL HUNTING (1997) -- Boston Common Scene.mp4 GOOD WILL HUNTING (1997) -- Boston Common Scene.mp4 18

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PSYCHO (1960) --- Marion packs PSYCHO (1960) --- Marion packs 19

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Class 2 SUPPLEMENTAL EXCERPTS 20

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THE SEA HAWK (1940) -- Film beginning THE SEA HAWK (1940) -- Film beginning 21

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THE SEA HAWK -- Film Ending THE SEA HAWK -- Film Ending 22

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THE GREAT DICTATOR (1940): (i) Dictator Adenoid Hynkel (i.e., Charlie Chaplin) addresses a rally. NOTE: This was the first film in which Chaplin's voice was actually heard! THE GREAT DICTATOR (1940): (i) Dictator Adenoid Hynkel (i.e., Charlie Chaplin) addresses a rally. NOTE: This was the first film in which Chaplin's voice was actually heard! 23

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THE GREAT DICTATOR (1940): (ii) Hynkel makes plans and gives orders—> Then alone, he dances with a balloon globe. THE GREAT DICTATOR (1940): (ii) Hynkel makes plans and gives orders—> Then alone, he dances with a balloon globe. 24

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NORTH BY NORTHWEST (1959) -- The hero (named Roger Thornhill, but mistaken for a nonexistent man named Kaplan) was previously kidnapped and almost murdered, but escaped. Now, he and his disbelieving mother are in a New York City hotel room, and the killers are still on his trail. (EDITORIAL COMMENT: The plotting is serious; but like many other films directed by Hitchcock, there is a very high amount of irony and humor. In this case, the humor partly resides in the fact that the leading man is Cary Grant, a movie superstar at that time. The idea of his being an "ordinary" NYC businessman was fundamentally ironic. Hence the humorous tone of some of the film scoring.) NORTH BY NORTHWEST (1959) -- The hero (named Roger Thornhill, but mistaken for a nonexistent man named Kaplan) was previously kidnapped and almost murdered, but escaped. Now, he and his disbelieving mother are in a New York City hotel room, and the killers are still on his trail. (EDITORIAL COMMENT: The plotting is serious; but like many other films directed by Hitchcock, there is a very high amount of irony and humor. In this case, the humor partly resides in the fact that the leading man is Cary Grant, a movie superstar at that time. The idea of his being an "ordinary" NYC businessman was fundamentally ironic. Hence the humorous tone of some of the film scoring.) 25

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WITNESS (1984) -- Inside a Philadelphia police station, an Amish boy who witnessed a murder identifies a suspect. WITNESS (1984) -- Inside a Philadelphia police station, an Amish boy who witnessed a murder identifies a suspect. 26

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Class 3 (W Sep 13) / THE “MUSICALITY” of the SOUND TRACK 27

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21M.284 Fall 23 Class 3 ASSIGNMENT Sheet.doc 21M.284 Fall 23 Class 3 ASSIGNMENT Sheet.doc 28

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Class 3: MAIN FILM EXCERPTS 29

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LOVE ME TONIGHT (1932): Film beginning--"Paris Awakens" (ca. 5')—a landmark early musical, with songs by Richard Rodgers and Lorenz Hart, masterfully directed by Rouben Mamoulian; the actor featured in this segment is Maurice Chevalier, who had a long and distinguished career.mp4 LOVE ME TONIGHT (1932): Film beginning--"Paris Awakens" (ca. 5')—a landmark early musical, with songs by Richard Rodgers and Lorenz Hart, masterfully directed by Rouben Mamoulian; the actor featured in this segment is Maurice Chevalier, who had a long and distinguished career.mp4 30

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THE BRIDE OF FRANKENSTEIN (1935) -- (famous) excerpt: Laboratory sequence showing the creation of the female monster. The score for the film was by Franz Waxman, a German emigre in Hollywood, who had a number of great successes. This was the second Frankenstein movie... the original FRANKENSTEIN was made in 1931, and as good and innovative as that movie was/is, it has almost no musical score! Universal was not a "Major" studio at this time—its movies tended to be low-budget. The studio produced several more films in the original Frankenstein series. but none of them have quite as impressive a score as this. THE BRIDE OF FRANKENSTEIN (1935) -- (famous) excerpt: Laboratory sequence showing the creation of the female monster. The score for the film was by Franz Waxman, a German emigre in Hollywood, who had a number of great successes. This was the second Frankenstein movie... the original FRANKENSTEIN was made in 1931, and as good and innovative as that movie was/is, it has almost no musical score! Universal was not a "Major" studio at this time—its movies tended to be low-budget. The studio produced several more films in the original Frankenstein series. but none of them have quite as impressive a score as this. 31

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ATONEMENT (2007): Opening through first spoken words.mp4 ATONEMENT (2007): Opening through first spoken words.mp4 32

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Class 3: SUPPLEMENTAL EXCERPTS 33

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HIS GIRL FRIDAY (1940) -- press room scene with Walter, Hildy, and Bruce—NOTE: Except for the opening and closing titles, this comedy has NO music. But the dialogue is amazingly fast. I have included the excerpt to show you how "musical" actual dialogue can be. (And to whet your appetite to watch the whole movie when you have a chance—it's a gem!) HIS GIRL FRIDAY (1940) -- press room scene with Walter, Hildy, and Bruce—NOTE: Except for the opening and closing titles, this comedy has NO music. But the dialogue is amazingly fast. I have included the excerpt to show you how "musical" actual dialogue can be. (And to whet your appetite to watch the whole movie when you have a chance—it's a gem!) 34

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ATONEMENT -- Dunkirk Tracking Shot (6').mp4 ATONEMENT -- Dunkirk Tracking Shot (6').mp4 35

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PARASITE (2019) - Opening four minutes.mp4 PARASITE (2019) - Opening four minutes.mp4 36

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Class 4 (Mon Sep 18) / THE SOUND TRACK AND NARRATIVE SPACE 37

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21M.284 Fall 23 Class 4 ASSIGNMENT Sheet.doc 21M.284 Fall 23 Class 4 ASSIGNMENT Sheet.doc 38

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CLASS 4: Main Film Excerpts 39

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External Url

GLORY: Party Sequence—>Next sequence: The first call for volunteers (See HtM, pp. 58-61) GLORY: Party Sequence—>Next sequence: The first call for volunteers (See HtM, pp. 58-61) 40

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THE BIG SLEEP (1946): Second Car Scene (See HtM, p. 62).mp4 THE BIG SLEEP (1946): Second Car Scene (See HtM, p. 62).mp4 41

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FOR ME AND MY GAL (1942): Title song duet (See HtM pp. 70-71).mp4 FOR ME AND MY GAL (1942): Title song duet (See HtM pp. 70-71).mp4 42

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CLASS 4: Supplemental Excerpts 43

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THE THIRD MAN (1949): Opening Titles and Introductory Narration (Editorial Note: This is a wonderful movie!).mp4 THE THIRD MAN (1949): Opening Titles and Introductory Narration (Editorial Note: This is a wonderful movie!).mp4 44

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Class 5 (Wed Sep 20) / The SOUND TRACK AND NARRATIVE TIME 45

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21M.284 Fall 23 Class 5 ASSIGNMENT Sheet.doc 21M.284 Fall 23 Class 5 ASSIGNMENT Sheet.doc 46

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Class 5, two main excerpts: mentioned in HtM at the end of Chapter 3 as examples of "passed-along songs." 47

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External Url

Sequence from LOVE ME TONIGHT with the song "Isn't It Romantic?" (Music by Richard Rodgers; lyrics by Lorenz Hart; see HtM, p. 76.) Sequence from LOVE ME TONIGHT with the song "Isn't It Romantic?" (Music by Richard Rodgers; lyrics by Lorenz Hart; see HtM, p. 76.) 48

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Sequence from SINGIN' IN THE RAIN with the song "Would You?" (Music & Lyrics by Nacio Herb Brown & Arthur Freed; see HtM, p. 80).mp4 Sequence from SINGIN' IN THE RAIN with the song "Would You?" (Music & Lyrics by Nacio Herb Brown & Arthur Freed; see HtM, p. 80).mp4 49

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Class 5, More excerpts: These are NOT from film musicals—they illustrate how non-diegetic scoring can manipulate our sense of both film time and film space! 50

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HIGH NOON (1952): first clip = Main Title (with film's theme song, "The Ballad of High Noon"). Film directed by Fred Zinnemann; score by Dmitri Tiomkin; title song lyrics by Ned Washinton. HIGH NOON (1952): first clip = Main Title (with film's theme song, "The Ballad of High Noon"). Film directed by Fred Zinnemann; score by Dmitri Tiomkin; title song lyrics by Ned Washinton. 51

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External Url

HIGH NOON (1952): second clip = Clock Montage, with scoring based on the title song. HIGH NOON (1952): second clip = Clock Montage, with scoring based on the title song. 52

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THE MAN WHO KNEW TOO MUCH (1956) -- Assassination attempt during an ongoing concert at the Royal Albert Hall (in London); NOTE that this is a different sort of clip, because the music is diegetic -- but curiously it seems to function like background score!.mp4 THE MAN WHO KNEW TOO MUCH (1956) -- Assassination attempt during an ongoing concert at the Royal Albert Hall (in London); NOTE that this is a different sort of clip, because the music is diegetic -- but curiously it seems to function like background score!.mp4 53

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...... Added note for clarification. The woman in this clip (played by Doris Day), knows that a man is going to be assassinated, but she doesn't know when. We DO know — the assassin will fire his gun at a climactic moment during the concert performance, when cymbals are clashed! Meanwhile, she is distraught because the killers' group has kidnapped her son to prevent her from going to the police. Her husband (Jimmy Stewart) is also trying to prevent the assassination, and you will see what happens when he arrives at the concert ..... 54

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THE SHINING (1980) -- Jack suffers from writer's block; his wife and son wander through a hedge maze (music by Béla Bartók, from movement 3 of his MUSIC FOR STRINGS, PERCUSSION, AND CELESTA).mp4 THE SHINING (1980) -- Jack suffers from writer's block; his wife and son wander through a hedge maze (music by Béla Bartók, from movement 3 of his MUSIC FOR STRINGS, PERCUSSION, AND CELESTA).mp4 55

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KOYAANISQATSI (1983): "Pruit Igoe" segment, with score by Philip Glass KOYAANISQATSI (1983): "Pruit Igoe" segment, with score by Philip Glass 56

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GOODFELLAS (1990; directed by Martin Scorsese) -- Paulie takes Karen to the Copacabana in NYC (1963 top-40 song "Then He Kissed Me," performed by The Crystals) GOODFELLAS (1990; directed by Martin Scorsese) -- Paulie takes Karen to the Copacabana in NYC (1963 top-40 song "Then He Kissed Me," performed by The Crystals) 57

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BABY DRIVER (2017): Opening credits, etc., with 1994 song "Bellbottoms" (by the Jon Spencer Blues Explosion).mp4 BABY DRIVER (2017): Opening credits, etc., with 1994 song "Bellbottoms" (by the Jon Spencer Blues Explosion).mp4 58

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Class 6 / Mon Sep 25 CASE STUDY 1: A “true-life” comedy-drama with a subtle score by John Williams. 59

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21M.284 Fall 23 CLASS 6 Assignment Guidesheet.docx 21M.284 Fall 23 CLASS 6 Assignment Guidesheet.docx 60

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CATCH ME IF YOU CAN -- complete film (140 minutes!) CATCH ME IF YOU CAN -- complete film (140 minutes!) 61

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CATCH ME IF YOU CAN Soundtrack Album, Track 1: "Catch Me if You Can" (i.e., Main Title Music) CATCH ME IF YOU CAN Soundtrack Album, Track 1: "Catch Me if You Can" (i.e., Main Title Music) 62

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CATCH ME IF YOU CAN score: All the Williams cues on the soundtrack CD.zip CATCH ME IF YOU CAN score: All the Williams cues on the soundtrack CD.zip 63

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Class 7 / Wed Sep 27 CASE STUDIES 2A & 2B: Contemporaneous films from novels set in the Napoleonic era. 64

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Watch the first 20' or so of each, then choose one film to watch complete. 65

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MASTER AND COMMANDER (2003) — complete film (148 minutes).mp4 MASTER AND COMMANDER (2003) — complete film (148 minutes).mp4 66

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PRIDE AND PREJUDICE (2005) --complete film (128 minutes) PRIDE AND PREJUDICE (2005) --complete film (128 minutes) 67

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M & C: Four tracks from the soundtrack CD, including two excerpts from well-known classical repertoire, and two segments composed for the film. (NOTE: Three composers are listed in the film's credits, without singling out who wrote what: Iva Davies, Christopher Gordon, and Richard Tognetti .) 68

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M & C soundtrack segment #1: "The Far Side of the World" M & C soundtrack segment #1: "The Far Side of the World" 69

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M & C soundtrack segment #2: "Into the Fog" M & C soundtrack segment #2: "Into the Fog" 70

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M & C soundtrack segment #3: Excerpt from FANTASIA ON A THEME BY THOMAS TALLIS, for string orchestra, composed by Ralph Vaughan Williams in 1910.m4a M & C soundtrack segment #3: Excerpt from FANTASIA ON A THEME BY THOMAS TALLIS, for string orchestra, composed by Ralph Vaughan Williams in 1910.m4a 71

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NOTE: Thomas Tallis (1505-1585) was a leading English Renaissance composer whose output consisted almost entirely of vocal music, both sacred and secular. 72

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M&C soundtrack segment #4: Excerpt from Arcangelo Corelli's CONCERTO GROSSO, Op. 6, No. 8 (published posthumously in 1714). NOTE: In the first printed edition of the score this concerto was headed with the inscription "Fatto per la notte di Natale" (i.e., "Composed for Christmas Eve")—and thus it is now commonly known as Corelli's "Christmas Concerto." The excerpt is from the central Adagio (movement 4 of 7).m4a M&C soundtrack segment #4: Excerpt from Arcangelo Corelli's CONCERTO GROSSO, Op. 6, No. 8 (published posthumously in 1714). NOTE: In the first printed edition of the score this concerto was headed with the inscription "Fatto per la notte di Natale" (i.e., "Composed for Christmas Eve")—and thus it is now commonly known as Corelli's "Christmas Concerto." The excerpt is from the central Adagio (movement 4 of 7).m4a 73

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External Url

M & C: A brief but informative--and predominantly negative--review of the soundtrack CD. M & C: A brief but informative--and predominantly negative--review of the soundtrack CD. 74

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P & P: Four tracks from the CD of Marianelli's score 75

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External Url

P&P soundtrack segment #1: "Dawn" P&P soundtrack segment #1: "Dawn" 76

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P&P soundtrack segment #6: "Georgiana" P&P soundtrack segment #6: "Georgiana" 77

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P&P Soundtrack segment #9: "Liz on Top of the World".m4a P&P Soundtrack segment #9: "Liz on Top of the World".m4a 78

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P&P Soundtrack segment #17: End Credits.m4a P&P Soundtrack segment #17: End Credits.m4a 79

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Class 8 / M Oct 2 / Case Studies 3A & 3B: Two film about black lives and how much they matter—against all odds! 80

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21M.284 Fall 23 CLASS 8 Assignment Guidesheet.docx 21M.284 Fall 23 CLASS 8 Assignment Guidesheet.docx 81

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Primary film: IN THE HEAT OF THE NIGHT (1967) -- Complete film (in Panopto course folder) Primary film: IN THE HEAT OF THE NIGHT (1967) -- Complete film (in Panopto course folder) 82

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IN THE HEAT OF THE NIGHT -- commercial soundtrack album on YouTube (with a mixture of songs and tracks from the original score by Quincy Jones) IN THE HEAT OF THE NIGHT -- commercial soundtrack album on YouTube (with a mixture of songs and tracks from the original score by Quincy Jones) 83

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Attachment

In the Heat of the Night - G Major (SHEET MUSIC FOR THE FILM'S TITLE SONG).pdf In the Heat of the Night - G Major (SHEET MUSIC FOR THE FILM'S TITLE SONG).pdf 84

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Secondary (optional) film: HIDDEN FIGURES (2018) -- Complete film in Panopto folder Secondary (optional) film: HIDDEN FIGURES (2018) -- Complete film in Panopto folder 85

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HIDDEN FIGURES -- commercial soundtrack album on YouTube (has songs, but not the original score) HIDDEN FIGURES -- commercial soundtrack album on YouTube (has songs, but not the original score) 86

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MODULE II: Foundations of Scoring Methods and Styles, ca. 1910-45

MODULE II: Foundations of Scoring Methods and Styles, ca. 1910-45 MODULE II: Foundations of Scoring Methods and Styles, ca. 1910-45

Context Module Sub Header

Class 9 / W Oct 4 / MUSIC FOR SILENT FILMS IN THEIR OWN TIME, I: The System & Its Generic Music 1

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Silent Film Music: LISTENING FILES in Panopto folder, for six relatively short pieces that could be played repeatedly for different films as needed. Silent Film Music: LISTENING FILES in Panopto folder, for six relatively short pieces that could be played repeatedly for different films as needed. 2

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The first three are short piano pieces by J. S. Zamecnik, originally published in a modest but pioneering collection called "SAM FOX MOVING PICTURE MUSIC, Volume 1" (1913). The complete collection of pieces has been uploaded as a PDF for you to peruse, and you can find the three recorded pieces listed in the table of contents. 3

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Attachment

Zamecnik SFMovPicMusic I.pdf Zamecnik SFMovPicMusic I.pdf 4

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HURRY MUSIC (for Struggles).m4a HURRY MUSIC (for Struggles).m4a 5

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DEATH SCENE.m4a DEATH SCENE.m4a 6

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ORIENTAL VEIL DANCE.m4a ORIENTAL VEIL DANCE.m4a 7

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The next three pieces were written for orchestral ensembles and published later during the silent period. They have larger dimensions and greater musical complexity — but each one is still very clear as to its mood and musical form! 8

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SHADOWED!.m4a SHADOWED!.m4a 9

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Here is the score to SHADOWED!.pdf Here is the score to SHADOWED!.pdf 10

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CREEPY CREEPS: MISTERIOSO.m4a CREEPY CREEPS: MISTERIOSO.m4a 11

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A RUSTIC FESTIVAL.m4a A RUSTIC FESTIVAL.m4a 12

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Context Module Sub Header

Last on the listening menu: two examples of theater organ accompaniments, one for an exotic action drama, the other for a clever comedy. Each recording is an imaginative "realization" of an outline for a score (a published "Cue Sheet"), that was distributed to musicians across the country (and abroad) to be used ad lib. The performances were recorded in the 1960s or 70s, and they were done by experienced professional silent movie accompanists. And note: they are both much abridged—samplings of scores for films that last more than 60 minutes each. 13

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Theater Organ Accompaniment (much abridged!) for the 1926 Rudolf Valentino drama SON OF THE SHEIK.m4a Theater Organ Accompaniment (much abridged!) for the 1926 Rudolf Valentino drama SON OF THE SHEIK.m4a 14

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Theater Organ Accompaniment (much abridged!) for the 1926 Harold Lloyd comedy FOR HEAVEN'S SAKE.mp3 Theater Organ Accompaniment (much abridged!) for the 1926 Harold Lloyd comedy FOR HEAVEN'S SAKE.mp3 15

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Context Module Sub Header

Class 10 / W Oct 11 / MUSIC FOR SILENT FILMS IN THEIR OWN TIME, II: Period Scores, more or less 16

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NOTE: I uploaded the following article, rather than excerpts from my book on silent film music, because it conveys several key points more concisely. What it lacks, though, is any detailed analysis of a given period score. (I will provide examples of that on request! ;-)) 17

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Marks, "Music and the Silent Film" (Article published in THE OXFORD HISTORY OF WORLD CINEMA, 1997).pdf Marks, "Music and the Silent Film" (Article published in THE OXFORD HISTORY OF WORLD CINEMA, 1997).pdf 18

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External Url

Silent feature #1: LADY WINDERMERE'S FAN -- complete film in Panopto folder (Silent Films in Their Own Time). Discussed in HtM chapter 4. Silent feature #1: LADY WINDERMERE'S FAN -- complete film in Panopto folder (Silent Films in Their Own Time). Discussed in HtM chapter 4. 19

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Silent Feature #2: BATTLESHIP POTEMKIN (1925) - restored version, with new recording of the original orchestral score by Edmund Meisel (which first was played with the film in Germany in 1926). Silent Feature #2: BATTLESHIP POTEMKIN (1925) - restored version, with new recording of the original orchestral score by Edmund Meisel (which first was played with the film in Germany in 1926). 20

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Optional bonus feature! PHANTOM OF THE OPERA (1925) -- Restored and color-tinted version, with an orchestral score by Carl Davis, composed and recorded in 1996. After the opening scenes, a good one to watch is the "Bal Masqué" (ca. 46'-50') . Optional bonus feature! PHANTOM OF THE OPERA (1925) -- Restored and color-tinted version, with an orchestral score by Carl Davis, composed and recorded in 1996. After the opening scenes, a good one to watch is the "Bal Masqué" (ca. 46'-50') . 21

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OPTIONAL bonus feature! METROPOLIS (1927) -- Restored version, with new recording of the 1927 orchestral score composed for the film in Germany by Gottfried Huppertz. (Kino Video). Best segments to watch: (1) The first twenty minutes, through the factory sequence. (2) The sequence of Maria's Abduction by Rotwang (ca. 58' to 66' = end of part I). (3) The laboratory transformation scene see ca. 1:21:00 to 1:28:00 (showing Freder's shock and collapse). OPTIONAL bonus feature! METROPOLIS (1927) -- Restored version, with new recording of the 1927 orchestral score composed for the film in Germany by Gottfried Huppertz. (Kino Video). Best segments to watch: (1) The first twenty minutes, through the factory sequence. (2) The sequence of Maria's Abduction by Rotwang (ca. 58' to 66' = end of part I). (3) The laboratory transformation scene see ca. 1:21:00 to 1:28:00 (showing Freder's shock and collapse). 22

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Context Module Sub Header

Class 11 / Mon Oct 16 / MUSIC FOR SILENT FILMS IN OUR TIME: A sampling of new scores commissioned for various DVD collections of restored silent films. (Your instructor was the Music Curator and solo pianist for these DVD collections, and he reached out to many members of the MIT Music Faculty to write new scores whenever possible. Budgets were very limited, so the ensembles had to be kept small.) Booklet notes about all of these films will be distributed in class. 23

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NOTE: To gain a deeper appreciation of what a new score can add to a silent film, try watching at least some of these films the first time SILENTLY. Then go back and re-watch them with the added scores! 24

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DEMOLISHING AND BUILDING UP THE STAR THEATRE (1901; 2') -- An early "trick" film obtained through time-lapse photography, with a (somewhat goofy) piano score by your 21M.284 instructor, added in 2000. DEMOLISHING AND BUILDING UP THE STAR THEATRE (1901; 2') -- An early "trick" film obtained through time-lapse photography, with a (somewhat goofy) piano score by your 21M.284 instructor, added in 2000. 25

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MANHATTAN TRADE SCHOOL FOR GIRLS (1911; 16') -- A very early promotional documentary with a new score by MIT Music Lecturer in Theory and Composition Elena Ruehr. The score, added in 2007, was written for a string quartet and girls' chorus, mostly singing words and phrases from the film's onscreen intertitles! MANHATTAN TRADE SCHOOL FOR GIRLS (1911; 16') -- A very early promotional documentary with a new score by MIT Music Lecturer in Theory and Composition Elena Ruehr. The score, added in 2007, was written for a string quartet and girls' chorus, mostly singing words and phrases from the film's onscreen intertitles! 26

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FROM THE SUBMERGED (1911; 9') -- A short fictional film about the plight of the destitute and homeless, with a new score for cello and piano composed by Michael Miller in 2007 (when he was an MIT Sophomore). NOTE: This is an early (landmark) example of the "social issue" film, a genre that became increasingly common during the silent film era. FROM THE SUBMERGED (1911; 9') -- A short fictional film about the plight of the destitute and homeless, with a new score for cello and piano composed by Michael Miller in 2007 (when he was an MIT Sophomore). NOTE: This is an early (landmark) example of the "social issue" film, a genre that became increasingly common during the silent film era. 27

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BEAUTY SPOTS IN AMERICA: CASTLE HOT SPRINGS (6') -- A 1916 promotional travelogue, with a new score composed in 2011 by MIT Professor of Music Evan Ziporyn. (NOTE: At the time the film was made, Castle Hot Springs was a popular resort destination in Arizona.) BEAUTY SPOTS IN AMERICA: CASTLE HOT SPRINGS (6') -- A 1916 promotional travelogue, with a new score composed in 2011 by MIT Professor of Music Evan Ziporyn. (NOTE: At the time the film was made, Castle Hot Springs was a popular resort destination in Arizona.) 28

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INDIAN DETOUR (1916; 16') -- Another (impressive) promotional travelogue, with a score for a six-instrument ensemble, composed by MIT Senior Lecturer Charles Shadle. (Charles is himself a member of the Choctaw Nation. The score was recorded in 2011.) INDIAN DETOUR (1916; 16') -- Another (impressive) promotional travelogue, with a score for a six-instrument ensemble, composed by MIT Senior Lecturer Charles Shadle. (Charles is himself a member of the Choctaw Nation. The score was recorded in 2011.) 29

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SKYSCRAPER SYMPHONY: an "abstract" documentary consisting of NYC footage (photographed and edited by Robert Florey in 1929; 9') -- with a new score for string quartet composed in 2007 by MIT Music Professor Peter Child. (The performing ensemble is the Lydian String Quartet, whose members were on the faculty at Brandeis.) SKYSCRAPER SYMPHONY: an "abstract" documentary consisting of NYC footage (photographed and edited by Robert Florey in 1929; 9') -- with a new score for string quartet composed in 2007 by MIT Music Professor Peter Child. (The performing ensemble is the Lydian String Quartet, whose members were on the faculty at Brandeis.) 30

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NEGRO LEAGUES BASEBALL Footage (1940s; about 15'). A unique short film consisting of rare documentary footage, with a new score by MIT Senior Lecturer Mark Harvey; Mark, playing trumpet, leads a small professional jazz combo, which improvised the score in accompaniment to the film in Killian Hall in 2000. NEGRO LEAGUES BASEBALL Footage (1940s; about 15'). A unique short film consisting of rare documentary footage, with a new score by MIT Senior Lecturer Mark Harvey; Mark, playing trumpet, leads a small professional jazz combo, which improvised the score in accompaniment to the film in Killian Hall in 2000. 31

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Classes 12 & 13: W Oct 18 & M Oct 23: EARLY (= TRANSITIONAL) SOUND FILM TECHNOLOGIES & AESTHETICS. 32

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Reading in HtM: You can skim parts of Ch. 5, but do read carefully pp. 172-185; similarly, in Ch. 7 focus on pp. 234-47, 250-8, & 265-9. 33

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NOTE: This assignment was inadequately covered in Wednesday's class (Oct. 18), so we will return to its material at the beginning of class on Monday October 23rd. The assignments for the next few classes will be adjusted to make room for this change. 34

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Please watch the posted excerpts from at least three of the memorable early sound films listed below: M, STREET SCENE, LITTLE WOMEN, KING KONG, and THE BRIDE OF FRANKENSTEIN. Since our textbook has a detailed "map" of the score for KING KONG (which is also singled out by film music historians for being a landmark or early Hollywood sound film scoring), be sure to include that film. (This is not to excuse the film's appalling racism—rather, it is important to see how powerful was its fusion of music and images, for better and worse! Also, I have a photocopy of the original score and will show you how it looks, in class.) 35

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1a. M (German sound film, 1931) -- Link to file in Panopto with the first 20 minutes—but without subtitles! 1a. M (German sound film, 1931) -- Link to file in Panopto with the first 20 minutes—but without subtitles! 36

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1b. M (1931): Link to the complete film on the "Daily Motion" website, WITH subtitles. 1b. M (1931): Link to the complete film on the "Daily Motion" website, WITH subtitles. 37

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2. STREET SCENE (1931). NOTE: This is a link to the complete film on YouTube (using a much-degraded print). Please watch the "Establishing sequence" = opening titles and first shot, going through the first 5½ minutes (until the conversation of the three women is interrupted). Also see HtM p. 254 paragraph & caption. Compare this opening to the silent features you watched previously and note the change of film style brought about by the coming of sound: its reliance almost entirely on dialogue and a stagey set plus clever camera work. 2. STREET SCENE (1931). NOTE: This is a link to the complete film on YouTube (using a much-degraded print). Please watch the "Establishing sequence" = opening titles and first shot, going through the first 5½ minutes (until the conversation of the three women is interrupted). Also see HtM p. 254 paragraph & caption. Compare this opening to the silent features you watched previously and note the change of film style brought about by the coming of sound: its reliance almost entirely on dialogue and a stagey set plus clever camera work. 38

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3a. KING KONG (1933), first excerpt: Opening credits and first scenes (= "Establishing Sequence"). The film's musical score was composed by Max Steiner. 3a. KING KONG (1933), first excerpt: Opening credits and first scenes (= "Establishing Sequence"). The film's musical score was composed by Max Steiner. 39

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3b. KING KONG, second excerpt: "The boat in the fog"... —> The sailors venture onto Skull Island and encounter the natives. 3b. KING KONG, second excerpt: "The boat in the fog"... —> The sailors venture onto Skull Island and encounter the natives. 40

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3c. KING KONG, third {brief] excerpt: Kong appears! 3c. KING KONG, third {brief] excerpt: Kong appears! 41

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NOTE: For analysis of all three segments from KING KONG, see the film's description in HtM on pp. 234-35! 42

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4a. LITTLE WOMEN (1933) -- beginning. See HtM, pp. 252-54. 4a. LITTLE WOMEN (1933) -- beginning. See HtM, pp. 252-54. 43

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4b. LITTLE WOMEN -- final 4½ minutes; see HtM, 256-57. 4b. LITTLE WOMEN -- final 4½ minutes; see HtM, 256-57. 44

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Supplemental Video: LITTLE WOMEN (1947 version)—Establishing sequence. (Included here for those who might wish to compare it to the opening of the 1933 film version. There were further film versions of this beloved novel, most recently the excellent one released in 2019 — the first version directed by a woman.) Supplemental Video: LITTLE WOMEN (1947 version)—Establishing sequence. (Included here for those who might wish to compare it to the opening of the 1933 film version. There were further film versions of this beloved novel, most recently the excellent one released in 2019 — the first version directed by a woman.) 45

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5. THE BRIDE OF FRANKSTEIN (1935) -- Establishing Sequence —> Prologue, and move into story. (Note: See the brief reference to the horror film genre in HM, on page 251.) This was the first Universal Studios horror/monster film that had an elaborate orchestral score. (At that time, Universal was less highly regarded as a "major" studio than several others. The biggest corporate entities were MGM, 20th-Century Fox, Paramount, Warner Brothers, and RKO.) Keep in mind that each of these studios had their own self-contained "Music Departments" and orchestras. You can learn more about this from the documentary "The Hollywood Sound," which is included in a forthcoming assignment below.) 5. THE BRIDE OF FRANKSTEIN (1935) -- Establishing Sequence —> Prologue, and move into story. (Note: See the brief reference to the horror film genre in HM, on page 251.) This was the first Universal Studios horror/monster film that had an elaborate orchestral score. (At that time, Universal was less highly regarded as a "major" studio than several others. The biggest corporate entities were MGM, 20th-Century Fox, Paramount, Warner Brothers, and RKO.) Keep in mind that each of these studios had their own self-contained "Music Departments" and orchestras. You can learn more about this from the documentary "The Hollywood Sound," which is included in a forthcoming assignment below.) 46

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CLASS 14 / Wednesday, October 25: THE KORNGOLD LEGACY 50

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NOTE a departure from the syllabus: the discussion of the documentary THE HOLLYWOOD SOUND is postponed until after you have watched the movie LAURA, in order to avoid revealing that movie's plot twist(s) before you have seen it! We will discuss LAURA as part of the assignment for Monday October 30th, and you will be asked to write a brief summary of and response to the documentary. 51

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CAPTAIN BLOOD (1935): Link to Folder with two clips demonstrating use of the score's two main themes -- see HM, pp. 270-72 CAPTAIN BLOOD (1935): Link to Folder with two clips demonstrating use of the score's two main themes -- see HM, pp. 270-72 52

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THE ADVENTURES OF ROBIN HOOD (1983) -- complete film THE ADVENTURES OF ROBIN HOOD (1983) -- complete film 53

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Attachment

Erich Korngold bio.doc Erich Korngold bio.doc 54

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ADVENTURES OF ROBIN HOOD -- chart of the opening cues.doc ADVENTURES OF ROBIN HOOD -- chart of the opening cues.doc 56

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ADVENTURES OF ROBIN HOOD Piano Suite.pdf ADVENTURES OF ROBIN HOOD Piano Suite.pdf 57

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CLASS 15 / Monday October 30: Classic Melodramas from the World War II Years--with Flashbacks & Famous Music! 58

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External Url

CASABLANCA (1942) -- complete film, in Panopto CASABLANCA (1942) -- complete film, in Panopto 59

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CASABLANCA -- Handouts packet.pdf CASABLANCA -- Handouts packet.pdf 60

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CASABLANCA -- Marks Essay complete (Cf. HtM, pp. 129-35 & 263).pdf CASABLANCA -- Marks Essay complete (Cf. HtM, pp. 129-35 & 263).pdf 61

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External Url

LAURA (1944) -- complete film, in Panopto LAURA (1944) -- complete film, in Panopto 63

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NOTE: I recommend that you watch LAURA before looking at the materials linked below, so as to avoid reading about plot elements that are meant to be surprising! 64

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LAURA (1944) - Overview page, theme song, excerpt from Burt.pdf LAURA (1944) - Overview page, theme song, excerpt from Burt.pdf 65

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THE HOLLYWOOD SOUND (1993) - link to complete film on Panopto THE HOLLYWOOD SOUND (1993) - link to complete film on Panopto 67

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Module III. Exploring Modernist and Post-Classical Styles, ca. 1940-1975

Module III. Exploring Modernist and Post-Classical Styles, ca. 1940-1975 Module III. Exploring Modernist and Post-Classical Styles, ca. 1940-1975

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CLASS 17 / Monday Nov 6 / CONCERT COMPOSERS WRITE FOR MOVIES, INFLUENTIALLY 1

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ALEXANDER NEVSKY (1938): Complete film with subtitles, as posted on YouTube ALEXANDER NEVSKY (1938): Complete film with subtitles, as posted on YouTube 2

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Note 1: After composing his score for ALEXANDER NEVSKY, Prokofiev revised the score as a 7-movement cantata for concert presentations (without the film), and as such it remains one of his most frequently performed works. Also, this film reissue version features a new symphonic recording of the score done in the 1990s, so it has far better sound fidelity than the original! 3

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Note 2: If you do not have time to watch the whole film, be sure to watch the segment given below — i.e., "The Battle on the Ice"! 4

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"The Battle on the Ice" — Climactic 37' segment from ALEXANDER NEVSKY (1938). "The Battle on the Ice" — Climactic 37' segment from ALEXANDER NEVSKY (1938). 5

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284 Alexander Nevsky (1938), Blackboard points.doc 284 Alexander Nevsky (1938), Blackboard points.doc 6

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THE RED PONY (1949) -- Complete film (runs about 89 minutes): directed by Lewis Milestone; score by Aaron Copland (and definitely his best for a film, though he wrote four others that are also very good). The score was arranged into a concert suite that won a Pulitzer Prize and is still much played by American orchestras. Like most other scores by Copland, it is thoroughly modern, but also easily comprehended. THE RED PONY (1949) -- Complete film (runs about 89 minutes): directed by Lewis Milestone; score by Aaron Copland (and definitely his best for a film, though he wrote four others that are also very good). The score was arranged into a concert suite that won a Pulitzer Prize and is still much played by American orchestras. Like most other scores by Copland, it is thoroughly modern, but also easily comprehended. 7

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THE RED PONY Concert Suite (Music by Aaron Copland) -- opening movement ("Morning on the Ranch"), which transforms the opening portion of the film score into concert music, beautifully performed here! THE RED PONY Concert Suite (Music by Aaron Copland) -- opening movement ("Morning on the Ranch"), which transforms the opening portion of the film score into concert music, beautifully performed here! 8

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BONUS! LINK TO A PERFORMANCE OF Schubert's 4-hand "Marche Militaire" (which is referenced in THE RED PONY, at 42:00 or so). Added purely for the curious! NOTE: in the ensuing moments we briefly hear Alice Tiflin's piano performance of Beethoven's "Für Elise." And then after the scene with her father, she sits back down and plays the opening of the well-known Christian hymn, "Shall We Gather at the River.") At the fade out and into the next early morning scene, Copland's musical cue picks up with a brief reference to the hymn! (Very subtle, but it's there.) BONUS! LINK TO A PERFORMANCE OF Schubert's 4-hand "Marche Militaire" (which is referenced in THE RED PONY, at 42:00 or so). Added purely for the curious! NOTE: in the ensuing moments we briefly hear Alice Tiflin's piano performance of Beethoven's "Für Elise." And then after the scene with her father, she sits back down and plays the opening of the well-known Christian hymn, "Shall We Gather at the River.") At the fade out and into the next early morning scene, Copland's musical cue picks up with a brief reference to the hymn! (Very subtle, but it's there.) 9

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284 Handout on Aaron Copland and his score for the 1949 film THE RED PONY 284 Handout on Aaron Copland and his score for the 1949 film THE RED PONY 10

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CLASS 18 / Wednesday November 8 / HIGH-POWERED SCORES WITH NEW STYLES: "EXPRESSIONISM" AND JAZZ (ca. 1950-65) 14

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284 Handout packet on 1950s Expressionism (Defining the term, how it applies to EAST OF EDEN, Rosenman's notes on the score, et cetera!).pdf 284 Handout packet on 1950s Expressionism (Defining the term, how it applies to EAST OF EDEN, Rosenman's notes on the score, et cetera!).pdf 15

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284 Handout about 1950s Westerns and Epics—two genres in which modern symphonic scores flourished int the 1950s & has 60s, both in movies and television series.pdf 284 Handout about 1950s Westerns and Epics—two genres in which modern symphonic scores flourished int the 1950s & has 60s, both in movies and television series.pdf 16

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Assigned Film (highest priority): EAST OF EDEN (1955) -- complete film, directed by Elia Kazan, based on John Steinbeck's novel (1952). Assigned Film (highest priority): EAST OF EDEN (1955) -- complete film, directed by Elia Kazan, based on John Steinbeck's novel (1952). 17

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Optional viewing:: THE MAN WITH THE GOLDEN ARM -- 1955 film with a jazzy and expressionist symphonic score by Elmer Bernstein Optional viewing:: THE MAN WITH THE GOLDEN ARM -- 1955 film with a jazzy and expressionist symphonic score by Elmer Bernstein 18

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Note: this hard-hitting "social problem" film concerns a jazz trumpeter (played by Frank Sinatra) who is addicted to heroin. The score by Elmer Bernstein was a pioneering example of the ultra-modern "Expressionist" use of jazz idioms, which should be clear from the Main Title on! The film is pretty dated, though, but it's worth watching at least the opening, and maybe more if you are intrigued. Films about addiction are always a bit hard to take: they fall into the category of "social problem" films, and the plots can be heavy going. (For example, there's a scene where the main character becomes desperate for a fix, and it's no fun to watch!) The title, if you think about it, is quite ironic. SPOILER ALERT: But there is a happy ending, of sorts. (The hero kicks his addiction ... i.e., he "goes straight.") 19

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Optional Listening: An example of atonal, and "serial" (12-tone) music by Arnold Schoenberg, which he composed in 1930: ACCOMPANIMENT TO A FILM SCENE, Op. 34 : Concert performance (Boulez, BBCSO, 1974 broadcast). The music was written as a score for an imaginary silent film (although by 1930, silent films were quickly becoming obsolete). It is in three segments, marked with these headings: "Threatening Danger"—"Fear"—"Catastrophe." But the piece runs without a pause and lasts a terse 8 minutes. It is a useful and concise introduction to the modernist style that became far more common in concert and film music during the post-World War II period. Optional Listening: An example of atonal, and "serial" (12-tone) music by Arnold Schoenberg, which he composed in 1930: ACCOMPANIMENT TO A FILM SCENE, Op. 34 : Concert performance (Boulez, BBCSO, 1974 broadcast). The music was written as a score for an imaginary silent film (although by 1930, silent films were quickly becoming obsolete). It is in three segments, marked with these headings: "Threatening Danger"—"Fear"—"Catastrophe." But the piece runs without a pause and lasts a terse 8 minutes. It is a useful and concise introduction to the modernist style that became far more common in concert and film music during the post-World War II period. 20

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CLASS 19 / Monday November 13: "AUTEURIST CINEMA" I; HERRMANN & HITCHCOCK 21

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NOTE: DISCUSSION OF THIS ASSIGNMENT HAS BEEN POSTPONED UNTIL WEDNESDAY, NOV. 15TH! 22

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MUSIC FOR THE MOVIES: BERNARD HERRMANN (1992), documentary MUSIC FOR THE MOVIES: BERNARD HERRMANN (1992), documentary 23

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VERTIGO (1958): Film opening. This film is very beautiful and very strange. As you will see, the opening titles have a dreamlike quality (who is the woman? why can't we see her whole face?) Beyond that, the first action scene has no explanatory context and is not discussed at all later on. Is it real or a dream? How does the hero extricate himself from the way he is hanging onto a roof edge? We never find out—the film simply cuts to a more "normal" scene before much stranger things start to happen. VERTIGO (1958): Film opening. This film is very beautiful and very strange. As you will see, the opening titles have a dreamlike quality (who is the woman? why can't we see her whole face?) Beyond that, the first action scene has no explanatory context and is not discussed at all later on. Is it real or a dream? How does the hero extricate himself from the way he is hanging onto a roof edge? We never find out—the film simply cuts to a more "normal" scene before much stranger things start to happen. 24

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NORTH BY NORTHWEST (1959) -- film opening NORTH BY NORTHWEST (1959) -- film opening 25

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PSYCHO (1960), complete -- film directed by Alfred Hitchcock with a score by Bernard Herrmann (See analysis in HEARING THE MOVIES) PSYCHO (1960), complete -- film directed by Alfred Hitchcock with a score by Bernard Herrmann (See analysis in HEARING THE MOVIES) 26

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Optional Analytic Essay: PSYCHO Steiner, Fred. "Herrmann's 'Black-and-White" Music for Hitchcock's PSYCHO," Part I.pdf Optional Analytic Essay: PSYCHO Steiner, Fred. "Herrmann's 'Black-and-White" Music for Hitchcock's PSYCHO," Part I.pdf 27

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PSYCHO Steiner, Fred. "Herrmann's 'Black-and-White" Music for Hitchcock's PSYCHO," Part II.pdf PSYCHO Steiner, Fred. "Herrmann's 'Black-and-White" Music for Hitchcock's PSYCHO," Part II.pdf 28

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SUPPLEMENTAL ASSIGNMENT (Syllabus departure): AUTEURIST CINEMA II—THREE MID-CENTURY CLASSICS FROM ABROAD. 29

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NOTE; Although three different (very fine) foreign films are listed in the syllabus for this assignment, only the first one, RASHOMON, has been included here. The other two films—PATHER PANCHALI, and CLEO FROM 5 TO 7—are both outstanding, so I do hope you will watch them some day, but our class needs to push forward) RASHOMON, moreover, will be something for you to consider in a final short writing assignment. We will talk briefly about it in class before that assignment is due. 30

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RASHOMON (1950; directed by Akira Kurosawa): Score by Fumio Hayasaka -- See HtM's analysis RASHOMON (1950; directed by Akira Kurosawa): Score by Fumio Hayasaka -- See HtM's analysis 31

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Class 21 /—> MONDAY November 20: HOLLYWOOD GOES WILD: DARK GENRE MOVIES AND SOUNDTRACKS, 1967-1974 32

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284 Supplemental REVIEW Handout: A Guide to New Developments in Hollywood Film Music from the 1950s to the 1970s 284 Supplemental REVIEW Handout: A Guide to New Developments in Hollywood Film Music from the 1950s to the 1970s 33

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*THE GRADUATE—complete film (directed by Mike Nichols, 1967): Songs by Paul Simon & Art Garfunkel (a famous duo who specialized in folk-rock types of songs). Simon later became well known on his own) as a singer-songwriter. The film was given a virtual "X" rating owing to its subject matter, but it was an enormous hit, and very influential in its use of songs for several sequences. (The additional music for various scenes was composed by Dave Grusin, who went on to score many more films.) *THE GRADUATE—complete film (directed by Mike Nichols, 1967): Songs by Paul Simon & Art Garfunkel (a famous duo who specialized in folk-rock types of songs). Simon later became well known on his own) as a singer-songwriter. The film was given a virtual "X" rating owing to its subject matter, but it was an enormous hit, and very influential in its use of songs for several sequences. (The additional music for various scenes was composed by Dave Grusin, who went on to score many more films.) 34

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THE GRADUATE -- Handout with guides to the songs featured on the sound track THE GRADUATE -- Handout with guides to the songs featured on the sound track 35

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ONCE UPON A TIME IN THE WEST (1968) -- Opening segment. Directed by Sergio Leone; Score by Ennio Morricone. ONCE UPON A TIME IN THE WEST (1968) -- Opening segment. Directed by Sergio Leone; Score by Ennio Morricone. 36

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THE PLANET OF THE APES (1968) -- original film version, with a far-out score by Jerry Goldsmith. Opening segment, with a prologue and the Main Title. THE PLANET OF THE APES (1968) -- original film version, with a far-out score by Jerry Goldsmith. Opening segment, with a prologue and the Main Title. 37

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THE TAKING OF PELHAM 123, Audio file of the Main Title (film directed by Joseph Sargent, 1974)--hard-boiled crime drama with a hard-hitting score by David Shire. NOTE: This is the Main Title only. It offers another example of a kind of Expressionist style, with a hard-hitting big band Latino beat, but the harmonies are quite extreme. Also note that at the film was remade twice! (Once in 1998 for television; again in 2009, with a score by Harry Gregson-Williams. The latter version is quite good.) THE TAKING OF PELHAM 123, Audio file of the Main Title (film directed by Joseph Sargent, 1974)--hard-boiled crime drama with a hard-hitting score by David Shire. NOTE: This is the Main Title only. It offers another example of a kind of Expressionist style, with a hard-hitting big band Latino beat, but the harmonies are quite extreme. Also note that at the film was remade twice! (Once in 1998 for television; again in 2009, with a score by Harry Gregson-Williams. The latter version is quite good.) 38

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2001: A SPACE ODYSSEY, complete film (1968); directed by Stanley Kubrick). NOTE: Alex North was hired to compose a score the film and it was recorded. But Kubrick ultimately rejected it and decided to re-edit the film using pre-existent music by four classical composers. See handout for details. 2001: A SPACE ODYSSEY, complete film (1968); directed by Stanley Kubrick). NOTE: Alex North was hired to compose a score the film and it was recorded. But Kubrick ultimately rejected it and decided to re-edit the film using pre-existent music by four classical composers. See handout for details. 39

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2001: Handout with an overview of the film's significance and notes on the film's soundtrack music 2001: Handout with an overview of the film's significance and notes on the film's soundtrack music 40

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Excerpts for final assignment

Excerpts for final assignment Excerpts for final assignment

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Question 1A: Excerpt from THE MATRIX (1999), without sound. Question 1A: Excerpt from THE MATRIX (1999), without sound. 1

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Question 1A: Same excerpt (more or less) with sound. Question 1A: Same excerpt (more or less) with sound. 2

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Question 1B: Excerpt from SPARTACUS (1960): "Gladiators Fight to the Death." Question 1B: Excerpt from SPARTACUS (1960): "Gladiators Fight to the Death." 3

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Question 1C: Excerpt from WALL-E (2008) - "Spacewalk" segment Question 1C: Excerpt from WALL-E (2008) - "Spacewalk" segment 4

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Film excerpts for Question 2 5

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THE ADVENTURES OF ROBIN HOOD (1938) -- Ending (Long version: 12 minutes) THE ADVENTURES OF ROBIN HOOD (1938) -- Ending (Long version: 12 minutes) 6

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THE ADVENTURES OF ROBIN HOOD (1938)--Ending (Short version: 3+ minutes) THE ADVENTURES OF ROBIN HOOD (1938)--Ending (Short version: 3+ minutes) 7

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EAST OF EDEN (1955) -- First 11 minutes EAST OF EDEN (1955) -- First 11 minutes 8

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PSYCHO (1960) -- Ending, long version (14 minutes) PSYCHO (1960) -- Ending, long version (14 minutes) 9

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PSYCHO -- Ending, short version (final 2 minutes) PSYCHO -- Ending, short version (final 2 minutes) 10

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THE PINK PANTHER (1964) -- First 11 minutes THE PINK PANTHER (1964) -- First 11 minutes 11

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APOCALYPSE NOW (1979) -- Sequence with the "Air Cav" attack on a Vietnamese village, featuring Wagner's "Ride of the Valkyries"** + nondiegetic scoring and sound design by Carmine Coppola and Walter Murch (8 minutes) APOCALYPSE NOW (1979) -- Sequence with the "Air Cav" attack on a Vietnamese village, featuring Wagner's "Ride of the Valkyries"** + nondiegetic scoring and sound design by Carmine Coppola and Walter Murch (8 minutes) 12

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**(Note: This famous orchestral & vocal excerpt begins the third act of Wagner's opera THE VALKYRIE (Die Walküre, 1856). The opera was the second in his tetralogy "The Ring of the Nibelung," very freely based on Norse mythology. The Valkyries were nine daughters of Wotan, the ruler of the Gods; their mother was the earth-mother goddess Erda. 13

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JACKIE BROWN (1997) -- Main Title sequence, featuring the song "Across 110th Street," by Bobby Womack (4 minutes). JACKIE BROWN (1997) -- Main Title sequence, featuring the song "Across 110th Street," by Bobby Womack (4 minutes). 14

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"JACKIE BROWN" -- Supplemental sheet with the lyrics for the opening song ("Across 110th Street") "JACKIE BROWN" -- Supplemental sheet with the lyrics for the opening song ("Across 110th Street") 15

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THE BLACK PANTHER (2018): First 2½ minutes. Musical score by Ludwig Göransson. THE BLACK PANTHER (2018): First 2½ minutes. Musical score by Ludwig Göransson. 16

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BRINGING UP BABY (1938) -- "Woods" sequence: i.e., Susan and David hunt for the dog George in order to track down the rare dinosaur bone he ran off with (6½ minutes). Featuring the 1928 hit song "I Can't Give You Anything but Love, Baby": music by Jimmy McHugh; lyrics by Dorothy Fields. BRINGING UP BABY (1938) -- "Woods" sequence: i.e., Susan and David hunt for the dog George in order to track down the rare dinosaur bone he ran off with (6½ minutes). Featuring the 1928 hit song "I Can't Give You Anything but Love, Baby": music by Jimmy McHugh; lyrics by Dorothy Fields. 17

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WHEW! 18

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MODULE IV: SINCE 1975. Films covered in final weeks, including favorites which were originally to be covered in team presentations (marked with an asterisk.) These films are listed chronologically by year of release.

MODULE IV: SINCE 1975. Films covered in final weeks, including favorites which were originally to be covered in team presentations (marked with an asterisk.) These films are listed chronologically by year of release. MODULE IV: SINCE 1975. Films covered in final weeks, including favorites which were originally to be covered in team presentations (marked with an asterisk.) These films are listed chronologically by year of release.

Context Module Sub Header

THREE KEY FILM SCORED BY DANNY ELFMAN, EARLY IN HIS HOLLYWOOD CAREER 1

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OOPS! I forgot to upload and publish these three films, but will do so this week, so that you can watch them later if you wish. The three films are BEETLEJUICE (1988), BATMAN (1989), and EDWARD SCISSORHANDS (1990). (He has composed dozens more scores since that time, but in many ways these remain the ones with the greatest impact: his style at the time was distinctively new.) 2

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BEETLEJUICE (1988) - complete film; directed by Tim Burton; score by Danny Elfman. BEETLEJUICE (1988) - complete film; directed by Tim Burton; score by Danny Elfman. 3

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BEETLEJUICE (1988) -- Opening 5 minutes; Film directed by Tim Burton; musical score by Danny Elfman. BEETLEJUICE (1988) -- Opening 5 minutes; Film directed by Tim Burton; musical score by Danny Elfman. 4

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FILMS TO BE DISCUSSED IN THE FINAL FOUR CLASSES, based on student preferences. 5

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*WALL-E* (2008) -- link to complete film in Panopto. Directed by Andrew Stanton. Musical score by Thomas Newman. *WALL-E* (2008) -- link to complete film in Panopto. Directed by Andrew Stanton. Musical score by Thomas Newman. 6

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*INCEPTION (2010)--link to complete film in Panopto. Directed by Christopher Nolan; Musical score by Hans Zimmer. *INCEPTION (2010)--link to complete film in Panopto. Directed by Christopher Nolan; Musical score by Hans Zimmer. 7

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*ARRIVAL (2016)--link to complete film in Panopto. Directed by Denis Villeneuve. Musical score by Alexandre Desplat. *ARRIVAL (2016)--link to complete film in Panopto. Directed by Denis Villeneuve. Musical score by Alexandre Desplat. 8

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*JOKER (2019)--link to complete film in Panopto. Directed by Todd Philips. Musical score by Hildur Guonadóttir. *JOKER (2019)--link to complete film in Panopto. Directed by Todd Philips. Musical score by Hildur Guonadóttir. 9

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*GRAND BUDAPEST HOTEL (2014) -- link to complete film in Panopto. Directed by Wes Anderson. Musical score by Alexandre Desplat. *GRAND BUDAPEST HOTEL (2014) -- link to complete film in Panopto. Directed by Wes Anderson. Musical score by Alexandre Desplat. 10

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*CRAZY RICH ASIANS (2018)--link to complete film in Panopto. Directed by Jon M. Chu. Musical score by Brian Tyler. *CRAZY RICH ASIANS (2018)--link to complete film in Panopto. Directed by Jon M. Chu. Musical score by Brian Tyler. 11

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Course Modules

General Info

21M.284 (Fall 23), Module I. THE SOUND TRACK AND FILM NARRATIVE: BASIC CONCEPTS

Class 1 (W Sep 6) / Introduction I: "The Audio-Visual Contract" 1

Key Excerpts 2

Supplemental Excerpts -- Which open onto other ways of connecting (or "dis-connecting"?) music and images! 8

Class 2 (M Sep 11) / Introduction II: Components of the Sound Track 12

Class 2: Main Film Excerpts (All of these are discussed in the assigned reading.) 14

Class 2 SUPPLEMENTAL EXCERPTS 20

Class 3 (W Sep 13) / THE “MUSICALITY” of the SOUND TRACK 27

Class 3: MAIN FILM EXCERPTS 29

Class 3: SUPPLEMENTAL EXCERPTS 33

Class 4 (Mon Sep 18) / THE SOUND TRACK AND NARRATIVE SPACE 37

CLASS 4: Main Film Excerpts 39

CLASS 4: Supplemental Excerpts 43

Class 5 (Wed Sep 20) / The SOUND TRACK AND NARRATIVE TIME 45

Class 5, two main excerpts: mentioned in HtM at the end of Chapter 3 as examples of "passed-along songs." 47

Class 5, More excerpts: These are NOT from film musicals—they illustrate how non-diegetic scoring can manipulate our sense of both film time and film space! 50

Class 6 / Mon Sep 25 CASE STUDY 1: A “true-life” comedy-drama with a subtle score by John Williams. 59

Class 7 / Wed Sep 27 CASE STUDIES 2A & 2B: Contemporaneous films from novels set in the Napoleonic era. 64

Watch the first 20' or so of each, then choose one film to watch complete. 65

M & C: Four tracks from the soundtrack CD, including two excerpts from well-known classical repertoire, and two segments composed for the film. (NOTE: Three composers are listed in the film's credits, without singling out who wrote what: Iva Davies, Christopher Gordon, and Richard Tognetti .) 68

NOTE: Thomas Tallis (1505-1585) was a leading English Renaissance composer whose output consisted almost entirely of vocal music, both sacred and secular. 72

P & P: Four tracks from the CD of Marianelli's score 75

Class 8 / M Oct 2 / Case Studies 3A & 3B: Two film about black lives and how much they matter—against all odds! 80

MODULE II: Foundations of Scoring Methods and Styles, ca. 1910-45

Class 9 / W Oct 4 / MUSIC FOR SILENT FILMS IN THEIR OWN TIME, I: The System & Its Generic Music 1

The next three pieces were written for orchestral ensembles and published later during the silent period. They have larger dimensions and greater musical complexity — but each one is still very clear as to its mood and musical form! 8

Class 10 / W Oct 11 / MUSIC FOR SILENT FILMS IN THEIR OWN TIME, II: Period Scores, more or less 16

NOTE: I uploaded the following article, rather than excerpts from my book on silent film music, because it conveys several key points more concisely. What it lacks, though, is any detailed analysis of a given period score. (I will provide examples of that on request! ;-)) 17

NOTE: To gain a deeper appreciation of what a new score can add to a silent film, try watching at least some of these films the first time SILENTLY. Then go back and re-watch them with the added scores! 24

Classes 12 & 13: W Oct 18 & M Oct 23: EARLY (= TRANSITIONAL) SOUND FILM TECHNOLOGIES & AESTHETICS. 32

Reading in HtM: You can skim parts of Ch. 5, but do read carefully pp. 172-185; similarly, in Ch. 7 focus on pp. 234-47, 250-8, & 265-9. 33

NOTE: This assignment was inadequately covered in Wednesday's class (Oct. 18), so we will return to its material at the beginning of class on Monday October 23rd. The assignments for the next few classes will be adjusted to make room for this change. 34

NOTE: For analysis of all three segments from KING KONG, see the film's description in HtM on pp. 234-35! 42

CLASS 14 / Wednesday, October 25: THE KORNGOLD LEGACY 50

CLASS 15 / Monday October 30: Classic Melodramas from the World War II Years--with Flashbacks & Famous Music! 58

NOTE: I recommend that you watch LAURA before looking at the materials linked below, so as to avoid reading about plot elements that are meant to be surprising! 64

Module III. Exploring Modernist and Post-Classical Styles, ca. 1940-1975

CLASS 17 / Monday Nov 6 / CONCERT COMPOSERS WRITE FOR MOVIES, INFLUENTIALLY 1

Note 2: If you do not have time to watch the whole film, be sure to watch the segment given below — i.e., "The Battle on the Ice"! 4

CLASS 18 / Wednesday November 8 / HIGH-POWERED SCORES WITH NEW STYLES: "EXPRESSIONISM" AND JAZZ (ca. 1950-65) 14

CLASS 19 / Monday November 13: "AUTEURIST CINEMA" I; HERRMANN & HITCHCOCK 21

NOTE: DISCUSSION OF THIS ASSIGNMENT HAS BEEN POSTPONED UNTIL WEDNESDAY, NOV. 15TH! 22

SUPPLEMENTAL ASSIGNMENT (Syllabus departure): AUTEURIST CINEMA II—THREE MID-CENTURY CLASSICS FROM ABROAD. 29

Class 21 /—> MONDAY November 20: HOLLYWOOD GOES WILD: DARK GENRE MOVIES AND SOUNDTRACKS, 1967-1974 32

Excerpts for final assignment

Film excerpts for Question 2 5

WHEW! 18

MODULE IV: SINCE 1975. Films covered in final weeks, including favorites which were originally to be covered in team presentations (marked with an asterisk.) These films are listed chronologically by year of release.

THREE KEY FILM SCORED BY DANNY ELFMAN, EARLY IN HIS HOLLYWOOD CAREER 1

FILMS TO BE DISCUSSED IN THE FINAL FOUR CLASSES, based on student preferences. 5