John Williams's Film Music.pdf

Jo hn Â�Wil l ia ms ’s F ilm M u s i c

wisconsin film studies

Pat�rick McGil�li�ga n Se�ries Ed�i�tor

John Â�Willi a m s ’s Film Mu s i c J a ws, S tar Wars, Rai dÂ�e rs o f the Los t A r k ,

a n d t he Re �t u rn o f t h e Cl a s s� i �ca l H ol�ly�wood M u s ic S t y l e

Em�i�lio Au�dis�sino T h e U n i �v e r �s i t y o f W i s �c o n s� i n P r e s s

The UniÂ�verÂ�sity of WisÂ�conÂ�sin Press 1930 MonÂ�roe Â�Street, 3rd Floor MadÂ�iÂ�son, WisÂ�conÂ�sin 53711-2059 uwÂ�press.wisc.edu 3 HenÂ�rietta Â�Street LonÂ�don WC2E 8LU, EnÂ�gland euÂ�rosÂ�panÂ�bookÂ�store.com CopyÂ�right © 2014 The Board of ReÂ�gents of the UniÂ�verÂ�sity of WisÂ�conÂ�sin Â�System All Â�rights reÂ�served. No part of this pubÂ�liÂ�caÂ�tion may be reÂ�proÂ�duced, Â�stored in a reÂ�trieval Â�system, or transÂ�mitÂ�ted, in any forÂ�mat or by any means, digÂ�iÂ�tal, elecÂ�tronic, meÂ�chanÂ�iÂ�cal, photoÂ�copÂ�yÂ�ing, reÂ�cordÂ�ing, or othÂ�erÂ�wise, or conÂ�veyed via the InterÂ�net or a webÂ�site withÂ�out writÂ�ten perÂ�misÂ�sion of the UniÂ�verÂ�sity of WisÂ�conÂ�sin Press, exÂ�cept in the case of brief quoÂ�taÂ�tions emÂ�bedÂ�ded in critÂ�iÂ�cal arÂ�tiÂ�cles and reÂ�views. Â�Printed in the Â�United Â�States of AmerÂ�ica

LiÂ�brary of ConÂ�gress Â�Cataloging-in-Publication Data AuÂ�disÂ�sino, EmÂ�iÂ�lio, auÂ�thor. John Â�Williams’s film music: Jaws, Star Wars, RaidÂ�ers of the Lost Ark, and the reÂ�turn of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style / EmÂ�iÂ�lio AuÂ�disÂ�sino. pagesâ•…â•… cm — (WisÂ�conÂ�sin film studÂ�ies) InÂ�cludes bibÂ�lioÂ�graphÂ�iÂ�cal refÂ�erÂ�ences and index. ISBN 978-0-299-29734-3 (pbk.: alk. paper) ISBN 978-0-299-29733-6 (e-book) 1.╇ Williams, John, 1932—CritÂ�iÂ�cism and interÂ�preÂ�taÂ�tion. 2.╇ MoÂ�tion picÂ�ture music—HisÂ�tory and critÂ�iÂ�cism. 3.╇ Jaws (MoÂ�tion picÂ�ture).╇╇ 4.╇ Star wars (MoÂ�tion picÂ�ture). 5.╇ RaidÂ�ers of the lost ark (MoÂ�tion picÂ�ture). 6.╇ BosÂ�ton Pops OrÂ�chesÂ�tra. I.╇ Title.╇╇ II.╇ SeÂ�ries: WisÂ�conÂ�sin film studÂ�ies. ML410.W71335A83â•…â•…â•… 2014 781.5´42092—dc23 2013033116

p u b �l i �ca �ti o n o f th i s a r�ra nge �me nt i s ma d e p o s �s i b l e b y a grant

Fi g �u re Fou n �da �t io n

To

V i t�to�r i o an d Sil�via i mi e i c a �ri s �s i mi g e n�i �tori

There is noÂ�body in my exÂ�peÂ�riÂ�ence who made the kind of imÂ�pact on my caÂ�reer and my films than this man. This man has abÂ�soÂ�lutely transÂ�formed everyÂ�thing that I have done into some­ thing that I could not imÂ�aÂ�gine ever havÂ�ing done. And he does it beÂ�cause he comÂ�muÂ�niÂ�cates so well with all of you. He has re­ disÂ�covÂ�ered someÂ�thing that was very popÂ�uÂ�lar and imÂ�porÂ�tant in the 1930s and 1940s. .€.€. And I know of no one who knows how to write film music that goes Â�straight to your heart and Â�straight to your soul than my good Â�friend John Â�Williams. .€.€. And John is acÂ�tuÂ�ally one of the greatÂ�est stoÂ�ryÂ�tellÂ�ers of all time. SteÂ�ven SpielÂ�berg “HolÂ�lyÂ�wood Bowl Hall of Fame CerÂ�eÂ�mony,” 23 June 2000

C o n �ten ts

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List of Il�lus�tra�tions Ac�knowl�edg�ments Pref�ace on Meth�o�dol�ogy Intro�duc�tion

3

Part I:╇ The Clas�si�cal Hol�ly�wood Music Style 1 2

“The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music”: A ChronÂ�iÂ�cle “The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music”: A StyÂ�lisÂ�tic DefÂ�iÂ�niÂ�tion

9 26

Part II:╇ John �Williams and the Clas�si�cal Hol�ly�wood Music Style 3 4 5 6 7 8

The “ModÂ�ern” HolÂ�lyÂ�wood Music Style: The ConÂ�text of Williams’s ResÂ�toÂ�raÂ�tion Star Wars: An OpÂ�poÂ�siÂ�tional Score Williams’s Early Years: SpotÂ�ting the First Â�Traces of NeoÂ�clasÂ�siÂ�cism Jaws: Â�Williams’s NeoÂ�clasÂ�siÂ�cism Â�Floats Up to the SurÂ�face Williams’s NeoÂ�clasÂ�siÂ�cism: Style and HabÂ�its Williams’s NayÂ�sayÂ�ers: A DeÂ�conÂ�strucÂ�tion of ClasÂ�siÂ�cal and New CritÂ�iÂ�cisms xi

57 69 86 104 119 134

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Contents

Raid�ers of the Lost Ark Back�ground: A Neo�clas�si�cal Film Raid�ers of the Lost Ark Anal�y�sis: The Re�turn of Max �Steiner Be�yond the Films: Con�duc�tor John �Williams

Con�clu�sion

145 161 183 197

ApÂ�penÂ�dix 1:╇ ComÂ�pletÂ�ing the PicÂ�ture Williams’s VerÂ�saÂ�tilÂ�ity for SpielÂ�berg (and OthÂ�ers) The SpielÂ�berg/Â�Williams ColÂ�labÂ�oÂ�raÂ�tion Â�Williams’s EclecÂ�tiÂ�cism Â�Besides SpielÂ�berg (and Lucas)

205 207 222

Ap�pen�dix 2:╇ Film and TV Scores, Concert Pieces, and Arrangements Scores for Fea�ture Films TV �Scores Prin�ci�pal �Early-Year Col�lab�o�ra�tions Fan�fares, Or�ches�tral Mini�atures, and Con�cert �Pieces Cat�a�logue of �Film-Music Con�cert �Pieces

229 232 233 234 237

Prin�ci�pal Med�leys and Ar�range�ments from Film �Scores, Songs, and Pop�u�lar Music

Glos�sary Notes Bib�liog�ra�phy Index

243 247 251 287 303

I l �l us �tra tio � n s

fol�low�ing page 41

PorÂ�trait of John Â�Williams (ca. 1977) John Â�Williams on the reÂ�cordÂ�ing stage (ca. 1978) John Â�Williams at the piano (ca. 1978) and at work in his stuÂ�dio (ca. 1990) John Â�Williams on the reÂ�cordÂ�ing stage for Jaws (1975) and on the reÂ�cordÂ�ing stage for Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace (1999) John Â�Williams in conÂ�verÂ�saÂ�tion with Zubin Mehta, with SteÂ�ven SpielÂ�berg at his side (ca. 1978), and with LeÂ�oÂ�nard BernÂ�stein on the stage at Â�Boston’s SymÂ�phony Hall (HarÂ�vard Night, 1989) John Â�Williams with Â�George Lucas, Â�Grammy Â�Awards in 1999 OfÂ�fiÂ�cial PorÂ�trait of John Â�Williams (1997) John Â�Williams reÂ�hearsÂ�ing the New York PhilÂ�harÂ�monic OrÂ�chesÂ�tra (2007) John Â�Williams conÂ�ductÂ�ing the New York PhilÂ�harÂ�monic OrÂ�chesÂ�tra to film in a “multiÂ�meÂ�dia conÂ�cert piece” (2007) John Â�Williams at the AFI AchieveÂ�ment Award Gala, 2005 EmÂ�iÂ�lio AuÂ�disÂ�sino with MaesÂ�tro John Â�Williams, 2 June 2012

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I l l u st ra t ions

M u �s i c � a l E x�a m �p l e s

Erich WolfÂ�gang Â�Korngold’s “Main Title” from Kings Row comÂ�pared to John Â�Williams’s “Main Title” from Star Wars GusÂ�tav Â�Holst’s “Mars, the Â�Bringer of War” from The PlanÂ�ets comÂ�pared to John Â�Williams’s “Main Title” from Star Wars John Â�Williams’s “The Shark Theme” (A) from Jaws John Â�Williams’s “The Shark Theme” (B) from Jaws John Â�Williams’s “Main Title” from Star Wars John Â�Williams’s “InÂ�diÂ�ana Â�Jones’s A Theme” from RaidÂ�ers of the Lost Ark John Â�Williams’s “InÂ�diÂ�ana Â�Jones’s B Theme” from RaidÂ�ers of the Lost Ark John Â�Williams’s “Marion’s Theme” from Raiders of the Lost Ark John Â�Williams’s “The Ark’s Motif ” from RaidÂ�ers of the Lost Ark John Â�Williams’s “The Wrath of God Motif ” from RaidÂ�ers of the Lost Ark

76 76 112 115 155 156 158 159 160 180

Ac�k n o w l �edg�me n t s

There are many peoÂ�ple who have acÂ�comÂ�paÂ�nied me throughÂ�out the prepÂ�arÂ�aÂ�tion of this book. My apÂ�preÂ�ciÂ�aÂ�tion goes to the DiÂ�parÂ�tiÂ�mento di Â�Storia delle Arti at the UniÂ�verÂ�sity of Pisa, Italy, where I comÂ�pleted the Â�three-year docÂ�toÂ�ral proÂ�gram in which I had the Â�chance to reÂ�fine and comÂ�plete the necÂ�esÂ�sary reÂ�search work. SpeÂ�cial Â�thanks to Pier Marco De Santi, Cinzia Sicca, and SanÂ�dra LisÂ�chi. A tip of the hat also goes to GiuÂ�lia CarÂ�lucÂ�cio at the UniÂ�verÂ�sity of Turin, Italy, who was the superÂ�visor of my Â�master’s theÂ�sis (again, on John Â�Williams) and my very first cinÂ�ema Â�teacher. Part of this book is based on fieldÂ�work carÂ�ried out in BosÂ�ton, MasÂ�saÂ�chuÂ�setts. On the one hand, it conÂ�sisted of my regÂ�uÂ�lar presÂ�ence at all the John Williams Â� conÂ�certs with the BosÂ�ton Pops from 2007 to 2013. On the other hand, it conÂ� sisted of archiÂ�val reÂ�search at the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra Â�Archives and at the WGBH EdÂ�uÂ�caÂ�tional FounÂ�daÂ�tion Media LiÂ�brary and Â�Archives. Many Â�thanks for their adÂ�vice and asÂ�sisÂ�tance go to BridÂ�get P. Carr and BarÂ�bara PerÂ�kel (BSO Â�Archives) and to Keith Luf, Nancy DilÂ�lon, and Leah Â�Weisse (WGBH Â�Archives). My warmÂ�est Â�thanks to my dear Â�friends at Â�Boston’s SymÂ�phony Hall: DoÂ�reen M. Reis, VinÂ�cenzo PepÂ�pino NaÂ�tale, and Adam CasÂ�tigÂ�liÂ�oni for their conÂ�stant friendÂ�ship and supÂ�port, and to Ron Della Â�Chiesa for our deÂ�lightÂ�ful conÂ�verÂ�saÂ�tions about the hisÂ�tory of the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra and the BosÂ�ton Pops. A speÂ�cial acÂ�knowlÂ�edgÂ�ment goes to my BosÂ�tonÂ�ian Â�friend VicÂ�tor Â�Brogna, who lent a very helpÂ�ful hand both with legal isÂ�sues and with the

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proofÂ�readÂ�ing of the book manÂ�uÂ�script. This book origÂ�iÂ�nates from my ItalÂ�ian PhD disÂ�serÂ�taÂ�tion. Since I Â�wanted to Â�present MaesÂ�tro Â�Williams with a copy of said disÂ�serÂ�taÂ�tion upon our meetÂ�ing in June 2012, my Â�seven-hundred-page work had to be transÂ�lated from ItalÂ�ian into EnÂ�glish. I must thank my Â�friend AlesÂ�sanÂ�dra Voi for sharÂ�ing with me the burÂ�denÂ�some work of transÂ�laÂ�tion under a very tight schedÂ�ule, thus helpÂ�ing me meet the deadÂ�line. My Â�friend John NorÂ�ris deÂ�serves my warmÂ�est gratÂ�iÂ�tude and a cenÂ�tral niche of his own. He is a Â�thorough conÂ�noisÂ�seur of film music and John Â�Williams’s works, and was an inÂ�valÂ�uÂ�able asÂ�sistÂ�ant in my archiÂ�val reÂ�search in BosÂ�ton. He was also my eyes and ears at those conÂ�certs that I was not able to atÂ�tend, and conÂ�seÂ�quently proÂ�vided me with deÂ�tailed reÂ�ports and lots of maÂ�teÂ�rial. MoreÂ� over, he did a reÂ�markÂ�able job of lanÂ�guage reÂ�viÂ�sion, havÂ�ing been part of the transÂ�laÂ�tion team that had Â�worked on the EnÂ�glish verÂ�sion of my disÂ�serÂ�taÂ�tion. GraÂ�zie, John! As for the form and apÂ�pearÂ�ance of the book, I wish to exÂ�press my apÂ�preÂ�ciÂ�aÂ� tion to the many peoÂ�ple who gave their conÂ�triÂ�buÂ�tions at the varÂ�iÂ�ous Â�stages of the proÂ�cess. First of all, I’m grateÂ�ful to the UniÂ�verÂ�sity of WisÂ�conÂ�sin Press for givÂ�ing me the opÂ�porÂ�tuÂ�nity to bring this book to life. My sinÂ�cere gratÂ�iÂ�tude goes to Executive EdÂ�iÂ�tor RaÂ�phael KadÂ�uÂ�shin, who has alÂ�ways beÂ�lieved in the Â�project’s poÂ�tenÂ�tial and has been enÂ�courÂ�agÂ�ing from our very first Â�e-mail conÂ�tact, to his asÂ�sistÂ�ant MatÂ�thew Cosby, to my editor Sheila McMahon, and to all the other nice perÂ�sons I Â�worked with at UW Press. My Â�thanks—in alphaÂ�betÂ�iÂ�cal order— also go to Â�George Burt, VinÂ�cent LoÂ�Brutto, Jeff Smith, and Larry Timm, who read the manÂ�uÂ�script in its first verÂ�sion and ofÂ�fered inÂ�sightÂ�ful and enÂ�hancÂ�ing comÂ�ments and Â�pieces of adÂ�vice. For their comÂ�peÂ�tent legal adÂ�vice on U.S. CopyÂ�right Laws and on the Fair Use docÂ�trine, my deepÂ�est apÂ�preÂ�ciÂ�aÂ�tion goes to atÂ�torÂ�neys at law ReÂ�denta Enne and Bill Lee. As for the visÂ�ual part, my apÂ�preÂ�ciÂ�aÂ� tion goes to VinÂ�cent Hardy, JonÂ�aÂ�than Â�Player, and Mark ZasÂ�trow for proÂ�vidÂ�ing and Â�kindly alÂ�lowÂ�ing the reÂ�proÂ�ducÂ�tion of their Â�lively conÂ�cert and backÂ�stage photoÂ�graphs, and to Mrs. SaÂ�manÂ�tha WinÂ�slow Â�Williams for givÂ�ing the perÂ�misÂ� sion of feaÂ�turÂ�ing her exÂ�quiÂ�site John Â�Williams porÂ�traits. My deepÂ�est gratÂ�iÂ�tude to Jamie RichÂ�ardÂ�son for his paÂ�tience and kindÂ�ness in reÂ�plyÂ�ing to my (many, many) reÂ�quests, and for his inÂ�disÂ�pensÂ�able adÂ�vice. HeartÂ�felt Â�thanks, Â�praise, and love go to my famÂ�ily: my Â�father, VitÂ�toÂ�rio, my Â�mother, SilÂ�via, and my sisÂ�ter, Sara. They have alÂ�ways been conÂ�stantly lovÂ�ing, supÂ�porÂ�tive, and reÂ�asÂ�surÂ�ing. DulÂ�cis in fundo—last but not least—my most sinÂ�cere apÂ�preÂ�ciÂ�aÂ�tion to MaesÂ�tro John Â�Williams for the friendÂ�liÂ�ness, graÂ�ciousÂ�ness, and interÂ�est with which he has

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al�ways re�ceived me in each of our meet�ings. Hav�ing known him per�son�ally, I can say that he is not only an ex�cep�tion�ally tal�ented art�ist but also an ex�cep� tion�ally nice human being. Bos�ton, Mas�sa�chu�setts 12 June 2013

Pref�a ce o n M eth�o �d o l�o g y

It has been Â�twenty years now that I have been studÂ�yÂ�ing John Â�Williams’s music. Along the jourÂ�ney, one thing has kept strikÂ�ing me as exÂ�tremely odd: there was no Â�English-language book on John Â�Williams. So, I reÂ�solved that I Â�should try and fill the gap. The book you are about to read is, hopeÂ�fully, my anÂ�swer to the probÂ�lem. This book is the reÂ�sult of the reÂ�viÂ�sion of part of my PhD disÂ�serÂ�taÂ�tion that cenÂ�tered on John Â�Williams’s neoÂ�clasÂ�siÂ�cism. The text has been “de-academized” and many hard theoÂ�retÂ�iÂ�cal parts reÂ�moved. HowÂ�ever, since it stems from theÂ�oÂ�ries and emÂ�ploys methÂ�oÂ�dolÂ�oÂ�gies that might not be faÂ�milÂ�iar to everyÂ�one, a few exÂ� plaÂ�naÂ�tions are in order at the outÂ�set. MoreÂ�over, some terms that are comÂ�monly used in Â�film-music studÂ�ies are deÂ�libÂ�erÂ�ately disÂ�carded or emÂ�ployed with resÂ�erÂ� vaÂ�tions, while new ones are proÂ�posed, which are more preÂ�cise to exÂ�press my point—among them, a Â�custom-made Â�method to anÂ�aÂ�lyze music in films. In order not to burÂ�den the folÂ�lowÂ�ing chapÂ�ters, all such terÂ�minÂ�oÂ�logÂ�iÂ�cal, meÂ�thodÂ�oÂ� logÂ�iÂ�cal, and theoÂ�retÂ�iÂ�cal Â�points are gathÂ�ered here. MethÂ�oÂ�dolÂ�ogy The meÂ�thodÂ�oÂ�logÂ�iÂ�cal apÂ�proach Â�adopted is David Â�Bordwell’s and KrisÂ�tin Â�Thompson’s neoÂ�forÂ�malÂ�ism.1 The film is seen as an artÂ�work Â�created acÂ�cordÂ�ing to speÂ�cific norms in a speÂ�cific hisÂ�torÂ�iÂ�cal conÂ�text in order to proÂ�duce speÂ�cific

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aesÂ�thetic efÂ�fects. UnÂ�like semiÂ�otÂ�ics, neoÂ�forÂ�malÂ�ism sees the film not so much as a text conÂ�veyÂ�ing a mesÂ�sage to be studÂ�ied in terms of its comÂ�muÂ�niÂ�caÂ�tional stratÂ�eÂ�gies, but Â�rather as an arÂ�tiÂ�fact to be studÂ�ied in terms of its perÂ�cepÂ�tual stratÂ�eÂ�gies. Each film is a forÂ�mal Â�system conÂ�sistÂ�ing of an interÂ�play of a seÂ�ries of deÂ�vices. DeÂ�vices are all those eleÂ�ments of a styÂ�lisÂ�tic, narÂ�raÂ�tive, or theÂ�matic naÂ�ture that comÂ�bine to shape the Â�film’s overÂ�all form: Â�three-point lightÂ�ing, trackÂ�ing shots, fades, cosÂ�tumes, setÂ�tings and scenÂ�ery, flashÂ�backs, monÂ�tages, crossÂ�cutÂ�ting, charÂ� acÂ�ters, exÂ�traÂ�texÂ�tual alÂ�luÂ�sions, philÂ�oÂ�sophÂ�iÂ�cal/poÂ�litÂ�iÂ�cal ideas, and so on. These deÂ�vices fulÂ�fill a speÂ�cific funcÂ�tion Â�within the film and their presÂ�ence must jusÂ�tify itÂ�self by some moÂ�tiÂ�vaÂ�tion. There are four types of moÂ�tiÂ�vaÂ�tion for the presÂ�ence of a deÂ�vice in a film: (1) comÂ�poÂ�siÂ�tional moÂ�tiÂ�vaÂ�tion—a deÂ�vice is in the film beÂ�cause it is esÂ�senÂ�tial to build eiÂ�ther of the narÂ�raÂ�tive; (2) reÂ�alisÂ�tic moÂ�tiÂ�vaÂ�tion—a the cauÂ�sal, temÂ�poÂ�ral, or spaÂ�tial system Â� deÂ�vice is in the film beÂ�cause its presÂ�ence is plauÂ�sible acÂ�cordÂ�ing to our exÂ�peÂ�riÂ�ence of how Â�things are in the real world; (3) transÂ�texÂ�tual moÂ�tiÂ�vaÂ�tion—a deÂ�vice is in the film beÂ�cause it folÂ�lows the conÂ�venÂ�tions of a given genre; and (4) arÂ�tisÂ�tic moÂ�tiÂ�vaÂ�tion— a deÂ�vice is in the film for no other moÂ�tiÂ�vaÂ�tion than an aesÂ�thetic one. Music is one of the many deÂ�vices used in films and its presÂ�ence in a given scene is exÂ�plained by one or more of the Â�above-mentioned moÂ�tiÂ�vaÂ�tions. The openÂ�ing scene of The AbomÂ�iÂ�naÂ�ble Dr. Â�Phibes (RobÂ�ert Fuest, 1971) is a good exÂ�amÂ�ple. The film tells the story of a disÂ�figÂ�ured theoÂ�loÂ�gian who reÂ�talÂ�iÂ�ates Â�against the docÂ�tors he holds reÂ�sponÂ�sible for his Â�wife’s death. The plot conÂ�sists of a seÂ�ries of Â�Grand-Guignolesque deeds of Â�deathly reÂ�venge inÂ�spired by bibÂ�liÂ�cal epiÂ�sodes. The film opens with a Â�black-hooded figÂ�ure seen from the back—Dr. Â�Phibes, we will soon find out—playÂ�ing some music on a redÂ�dish Â�neon-lighted plexÂ�iÂ�glass pipe organ. The presÂ�ence of the openÂ�ing title organ music is moÂ�tiÂ�vated reÂ�alisÂ�tiÂ�cally, since there is someÂ�one onÂ�screen playÂ�ing an organ. The Â�choice of organ music is also moÂ�tiÂ�vated transÂ�texÂ�tuÂ�ally, since the pipe organ has not only had a long asÂ�soÂ�ciÂ� aÂ�tion with horÂ�ror films but is also an overt quoÂ�taÂ�tion of The PhanÂ�tom of the Opera (RuÂ�pert JulÂ�lian, 1925), in which the simÂ�iÂ�larly disÂ�figÂ�ured and vengeÂ�ful Lon ChaÂ�ney charÂ�acÂ�ter is used to playÂ�ing such inÂ�struÂ�ment. MoreÂ�over, the muÂ�siÂ�cal piece being Â�played is Felix Â�Mendelssohn’s “War March of the Â�Priests” (“KriegÂ�sÂ� marsch der Â�Priester” from AthÂ�aÂ�lie, inÂ�ciÂ�denÂ�tal music, op. 74, 1845) and the comÂ�poÂ� siÂ�tional moÂ�tiÂ�vaÂ�tion of such a Â�choice is to anÂ�ticÂ�iÂ�pate what the film is about: the war of a priestÂ�like theoÂ�loÂ�gian Â�against his Â�wife’s murÂ�derÂ�ers. FiÂ�nally, in the scene, Dr. Â�Phibes’s hands swipe the air in hisÂ�trionic gesÂ�tures Â�mostly unÂ�synÂ�chronÂ�ized with the music he is supÂ�posed to be playÂ�ing, and such flamÂ�boyÂ�ant and unÂ�reÂ�alisÂ�tic moves can be moÂ�tiÂ�vated arÂ�tisÂ�tiÂ�cally so as to introÂ�duce comÂ�pelÂ�lingly this Â�larger-than-life vilÂ�lain.

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It goes withÂ�out sayÂ�ing that music opÂ�erÂ�ates powÂ�erÂ�fully in films. On the narÂ�raÂ�tive level, music conÂ�tribÂ�utes to the clarÂ�ifiÂ�caÂ�tion of the narÂ�raÂ�tive Â�events, not only for the narÂ�raÂ�tive logic (e.g., sugÂ�gestÂ�ing the Â�thoughts of a charÂ�acÂ�ter and Â�thereby moÂ�tiÂ�vatÂ�ing the reaÂ�sons for his acÂ�tions) but also for time conÂ�strucÂ�tion (e.g., proÂ�vidÂ�ing the fragÂ�ments of a monÂ�tage seÂ�quence with some linkÂ�ing and temÂ�poÂ�ral conÂ�tiÂ�nuÂ�ity) and space conÂ�strucÂ�tion (e.g., hintÂ�ing at the naÂ�tionÂ�alÂ�ity of a place Â�through the use of a repÂ�reÂ�senÂ�taÂ�tive tune or anÂ�them). SimÂ�iÂ�larly, Â�music’s conÂ�triÂ�buÂ� tion can reÂ�inÂ�force the styÂ�lisÂ�tic level: Â�through the use of dark timÂ�bres, music can enÂ�hance the dark shadÂ�ows of Â�low-key lightÂ�ing, as BerÂ�nard Â�Herrmann’s score for CitÂ�iÂ�zen Kane (Orson Â�Welles, 1941) does. Music can also reÂ�inÂ�force the theÂ�matic level: the groÂ�tesque verÂ�sion of “La MarÂ�seilÂ�laise” in MeÂ�tropÂ�oÂ�lis (Fritz Lang, 1927) acÂ�comÂ�paÂ�nyÂ�ing the Â�workers’ wild reÂ�belÂ�lion may sugÂ�gest a negÂ�aÂ�tive interÂ�preÂ�taÂ�tion of revÂ�oÂ�luÂ�tions in genÂ�eral. Music can fulÂ�fill many funcÂ�tions, and a methÂ�oÂ�dolÂ�ogy for anÂ�aÂ�lyzÂ�ing film music Â�should thereÂ�fore aim at pinÂ�pointÂ�ing them. The folÂ�lowÂ�ing secÂ�tions use a grid deÂ�velÂ�oped to best suit my needs, esÂ�peÂ�cially for the analÂ�yÂ�sis of music that is deÂ�signed to duÂ�pliÂ�cate the visÂ�ual acÂ�tions—as is the case with clasÂ�siÂ�cal HolÂ�lyÂ�wood music. The frameÂ�work Â�blends neoÂ�forÂ�malÂ�ism with LeÂ�oÂ�nard B. Â�Meyer’s studÂ�ies on style, emoÂ�tion, and meanÂ�ing in music and with psychoÂ�musicÂ�oÂ�logÂ�iÂ�cal scholÂ�arÂ�ship. 2 The reÂ�sultÂ�ing forÂ�mat conÂ�sists of the folÂ�lowÂ�ing funcÂ�tions, named after the three levÂ�els of enÂ�gageÂ�ment of the Â�viewer: emoÂ�tion, perÂ�cepÂ�tion, and cogÂ�niÂ�tion.3 E mÂ�o Â�tive Fun cÂ�tio n (macro a nd m icro)

The Â�macro-emotive funcÂ�tion is what uniÂ�fies the aesÂ�thetic exÂ�peÂ�riÂ�ence of the film for the Â�viewer. It perÂ�forms the funcÂ�tion of the frame in a paintÂ�ing. By preÂ�sentÂ�ing the theme in the openÂ�ing tiÂ�tles, then reÂ�prisÂ�ing it in variÂ�aÂ�tions throughÂ�out the film, and fiÂ�nally preÂ�sentÂ�ing it again at the end of the film, music helps the shapÂ�ing of the perÂ�cepÂ�tion of the Â�film’s forÂ�mal unity. It acts as a conÂ�venÂ�tional inÂ�diÂ�caÂ�tor of the bounÂ�darÂ�ies of the narÂ�raÂ�tive, markÂ�ing the inÂ�itial and final limit.4 EmoÂ�tionÂ� ally, the feelÂ�ing of an overÂ�all coÂ�heÂ�sion is given by the pleasÂ�ure of recÂ�ogÂ�nizÂ�ing reÂ�curÂ�rent muÂ�siÂ�cal Â�themes throughÂ�out the film, with which we come to be proÂ�gresÂ�sively faÂ�milÂ�iar.5 An exÂ�amÂ�ple is proÂ�vided by the faÂ�mous “Tara’s Theme” by Max Â�Steiner, which opens, Â�closes, and runs throughÂ�out Gone with the Wind (VicÂ�tor FlemÂ�ing, 1939), reÂ�inÂ�forcÂ�ing its forÂ�mal coÂ�heÂ�sion. The Â�micro-emotive funcÂ�tion is the soÂ�licÂ�iÂ�taÂ�tion of a parÂ�ticÂ�uÂ�lar emoÂ�tional reÂ�sponse from the Â�viewer in a parÂ�ticÂ�uÂ�lar moÂ�ment of the film. Music transÂ�fers to the imÂ�ages its emoÂ�tional comÂ�poÂ�nent. The most comÂ�mon—and banal—exÂ�amÂ�ples are love Â�scenes acÂ�comÂ�paÂ�nied by senÂ�tiÂ�menÂ�tal viÂ�oÂ�lin music. HowÂ�ever, there are many

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more inÂ�stances in which the Â�micro-emotive funcÂ�tion can sigÂ�nifÂ�iÂ�cantly afÂ�fect the sucÂ�cess of a scene. A faÂ�mous exÂ�amÂ�ple is the openÂ�ing scene of The Lost WeekÂ�end (Billy Â�Wilder, 1945), where Ray MilÂ�land is “fishÂ�ing” a botÂ�tle of whisÂ�key out of the winÂ�dow. BeÂ�fore Â�Miklós Â�Rózsa’s stern music was put on the scene, that inÂ�cipit had inÂ�duced many viewÂ�ers to exÂ�pect an urban comÂ�edy inÂ�stead of a drama on alÂ�coÂ�holÂ�ism.6 PerÂ�cepÂ�tive Fun cÂ�tio n

Music Â�guides or modÂ�ifies the perÂ�cepÂ�tion of the Â�viewer, pointÂ�ing his atÂ�tenÂ�tion to a parÂ�ticÂ�uÂ�lar eleÂ�ment inÂ�side the Â�framed space (spaÂ�tial perÂ�cepÂ�tive funcÂ�tion) or by alÂ�terÂ�ing or enÂ�hancÂ�ing the perÂ�cepÂ�tion of the visÂ�ual Â�rhythm and speed of the Â�cutting (temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion). An exÂ�amÂ�ple of temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion is the car chase in North by NorthÂ�west (AlÂ�fred HitchÂ�cock, 1959) in which Cary Â�Grant’s Â�drunken charÂ�acÂ�ter is tryÂ�ing to keep his car on the road and avoid crashÂ�ing into the precÂ�iÂ�pice. BerÂ�nard Â�Herrmann’s freÂ�netic fanÂ�dango puncÂ�tuÂ�ates the raÂ�pidÂ�ity of the edÂ�itÂ�ing pace, makÂ�ing the acÂ�tion apÂ�pear more franÂ�tic. An exÂ�amÂ�ple of spaÂ�tial perÂ�cepÂ�tive funcÂ�tion apÂ�pears in The Sea Hawk (MiÂ�chael CurÂ�tiz, 1940). In one scene, a harp chord reÂ�sounds in the siÂ�lence to diÂ�rect our atÂ�tenÂ�tion to an event ocÂ�curÂ�ring in the film space: Erich WolfÂ�gang Â�Korngold’s score uses the chord to puncÂ�tuÂ�ate the Â�change of faÂ�cial exÂ�presÂ�sion of one of the SpanÂ�iards when he sees in his chalÂ�ice the reÂ�flecÂ�tion of CapÂ�tain Â�Thorpe and his men, freed from their Â�chains and eager to reÂ�talÂ�iÂ�ate. C o gÂ�n iÂ�tive Fun cÂ�tio n

Since it acts on time, space, and narÂ�raÂ�tive logic, music also conÂ�tribÂ�utes to the underÂ�standÂ�ing of deÂ�noÂ�taÂ�tions and in the interÂ�preÂ�taÂ�tion of conÂ�noÂ�taÂ�tions. Music may unite the fragÂ�ments of a monÂ�tage seÂ�quence and aid the underÂ�standÂ�ing of the proÂ�gresÂ�sion of time; it may deÂ�note a place or a hisÂ�torÂ�iÂ�cal peÂ�riod by reÂ�ferÂ�ring to some repÂ�erÂ�toire Â�pieces; it may link Â�fairly disÂ�conÂ�nected shots thus makÂ�ing the Â�film’s space look as a conÂ�sisÂ�tent whole; it may reÂ�veal the Â�thoughts of a charÂ�acÂ�ter preÂ�sentÂ�ing a muÂ�siÂ�cal theme preÂ�viÂ�ously asÂ�soÂ�ciated with anÂ�other narÂ�raÂ�tive eleÂ�ment, thus clarÂ�ifyÂ�ing the reaÂ�son for his acÂ�tion; it can link two disÂ�tant narÂ�raÂ�tive eleÂ�ments and sugÂ�gest an imÂ�plicit meanÂ�ing. For exÂ�amÂ�ple, in The TreasÂ�ure of the Â�Sierra Madre ( John HuÂ�ston, 1948), when the ceilÂ�ing of the mine colÂ�lapses on Dobbs—one of the three gold digÂ�gers—and burÂ�ies him, his partÂ�ner CurÂ�tin comes to resÂ�cue him but sudÂ�denly stops and linÂ�gers at the enÂ�trance of the galÂ�lery. Max Â�Steiner’s music proÂ�poses the motif asÂ�soÂ�ciated with gold, thus guidÂ�ing our underÂ�standÂ�ing.

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CurÂ�tin is thinkÂ�ing that if one of his partÂ�ners dies, the share of the reÂ�mainÂ�ing two will be Â�bigger. SolÂ�iÂ�darÂ�ity, howÂ�ever, evenÂ�tuÂ�ally takes over greed, and music Â�shifts from the “gold motif ” to the melÂ�ody asÂ�soÂ�ciated with the friendÂ�ship Â�between the gold seekÂ�ers: CurÂ�tin banÂ�ishes his tempÂ�taÂ�tion and saves Dobbs. In Taxi Â�Driver (MarÂ�tin ScorÂ�sese, 1976), BerÂ�nard Â�Herrmann’s music Â�closes the film with the same Â�three-note “madÂ�ness motif ” that Â�closed Â�Psycho (AlÂ�fred HitchÂ�cock, 1960), sugÂ�gestÂ�ing that deÂ�spite the circumÂ�stances, TraÂ�vis is not a hero but a psychoÂ�path no less danÂ�gerÂ�ous than Â�Psycho’s NorÂ�man Bates. The AdÂ�venÂ�tures of Robin Hood (MiÂ�chael CurÂ�tiz, Â�William KeighÂ�ley, 1938) opens with a royal Â�herald sayÂ�ing: “News has come from Â�Vienna.” KornÂ�gold used as the main theme his own waltz “Miss AusÂ�tria,” which colÂ�ors Robin Â�Hood’s story with a VienÂ�nese flaÂ�vor and thus conÂ�tribÂ�utes to give conÂ�temÂ�poÂ�rary poÂ�litÂ�iÂ�cal conÂ�noÂ�taÂ�tions—the AnschÂ�luss had just been proÂ�claimed and Â�Hitler’s inÂ�vaÂ�sion of AusÂ�tria just begun—to a film that is othÂ�erÂ�wise about a meÂ�diÂ�eval legÂ�end.7 Some TerÂ�miÂ�nolÂ�ogy In Â�film-music studÂ�ies there is a traÂ�diÂ�tional disÂ�tincÂ�tion Â�between music at dieÂ�getic level—music comes from a Â�source Â�within the narÂ�raÂ�tive world and can be heard by the Â�film’s charÂ�acÂ�ters—and at Â�non-diegetic level—music comes from some sort of narÂ�raÂ�tor outÂ�side of the narÂ�raÂ�tive world and only the viewÂ�ers can hear it, not the charÂ�acÂ�ters.8 These terms origÂ�iÂ�nated from litÂ�erÂ�ary studÂ�ies, leadÂ�ing to much deÂ�bate about the leÂ�gitÂ�iÂ�macy of their apÂ�pliÂ�caÂ�tion to music in film.9 For Â�clarity’s sake, Â�though, the traÂ�diÂ�tional “dieÂ�getic/Â�non-diegetic” Â�couple is emÂ�ployed hereÂ� after, inÂ�stead of the more corÂ�rect and less conÂ�troÂ�verÂ�sial “source music/backÂ� ground music.” The use of leitÂ�moÂ�tiv, drawn from RichÂ�ard Â�Wagner’s works, in cinÂ�ema has been simÂ�iÂ�larly critÂ�iÂ�cized, both for being an inÂ�adÂ�eÂ�quate pracÂ�tice for this meÂ�dium and for being an imÂ�preÂ�cise term to refer to the techÂ�nique as it is used in films;10 the alÂ�terÂ�naÂ�tive term “leitÂ�moÂ�tivic funcÂ�tion” has been proÂ�posed.11 The issue, howÂ�ever, is still being Â�widely deÂ�bated.12 NoneÂ�theÂ�less, we use the term leitÂ�moÂ�tiv here beÂ�cause it is more conÂ�venÂ�ient than other perÂ�iÂ�phrases alÂ�though we are perÂ�fectly aware of its difÂ�ferÂ�ence from Â�Wagner’s idea. In genÂ�eral parÂ�lance, sound track is used to deÂ�fine all the music comÂ�posed for/ feaÂ�tured in a given film, but this is inÂ�corÂ�rect. The sound track is the part of the filmÂ�strip on which the sound mix comÂ�prisÂ�ing all the acousÂ�tic comÂ�poÂ�nents is imÂ�pressed: the diÂ�alogue track, the Â�sound-effect track, and the music track. When reÂ�ferÂ�ring to the muÂ�siÂ�cal comÂ�poÂ�nent of a film the corÂ�rect term will be used: music track.

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The terms theme and motif will inÂ�diÂ�cate reÂ�specÂ�tively an Â�eight-bar melÂ�ody and Â� shorter meÂ�lodic lines, both havÂ�ing their own muÂ�siÂ�cal “perÂ�sonÂ�alÂ�ity.” Cells are one- or Â�two-bar fragÂ�ments deÂ�rivÂ�ing from a theme or motif alÂ�ready preÂ�sented. FurÂ�ther clasÂ�sifiÂ�caÂ�tions will be Â�avoided, which are more acÂ�cuÂ�rate from a musicÂ�oÂ� logÂ�iÂ�cal point of view but which also risk being conÂ�fusÂ�ing. I use wallÂ�paÂ�per music to deÂ�fine a Â�non-diegetic muÂ�siÂ�cal backÂ�ground, which is neuÂ�tral to the acÂ�tion and diÂ�alogue, that is, music that fills an othÂ�erÂ�wise siÂ�lent backÂ�ground. For exÂ�amÂ�ple, it may be some kind of light waltz underÂ�scorÂ�ing a diÂ�alogue—think of Â�Lubitsch’s early sound opÂ�erÂ�etÂ�tas. I Â�contrast “wallÂ�paÂ�per music” with “funcÂ�tional acÂ�comÂ�paÂ�niÂ�ment,” where Â�non-diegetic music fulÂ�fills other funcÂ�tions than simÂ�ply fillÂ�ing the siÂ�lence, and it is comÂ�posed so as to folÂ�low the deÂ�velÂ�opÂ�ments of the acÂ�tions and diÂ�alogue Â�closely and meanÂ�ingÂ�fully.13 On “Style” and “ClasÂ�siÂ�cal” The first secÂ�tion of this book proÂ�vides a chronÂ�iÂ�cle and defÂ�iÂ�niÂ�tion of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. Here, it is necÂ�esÂ�sary to clarÂ�ify the meanÂ�ing of the terms “style” and “clasÂ�siÂ�cal” as they are used. When talkÂ�ing about music, there is a tenÂ�dency to think of style in a narÂ�row sense, that is, as the lanÂ�guage used to comÂ�pose a cerÂ�tain type of music: baÂ�roque style, clasÂ�siÂ�cal style, roÂ�manÂ�tic style, atoÂ�nal style, and the like. In this work, a Â�broader meanÂ�ing of style will be used. InÂ�deed, clasÂ�siÂ�cal HolÂ�lyÂ�wood music is both a muÂ�siÂ� cal piece of work, one that emÂ�ploys a cerÂ�tain “muÂ�siÂ�cal style” in the narÂ�rowÂ�est sense, and an inÂ�dusÂ�trial prodÂ�uct, one that reÂ�sponds to preÂ�cise stanÂ�dards, is reÂ�alÂ� ized acÂ�cordÂ�ing to speÂ�cific techÂ�niques and proÂ�ceÂ�dures, and utiÂ�lizes the muÂ�siÂ�cal means proÂ�vided by the “inÂ�dusÂ�try.” ThereÂ�fore, when I refer to the clasÂ�siÂ�cal HolÂ�lyÂ� wood music style I do not only refer to its muÂ�siÂ�cal lanÂ�guage but also to the techÂ�niques, muÂ�siÂ�cal means, and the typÂ�iÂ�cal forÂ�mal funcÂ�tions that the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style is exÂ�pected to perÂ�form in films.14 When reÂ�ferÂ�ring to style in the narÂ�rower sense—that is, the muÂ�siÂ�cal lanÂ�guage emÂ�ployed—I adopt, after Meyer, a Â�three-term subÂ�diÂ�viÂ�sion:15 diÂ�alect—a Â�shared muÂ�siÂ�cal lanÂ�guage emÂ�ployed Â�within a Â�school; idiom—the idioÂ�synÂ�cratic muÂ�siÂ�cal lanÂ�guage of a given comÂ�poser; and Â�intra-opus style—the parÂ�ticÂ�uÂ�lar muÂ�siÂ�cal lanÂ� guage that charÂ�acÂ�terizes a sinÂ�gle film score. For inÂ�stance, conÂ�sider Max Â�Steiner and Erich WolfÂ�gang KornÂ�gold, two key comÂ�posÂ�ers of Â�Hollywood’s Â�Golden Age. Both Â�worked at WarÂ�ner Bros. Â�within the overÂ�archÂ�ing clasÂ�siÂ�cal HolÂ�lyÂ�wood music style, folÂ�lowÂ�ing those inÂ�stiÂ�tuÂ�tional pracÂ�tices reÂ�quired by the inÂ�dusÂ�try. For exÂ�amÂ�ple, both used the leitÂ�moÂ�tiv techÂ�nique. They wrote in the same diÂ�alect Â�largely faÂ�vored Â�within the HolÂ�lyÂ�wood music deÂ�partÂ�ments, that of late MitÂ�teÂ�leuÂ�roÂ�pean

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roÂ�manÂ�tiÂ�cism. Even if they used the same style and the same diÂ�alect, their Â�idioms were difÂ�ferÂ�ent, one charÂ�acÂ�terÂ�ized by fragÂ�menÂ�taÂ�tion and exÂ�treme adÂ�herÂ�ence to the visÂ�uÂ�als (Steiner), and the other by exÂ�tended melÂ�oÂ�dies and Â�strong Â�motivicthematic linkÂ�ing of opÂ�erÂ�atic naÂ�ture (KornÂ�gold).16 MoreÂ�over, within Â� their own proÂ�ducÂ�tion, the Â�intra-opus style could Â�change sigÂ�nifÂ�iÂ�cantly from one work to othÂ�ers—from flowÂ�ing tonal melÂ�oÂ�dies as in Â�Steiner’s Gone With the Wind (FlemÂ�ing, 1939) and Â�Korngold’s The AdÂ�venÂ�tures of Robin Hood (CurÂ�tiz and KeighÂ�ley, 1938) to Â�darker and more disÂ�soÂ�nant writÂ�ing, as in Â�Steiner’s King Kong and Â�Korngold’s The Sea Wolf (MiÂ�chael CurÂ�tiz, 1941). The adÂ�jecÂ�tive “clasÂ�siÂ�cal” that I use to idenÂ�tify the music style of the Â�Golden Age is a loan from BordÂ�well, StaiÂ�ger, and Â�Thompson’s faÂ�mous study, The ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema. Music is one of the many deÂ�vices used by narÂ�raÂ�tion in order to conÂ�struct a film Â�within the norms of the clasÂ�siÂ�cal HolÂ�lyÂ�wood parÂ�aÂ� digm.17 ConÂ�seÂ�quently, the term “clasÂ�siÂ�cal” as used here must not be conÂ�fused with the linÂ�guisÂ�tic catÂ�eÂ�gory of “clasÂ�siÂ�cal” used in music historiogÂ�raÂ�phy, meanÂ�ing the music of the secÂ�ond half of the eighÂ�teenth cenÂ�tury, of Haydn and MoÂ�zart. HolÂ�lyÂ�wood music style was not “clasÂ�siÂ�cal” in that sense. It was roÂ�manÂ�tic, drawÂ�ing its diÂ�alect from the late Â�nineteenth-century music. In fact, music clasÂ�siÂ�cism was selÂ�dom used as a diÂ�alect. This hapÂ�pened Â�mostly in peÂ�riod films to conÂ�vey muÂ�siÂ� cally the flaÂ�vor of the past—as in The Three Â�Worlds of GulÂ�liver ( Jack Sher, 1960, music by BerÂ�nard HerrÂ�mann). HereÂ�after, “clasÂ�siÂ�cal” is meant as a hisÂ�torÂ�iÂ�cal film catÂ�eÂ�gory and reÂ�fers to an idea of music Â�molded acÂ�cordÂ�ing to the needs of the clasÂ� siÂ�cal film style of the stuÂ�dio Â�system. Some of Â�Meyer’s reÂ�marks on clasÂ�siÂ�cism in music can be of help to betÂ�ter underÂ�stand the difÂ�ferÂ�ence Â�between “clasÂ�siÂ�cal” as a linÂ�guisÂ�tic clasÂ�sifiÂ�caÂ�tion and “clasÂ�siÂ�cal” as an apÂ�proach to music makÂ�ing: ClasÂ�siÂ�cism has been charÂ�acÂ�terÂ�ized by a valÂ�uÂ�ing of Â�shared conÂ�venÂ� tions and raÂ�tional reÂ�straint, the playÂ�ful exÂ�ploiÂ�taÂ�tion of esÂ�tabÂ�lished conÂ� straints and the satisÂ�facÂ�tion of acÂ�tuÂ�alÂ�ity (Being), the coÂ�herÂ�ence of Â�closed forms and the clarÂ�ity of exÂ�plicit meanÂ�ings; while roÂ�manÂ�tiÂ�cism has been charÂ�acÂ�terÂ�ized by a valÂ�uÂ�ing of the peÂ�cuÂ�liarÂ�ities of the inÂ�diÂ�vidÂ�ual inÂ�noÂ�vaÂ� tion and the yearnÂ�ing arisÂ�ing from poÂ�tenÂ�tialÂ�ity (BeÂ�comÂ�ing), the inÂ�forÂ�malÂ� ity of open strucÂ�tures and the sugÂ�gesÂ�tiveÂ�ness of imÂ�plicit sigÂ�nifÂ�iÂ�cance. .€.€. In the eighÂ�teenth cenÂ�tury .€.€. unity of exÂ�presÂ�sion is sigÂ�nifÂ�iÂ�cantly deÂ�penÂ� dent upon kinds of dance steps, rheÂ�torÂ�iÂ�cal figÂ�ures, synÂ�tacÂ�tic proÂ�cesses, and other conÂ�venÂ�tional means. .€.€. ClasÂ�sic comÂ�posÂ�ers use such means to repÂ�reÂ�sent senÂ�tiÂ�ment Â�shared by huÂ�manÂ�kind. RoÂ�manÂ�tic comÂ�posÂ�ers, on the other hand, reÂ�ject conÂ�venÂ�tion in order to exÂ�press—to Â�present, not repÂ�reÂ�sent—their own perÂ�sonal and inÂ�diÂ�vidÂ�ual feelÂ�ings.18

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A clasÂ�siÂ�cal conÂ�cepÂ�tion of music makÂ�ing based on “shared conÂ�venÂ�tions” and seekÂ�ing to comÂ�muÂ�niÂ�cate “senÂ�tiÂ�ment[s] Â�shared by huÂ�manÂ�kind” was funÂ�daÂ�menÂ�tal in the clasÂ�siÂ�cal HolÂ�lyÂ�wood Â�system that aimed at reachÂ�ing the largÂ�est auÂ�diÂ�ence posÂ�sible. The term “clasÂ�siÂ�cal” is thus helpÂ�ful in underÂ�lyÂ�ing not only the uniÂ�verÂ� salÂ�ity Â�sought by that muÂ�siÂ�cal style but also its exÂ�emÂ�plariÂ�ness: clasÂ�siÂ�cal HolÂ�lyÂ�wood music, like all clasÂ�siÂ�cal works, has come to be a model and a refÂ�erÂ�ence point, eiÂ�ther to be folÂ�lowed or to be reÂ�jected.

Jo hn Â�Wil l ia ms ’s F ilm M u s i c

Intro�duc�tion

J

ohn Â�Williams is probÂ�ably the most sucÂ�cessÂ�ful comÂ�poser in film hisÂ�tory. His name is asÂ�soÂ�ciated with many of the major HolÂ�lyÂ�wood Â�box-office blockÂ� bustÂ�ers of the last forty years. In a caÂ�reer spanÂ�ning more than fifty years, John Â�Williams has won four Â�Golden Â�Globes, five Emmys, Â�twenty-one GramÂ�mys, seven BAFTA Â�Awards, a numÂ�ber of Gold and PlatÂ�iÂ�num Â�Records, honÂ�orary deÂ�grees from Â�twenty-one Â�American uniÂ�verÂ�sities, and five AcadÂ�emy Â�Awards. Even more stagÂ�gerÂ�ing, with forty-nine Â� Oscar nomÂ�iÂ�naÂ�tions, he curÂ�rently holds the Â�record for being the most Â�Oscar-nominated livÂ�ing perÂ�son, the secÂ�ond most nomÂ�iÂ�nated perÂ�son in hisÂ�tory, rankÂ�ing just beÂ�hind Walt DisÂ�ney. His film Â�scores have sold milÂ�lions of copÂ�ies, with Star Wars still being the Â�best-selling symÂ�phonic album of all time. Â�Williams’s sucÂ�cess and fame is not conÂ�fined to the film inÂ�dusÂ�try. For fourÂ�teen years he Â�served as Â�conductor-in-residence and arÂ�tisÂ�tic diÂ�recÂ�tor of one of the most faÂ�mous Â�American symÂ�phony orÂ�chesÂ�tras, the BosÂ�ton Pops. As BosÂ�ton Pops conÂ�ducÂ�tor, he perÂ�formed not only in the Â�United Â�States but also in three tours to Japan. As a “BosÂ�ton Pops LauÂ�reate ConÂ�ducÂ�tor” since 1994, he still mainÂ�tains a busy conÂ�cert schedÂ�ule, both with his anÂ�nual apÂ�pearÂ�ances in BosÂ�ton and as a guest conÂ�ducÂ�tor with other famed orÂ�chesÂ�tras. John Â�Williams also purÂ�sued a caÂ�reer as a conÂ�cert comÂ�poser, reÂ�ceivÂ�ing comÂ�misÂ�sions from such imÂ�porÂ�tant inÂ�stiÂ�tuÂ�tions as the New York PhilÂ�harÂ�monic, the ChiÂ�cago SymÂ�phony, and the BosÂ�ton SymÂ�phony. Â�Plácido DoÂ�mingo even tried to lure him into comÂ�posÂ�ing an opera for the Los AnÂ�geles Opera House.1 Over the years, John Â�Williams has beÂ�come AmerÂ�ica’s “ComÂ�poser LauÂ�reate.” In parÂ�ticÂ�uÂ�lar, the numÂ�ber of celÂ�eÂ�braÂ�tory Â�pieces comÂ�misÂ�sioned for many 3

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imÂ�porÂ�tant Â�events of Â�American hisÂ�tory and life have made him a Â�modernday Â�American verÂ�sion of Â�George Frideric HanÂ�del. His fanÂ�fares, Â�marches, miniÂ�ature Â�pieces, and overÂ�tures have been perÂ�formed on worldÂ�wide TV broadÂ� casts; they acÂ�comÂ�paÂ�nied the Los AnÂ�geles OlymÂ�pics in 1984, the cenÂ�tenÂ�nial celÂ�eÂ�braÂ�tions of the Â�Statue of LibÂ�erty in 1986, the AtÂ�lanta CenÂ�tenÂ�nial OlymÂ�pics in 1996, the Salt Lake City WinÂ�ter OlymÂ�pics in 2002, and PresÂ�iÂ�dent BaÂ�rack Â�Obama’s first inÂ�auÂ�guÂ�raÂ�tion in 2009. In 2012 he wrote the “FanÂ�fare for FenÂ�way” to celÂ�eÂ�brate the first cenÂ�tenÂ�nial of the Red Sox and his beÂ�loved Â�Boston’s FenÂ�way Park. As the LonÂ�don Times reÂ�ported, “Williams’ work is often deÂ�scribed as quinÂ�tesÂ�senÂ�tially Â�American. He Â�writes big music for big stuÂ�dio moÂ�vies. He has been Â�called ‘the king of granÂ�diÂ�osÂ�ity.’”2 In Â�contrast to this huge sucÂ�cess, Â�Williams has reÂ�ceived litÂ�tle atÂ�tenÂ�tion from esÂ�sayÂ�ists and critÂ�ics, and someÂ�times a kind of Â�ill-concealed anÂ�iÂ�mosÂ�ity from scholÂ�ars. As of DeÂ�cemÂ�ber 2013 there are only four books on him worldÂ�wide: two in SpanÂ�ish, one in GerÂ�man, and one in Â�French.3 There are no books in EnÂ�glish so far. Such a lack may deÂ�rive from susÂ�piÂ�cion about the Â�composer’s enorÂ�mous sucÂ�cess and from some ideoÂ�logÂ�iÂ�cal prejÂ�uÂ�dices, both of which I disÂ� cuss later in the book. SimÂ�iÂ�larly, EuÂ�roÂ�pean acÂ�aÂ�demic studÂ�ies probÂ�ably neÂ�glect Â�Williams beÂ�cause he is Â�judged to be too comÂ�merÂ�cial and a symÂ�bol of the “imÂ� peÂ�riÂ�aÂ�lisÂ�tic” HolÂ�lyÂ�wood film inÂ�dusÂ�try: “If, as some argue, Â�American cinÂ�ema has conÂ�quered the world, then Â�Williams can lay claim to have writÂ�ten the vicÂ�tory march.”4 John Â�Williams atÂ�tracts as many adÂ�mirÂ�ers as deÂ�tracÂ�tors who look at his work with conÂ�desÂ�cenÂ�sion and spite. BeÂ�cause of his sucÂ�cess, many critÂ�ics have catÂ�eÂ�goÂ� rized and disÂ�missed Â�Williams simÂ�ply as a “comÂ�merÂ�cial comÂ�poser.” They often deÂ�libÂ�erÂ�ately focus on his most comÂ�merÂ�cially sucÂ�cessÂ�ful works, such as Star Wars (George Lucas, 1977); SuperÂ�man: The Movie (RichÂ�ard DonÂ�ner, 1978); or RaidÂ�ers of the Lost Ark (SteÂ�ven SpielÂ�berg, 1981), as if to imply that the Â�score’s sucÂ�cess is Â�merely a conÂ�seÂ�quence of its lucky asÂ�soÂ�ciÂ�aÂ�tion with a sucÂ�cessÂ�ful film. Most critÂ�ics also neÂ�glect or igÂ�nore his more exÂ�periÂ�menÂ�tal Â�scores, such as ImÂ�ages (RobÂ�ert AltÂ�man, 1972), or more soÂ�phisÂ�tiÂ�cated ones, such as Jane Eyre (DelÂ�bert Mann, 1970) and MeÂ�moirs of a GeiÂ�sha (Rob MarÂ�shall, 2005). Such a Â�biased atÂ�tiÂ�tude is Â�rarely found to such an exÂ�tent toÂ�ward other simÂ�iÂ�larly sucÂ�cessÂ�ful film comÂ�posÂ�ers, Ennio MorÂ�riÂ�cone for one. This prejÂ�uÂ�diÂ�cial Â�stance has Â�caused a seÂ�riÂ�ous conÂ�seÂ�quence, Â�namely the abÂ�sence of a Â�thorough study of Â�Williams’s most imÂ�porÂ�tant conÂ�triÂ�buÂ�tion to the hisÂ�tory of film music: the reÂ�viÂ�val of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. Â�Besides his sinÂ�gle Â�scores, comÂ�merÂ�cial sucÂ�cess, and arÂ�tisÂ�tic achieveÂ�ments, Â�Williams is a Â�pivotal figÂ�ure in HolÂ�lyÂ�wood hisÂ�tory beÂ�cause he has been alÂ�most Â�single-handedly

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reÂ�sponÂ�sible for bringÂ�ing back the clasÂ�siÂ�cal HolÂ�lyÂ�wood sound, upÂ�datÂ�ing it to the reÂ�quireÂ�ments of the conÂ�temÂ�poÂ�rary blockÂ�buster film, and, more imÂ�porÂ�tant, leadÂ�ing peoÂ�ple to reÂ�disÂ�cover and apÂ�preÂ�ciate the music of Â�Hollywood’s Â�Golden Age. In the 1970s, Williams Â� reÂ�vived some then disÂ�used feaÂ�tures of the clasÂ�siÂ�cal style and conÂ�seÂ�quently Â�launched a neoÂ�clasÂ�siÂ�cal film music trend, of which he has been and still is the most repÂ�reÂ�senÂ�taÂ�tive comÂ�poser. MoreÂ�over, in the 1980s, as conÂ�ducÂ�tor of the BosÂ�ton Pops OrÂ�chesÂ�tra, Â�Williams acted as the leadÂ�ing proÂ�moter of film music by preÂ�sentÂ�ing its best achieveÂ�ments in conÂ�cert, which conÂ�tribÂ�uted Â�highly to its acÂ�cepÂ�tance. This book studÂ�ies how Â�Williams Â�brought back the clasÂ�siÂ�cal HolÂ�lyÂ�wood music, and to what exÂ�tent, and analyzes the hisÂ�torÂ�iÂ� cal landÂ�marks of the proÂ�cess. Part I foÂ�cuses on the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. This style is given an arÂ�ticÂ�uÂ�late defÂ�iÂ�niÂ�tion and its hisÂ�tory Â�charted for its temÂ�poÂ�ral borÂ�ders, its main auÂ�thors, its lanÂ�guage, its comÂ�poÂ�siÂ�tional techÂ�niques, and the muÂ�siÂ�cal means typÂ�iÂ�cally utiÂ�lized. The forÂ�mal funcÂ�tions that this style used to perÂ�form in clasÂ�siÂ�cal films are also deÂ�scribed. Â�Williams is not yet menÂ�tioned in this part, but a preÂ�limÂ�iÂ� nary reÂ�view of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music is in order here, alÂ�though a numÂ�ber of books have alÂ�ready dealt with the topic. For the alÂ�ready Â�well-informed Â�filmmusic speÂ�cialÂ�ists and enÂ�thuÂ�siasts, this secÂ�tion Â�traces a Â�custom-made acÂ�count of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music, which Â�stresses the thin red line of inÂ�fluÂ�ences, hisÂ� torÂ�iÂ�cal Â�events, and styÂ�lisÂ�tic Â�traits that conÂ�nect Â�Williams to the clasÂ�siÂ�cal peÂ�riod. For those readÂ�ers not faÂ�milÂ�iar with the Â�film-music litÂ�erÂ�aÂ�ture, it is a handy sumÂ� mary that proÂ�vides the Â�proper backÂ�ground. Â�Williams’s role as the comÂ�poser who reÂ�vived the clasÂ�siÂ�cal style and Â�founded the Â�film-music neoÂ�clasÂ�siÂ�cal trend is fully covÂ�ered in Part II. First, I deÂ�scribe the conÂ�text of the New HolÂ�lyÂ�wood where the “Williams revÂ�oÂ�luÂ�tion” took place. Then I anÂ�aÂ�lyze Â�Williams’s style in terms of neoÂ�clasÂ�siÂ�cism and focus on the 1975–83 peÂ�riod, the peak of the neoÂ�clasÂ�siÂ�cal trend. The Star Wars case—aka Star Wars: A New Hope (George Lucas, 1977) after the 1997 ediÂ�tion—is anÂ�aÂ�lyzed as the most inÂ�fluenÂ�tial neoÂ�clasÂ�siÂ�cal work. As a case study to close the surÂ�vey and Â�strengthen the point, this book ofÂ�fers a full, Â�in-depth film/music analÂ�yÂ�sis of RaidÂ�ers of the Lost Ark (SteÂ�ven SpielÂ�berg, 1981), a perÂ�fect exÂ�amÂ�ple of Â�Williams’s neoÂ�clasÂ�siÂ�cism. The part ends with an overÂ�view of Â�Williams’s conÂ�ducÂ�torÂ�ship of the BosÂ�ton Pops OrÂ�chesÂ�tra, a Â�highly inÂ�fluenÂ�tial peÂ�riod in which Â�Williams Â�brought the clasÂ�siÂ�cal Â�film-music repÂ�erÂ�toire into the limeÂ�light. FiÂ�nally, a few reÂ� marks are preÂ�sented on the Â�present-day HolÂ�lyÂ�wood music and on what reÂ�mains of Â�Williams’s neoÂ�clasÂ�siÂ�cal inÂ�fluÂ�ence in the conÂ�temÂ�poÂ�rary Â�film-scoring pracÂ�tice. This book is not writÂ�ten from a musicÂ�oÂ�logÂ�iÂ�cal perÂ�specÂ�tive but from that of film studÂ�ies. Nor does it give an exÂ�hausÂ�tive acÂ�count of Â�Williams’s music outÂ�put,

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covÂ�erÂ�ing all his Â�scores and each peÂ�riod of his caÂ�reer. AlÂ�though a few Â�themes and moÂ�tifs are anÂ�aÂ�lyzed muÂ�siÂ�cally, exÂ�tenÂ�sive music analÂ�yÂ�sis is not at the core of this book. As the first Â�English-language book on Â�Williams, its aim is to Â�present a Â�micro-history Â�within the Â�larger HolÂ�lyÂ�wood hisÂ�tory, more than simÂ�ply proÂ�vidÂ�ing a musicÂ�oÂ�logÂ�iÂ�cal essay on Â�Williams. It cenÂ�ters not so much on Â�Williams the comÂ�poser as on Â�Williams the “reÂ�storer” of a part of Â�Hollywood’s clasÂ�siÂ�cism. There are many film comÂ�posÂ�ers who can be studÂ�ied and apÂ�preÂ�ciated for their fine muÂ�siÂ�cal achieveÂ�ments, and perÂ�haps such studÂ�ies can be underÂ�taken more efÂ�fiÂ�ciently by musiÂ�colÂ�oÂ�gists. HowÂ�ever, Â�Williams is a Â�unique figÂ�ure for his comÂ� peÂ�tent reÂ�trieval and Â�clever upÂ�datÂ�ing of a piece of Â�Hollywood’s hisÂ�tory, and here the film hisÂ�toÂ�rian can perÂ�haps say more than the musiÂ�colÂ�oÂ�gist. FoÂ�cusÂ�ing on the peak of the neoÂ�clasÂ�siÂ�cal trend, the analÂ�yÂ�sis is deÂ�libÂ�erÂ�ately narÂ�rowed to three films, conÂ�sidÂ�ered the key hisÂ�torÂ�iÂ�cal moÂ�ments and the most fitÂ�ting exÂ�amÂ�ples to ilÂ�lusÂ�trate Â�Williams’s neoÂ�clasÂ�siÂ�cism: Jaws (SteÂ�ven SpielÂ�berg, 1975), Star Wars: A New Hope, and RaidÂ�ers of the Lost Ark. There are many more films that can be Â�listed in the neoÂ�clasÂ�siÂ�cal Â�Williams canon, such as SuperÂ�man, 1941 (SteÂ�ven SpielÂ�berg, 1979), E.T. the Â�Extra-Terrestrial (SteÂ�ven SpielÂ�berg, 1982), the other chapÂ�ters of the Star Wars saga, and a few othÂ�ers. They all would deÂ�serve a simÂ�iÂ�larly Â�in-depth analÂ�yÂ�sis, but here they are given only a brief overÂ�view. There is no need to anÂ�aÂ�lyze each Â�Williams neoÂ�clasÂ�siÂ�cal score but inÂ�stead to ilÂ�lusÂ�trate the hisÂ�torÂ�iÂ�cal acÂ�count with a limÂ�ited numÂ�ber of seÂ�lected exÂ�amÂ�ples. For the same reaÂ�son, Â�Williams’s Â�scores that are not Â�strictly neoÂ�clasÂ�siÂ�cal—for exÂ�amÂ�ple, the Â�piano-based AcÂ�ciÂ�denÂ�tal TourÂ�ist (LawÂ�rence KasÂ�dan, 1988) and StanÂ�ley & Iris (MarÂ�tin Ritt, 1989)—are menÂ�tioned only Â�briefly in apÂ�penÂ�dix 1. Each of the three aforeÂ�menÂ�tioned films is dealt with difÂ�ferÂ�ently. Jaws is anÂ�aÂ�lyzed in Â�search of the hidÂ�den hints of neoÂ�clasÂ�siÂ�cism, that is, how many eleÂ�ments in the score and the use and placeÂ�ment of the music difÂ�fer from the esÂ�tabÂ�lished pracÂ�tice and modÂ�els of the film music of the 1970s. Star Wars is not given a muÂ�siÂ�cal analÂ�yÂ�sis but is studÂ�ied as an anomÂ�aly Â�within the conÂ�text of the late 1970s film music, so as to underÂ�line its unÂ�exÂ�pected sucÂ�cess and unÂ�precÂ�eÂ�dented imÂ�pact on the present Â� and fuÂ�ture of film music. FiÂ�nally, RaidÂ�ers of the Lost Ark has been choÂ�sen as an outÂ�standÂ�ing specÂ�iÂ�men of Â�Williams’s neoÂ�clasÂ�siÂ�cism and is the obÂ�ject of a full “film/music analÂ�yÂ�sis”—a deÂ�tailed film analÂ�yÂ�sis based on the deÂ�scripÂ�tion and exÂ�plaÂ�naÂ�tion of how the score works in each scene and Â�within the overÂ�all Â�film’s form. This book is not meant to be the deÂ�finÂ�iÂ�tive “Williams bible,” but it seeks to lay the first brick to fill a gap in Â�film-music studÂ�ies. The imÂ�pact of John Â�Williams’s work on the hisÂ�tory of film music—past and fuÂ�ture—is too imÂ�porÂ�tant not to be conÂ�sidÂ�ered in a scholÂ�arly study.

Part I

T he C las �s i�ca l Hol�ly�woo d Mus ic Style

Fine sym�phonic �scores for mo�tion pic�tures can�not help but in�flu�ence mass ac�cep�tance of finer music. The cin�ema is a di�rect av�e�nue to the ears and �hearts of the great pub�lic and all musi�cians �should see the �screen as a mu�si�cal op�por�tu�nity. Erich Wolf�gang Korn�gold

1 “The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music” A C hro n iÂ� Â� cl e

Music in the SiÂ�lent Era The regÂ�uÂ�lar presÂ�ence of music as an acÂ�comÂ�paÂ�niÂ�ment to film proÂ�jecÂ�tions durÂ�ing Â� cinema’s inÂ�fancy—Â�between 1895 and 1905—is not cerÂ�tain.1 At that stage, cinÂ�ema was seen as a kind of carÂ�niÂ�val amuseÂ�ment, a Â�low-brow draw based on “atÂ�tracÂ� tions” preÂ�sented in simÂ�ple Â�single-shot tabÂ�leaux runÂ�ning a few minÂ�utes.2 Music, howÂ�ever, beÂ�came an esÂ�senÂ�tial part of the film exÂ�peÂ�riÂ�ence in the 1910s. With the rise of nickÂ�elÂ�oÂ�deÂ�ons—those urban storeÂ�front theÂ�aÂ�ters speÂ�cialÂ�izÂ�ing in film proÂ�jecÂ�tions at popÂ�uÂ�lar Â�prices, usuÂ�ally a Â�nickel—from 1905 on, and then the Â�spread of the posh picÂ�ture palÂ�aces in the teens,3 the duÂ�raÂ�tion of films inÂ�creased and the phase of the “narÂ�raÂ�tive inÂ�teÂ�graÂ�tion” began.4 In order to meet the burÂ�geonÂ�ing deÂ�mand and to guarÂ�anÂ�tee a Â�longer life for the inÂ�diÂ�vidÂ�ual films, it was no Â�longer sufÂ�fiÂ�cient to reÂ�sort just to isoÂ�lated Â�antics, short vaudeÂ�ville skits, inÂ�venÂ�tive opÂ�tiÂ�cal Â�tricks, and sceÂ�nics and topÂ�iÂ�cals (short travelÂ�ogues and protoÂ� typÂ�iÂ�cal newsÂ�reels). CinÂ�ema could no Â�longer setÂ�tle for and live on the novÂ�elty efÂ�fect given by reÂ�proÂ�ducÂ�tion of movÂ�ing imÂ�ages but had to reÂ�think itÂ�self in terms of more strucÂ�tured prodÂ�ucts. CinÂ�ema Â�needed to tell stoÂ�ries. The conÂ�verÂ�sion to

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the narÂ�raÂ�tive form was acÂ�comÂ�paÂ�nied by the conÂ�solÂ�iÂ�daÂ�tion of the reÂ�laÂ�tionÂ�ship Â�between cinÂ�ema and music. Many exÂ�plaÂ�naÂ�tions have been given to acÂ�count for the reaÂ�sons of this Â�nowsolid reÂ�laÂ�tionÂ�ship Â�between music and cinÂ�ema, and good sumÂ�marÂ�ies are availÂ�able.5 Â�Herein, one raiÂ�son Â�d’être will be privÂ�iÂ�leged over the othÂ�ers: Â�music’s conÂ�triÂ�buÂ� tion to film narÂ�raÂ�tion. The atÂ�tenÂ�tion and care for music in terms of theÂ�matic conÂ�sisÂ�tency and coÂ�herÂ�ent inÂ�teÂ�graÂ�tion with the Â�film’s narÂ�raÂ�tive rose sigÂ�nifÂ�iÂ�cantly when cinÂ�ema Â�turned from showÂ�ing atÂ�tracÂ�tions to tellÂ�ing stoÂ�ries. ImÂ�proÂ�vised, unÂ�willÂ�ingly comÂ�ical, and inÂ�conÂ�gruÂ�ous forms of acÂ�comÂ�paÂ�niÂ�ment such as those typÂ�iÂ�cal of the “cinÂ�ema of atÂ�tracÂ�tions” were no Â�longer tolÂ�erÂ�ated. PracÂ�tiÂ�tionÂ�ers now reÂ�alÂ�ized that a Â�botched-up perÂ�forÂ�mance or an unÂ�suitÂ�able muÂ�siÂ�cal acÂ�comÂ� paÂ�niÂ�ment could be harmÂ�ful to the film’s Â� reÂ�cepÂ�tion and could radÂ�iÂ�cally modÂ�ify the inÂ�tended efÂ�fects that the film was deÂ�signed to have on the viewÂ�ers. In the 1910s there was a flourÂ�ishÂ�ing of arÂ�tiÂ�cles that theÂ�orÂ�ized and preÂ�scribed the manÂ�ner in which music Â�should be writÂ�ten and perÂ�formed in order to serve the film in a Â�proper way.6 Ever since The Birth of a NaÂ�tion (David Wark GrifÂ�fith, 1915, music by JoÂ�seph Carl Breil)—conÂ�sidÂ�ered to be the first case of an Â�American score exÂ�pressly comÂ�piled/comÂ�posed to supÂ�port the Â�film’s narÂ�raÂ�tion—music now Â�proved to be able to conÂ�note the imÂ�plicit meanÂ�ing of the narÂ�raÂ�tive.7 In the case of The Birth of a NaÂ�tion, this imÂ�plicit meanÂ�ing is the Â�film’s inÂ�faÂ�mous raÂ�cism: “Music lends inÂ�sidÂ�iÂ�ous aid to emÂ�phaÂ�size the teachÂ�ing of the Â�screen, for the Â�tomtom beats from time to time to conÂ�vince us that the colÂ�ored man, well drest [sic] and edÂ�uÂ�cated Â�though he may be, came from AfÂ�rica.”8 Film music in the late siÂ�lent era had alÂ�ready deÂ�velÂ�oped a numÂ�ber of techÂ�niques to beÂ�come an inÂ�teÂ�gral tool of film narÂ�raÂ�tion. Yet there was still a major probÂ�lem: the arÂ�biÂ�trariÂ�ness of the live perÂ�forÂ�mance. The strugÂ�gle of many critÂ�ics and theoÂ�rists for music that Â�should be conÂ�gruÂ�ent with the Â�film’s narÂ�raÂ�tive Â�clashed with a techÂ�niÂ�cal issue: music could not be Â�stably placed Â� on the film strip as hapÂ�pened with the visÂ�uÂ�als, folÂ�lowÂ�ing the best posÂ�sible stanÂ�dards and the producers’ Â� exact inÂ�tent. The live perÂ�forÂ�mance was under the conÂ�trol of the inÂ�diÂ�vidÂ�ual exÂ�hibÂ�iÂ�tors. Even if they had Â�closely folÂ�lowed the list of music Â�pieces—the Â�so-called cue sheet—proÂ�vided by disÂ�tribÂ�utors along with the exÂ�hiÂ�biÂ�tion Â�prints, the acÂ�tual perÂ�forÂ�mance would have varÂ�ied sigÂ� nifÂ�iÂ�cantly deÂ�pendÂ�ing on the muÂ�siÂ�cal means availÂ�able in each venue. AtÂ�tendÂ�ing the screenÂ�ing of a film at the Roxy TheaÂ�tre in New York with an orÂ�chesÂ�tra of 110 Â�players was quite difÂ�ferÂ�ent from atÂ�tendÂ�ing the screenÂ�ing of the same film in a Â�small-town, Â�third-rate movie house. Here the same music would be Â�played from a piano reÂ�ducÂ�tion on a perÂ�haps Â�out-of-tune upÂ�right piano by a perÂ�haps

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drunk piÂ�aÂ�nist. In short, from a muÂ�siÂ�cal point of view, a siÂ�lent film was never the same from one venue to anÂ�other. Music and the ComÂ�ing of Sound Sound techÂ�nolÂ�ogy was introÂ�duced with the aim of fixÂ�ing the Â�film’s muÂ�siÂ�cal diÂ�menÂ�sion, Â�rather than of havÂ�ing charÂ�acÂ�ters talk. AlÂ�fred HitchÂ�cock Â�claimed that “the acÂ�comÂ�paÂ�nyÂ�ing music came at last enÂ�tirely under the conÂ�trol of the peoÂ�ple who made the picÂ�ture.”9 Now it was posÂ�sible to bring the imÂ�pecÂ�cable perÂ�forÂ�mance of a large orÂ�chesÂ�tra, which one might have heard only in a luxÂ�uÂ�riÂ� ous picÂ�ture palÂ�ace, even to small Â�provincial-circuit theÂ�aÂ�ters. ThereÂ�fore, in 1926 WarÂ�ner Bros. could Â�present its Don Juan (Alan CrosÂ�land, music by Â�William Axt and David MenÂ�doza) in every Â�equipped theÂ�aÂ�ter with the flawÂ�less renÂ�diÂ�tion of the New York PhilÂ�harÂ�monic OrÂ�chesÂ�tra.10 In the early years of sound films, the use of Â�non-diegetic music was not a Â�widely acÂ�cepted conÂ�venÂ�tion, alÂ�though reÂ�cent studÂ�ies have shown evÂ�iÂ�dence of a numÂ�ber of exÂ�cepÂ�tions: The SingÂ�ing Fool (Lloyd Bacon, 1928) has wallÂ�paÂ�per music acÂ�comÂ�paÂ�niÂ�ment under most diÂ�alogue Â�scenes, and some Â�early-thirties Ernst LuÂ�bitsch proÂ�ducÂ�tions at ParÂ�aÂ�mount, like MonÂ�teÂ�carlo (1930), have epiÂ�sodes of diÂ�alogue underÂ�scorÂ�ing.11 In most films Â�non-diegetic music was rare, limÂ�ited to the openÂ�ing tiÂ�tles, to a Â�couple of Â�chords emÂ�phaÂ�sizÂ�ing the “The End” title, to bridgÂ�ing pasÂ�sages Â�between two Â�scenes, and to monÂ�tage seÂ�quences. In the drama DisÂ�honÂ�ored ( JoÂ�seph Von SternÂ�berg, 1931), MarÂ�lene DieÂ�trich plays an amÂ�aÂ�teur piÂ�aÂ�nist spy, X27, who manÂ�ages to smugÂ�gle straÂ�teÂ�gic inÂ�forÂ�maÂ�tion from the enemy by enÂ�codÂ�ing it into muÂ�siÂ�cal notes. Her dieÂ�getic piano playÂ�ing proÂ�vides most of the muÂ�siÂ�cal parts of the film; there are even some unÂ�usuÂ�ally atoÂ�nal Â�pieces, which is what the codes would sound like if Â�played. The only epiÂ�sode of Â�non-diegetic music is a brief monÂ�tage seÂ�quence sumÂ�marÂ�izÂ�ing some war acÂ�tions. The final, draÂ�matic scene of X27 facÂ�ing the firÂ�ing squad after being senÂ�tenced to death, has no music at all, which Â�sounds Â�rather Â�strange to the ears of a Â�present-day Â�viewer. The same can be said of Madam Satan (Cecil B. DeÂ�Mille, 1930), a comÂ�edy with only dieÂ�getic music, and Anna ChrisÂ�tie (ClarÂ�ence Brown, 1930), a drama that has virÂ�tuÂ�ally no music at all. The presÂ�ence of music was Â�mostly at the dieÂ�getic level: music had to seem to come from the narÂ�raÂ�tive world and was synÂ�chronÂ�ized with some kind of Â�on-screen perÂ�forÂ�mance—a Â�singer, an orÂ�chesÂ�tra, a piÂ�aÂ�nist—or had to be moÂ�tiÂ�vated reÂ�alisÂ�tiÂ�cally by showÂ�ing or imÂ�plyÂ�ing the presÂ�ence of some kind of sound Â�source such as a phonoÂ�graph or a radio,

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hence the term “source music.” For exÂ�amÂ�ple, in a Â�couple of Â�scenes in the comÂ�edy InÂ�disÂ�creet (Leo Â�McCarey, 1931), we see GloÂ�ria SwanÂ�son askÂ�ing for some music; in the first scene her maid Â�switches the autoÂ�piÂ�ano on and in the secÂ�ond she herÂ�self turns on a radio set, so as to moÂ�tiÂ�vate reÂ�alisÂ�tiÂ�cally the muÂ�siÂ�cal backÂ�ground of the folÂ�lowÂ�ing acÂ�tion or diÂ�alogue. Most diÂ�recÂ�tors—Von SternÂ�berg being one of them—Â�thought that Â�non-diegetic music could be harmÂ�ful to drama and reÂ�alÂ�ism. The comÂ�poser Max Â�Steiner proÂ�vides an exÂ�amÂ�ple of this “muÂ�siÂ�cal reÂ�alÂ�ism”: But they [ proÂ�ducÂ�ers and diÂ�recÂ�tors] felt it was necÂ�esÂ�sary to exÂ�plain the music picÂ�toÂ�riÂ�ally. For exÂ�amÂ�ple, if they Â�wanted music for a Â�street scene, an organ Â�grinder was shown. It was easy to use music in [a] nightÂ�club, ballÂ�room or theÂ�aÂ�ter scene, as here the orÂ�chesÂ�tras Â�played a necÂ�esÂ�sary part in the picÂ�ture. Many Â�strange deÂ�vices were used to introÂ�duce the music. For inÂ�stance, a love scene might take place in the woods and in order to jusÂ�tify the music Â�thought necÂ�esÂ�sary to acÂ�comÂ�pany it, a wanÂ�derÂ�ing viÂ�oÂ�linÂ�ist would be Â�brought in for no reaÂ�son at all. Or, again, a shepÂ�herd would be seen herdÂ�ing his sheep and playÂ�ing his flute, to the acÂ�comÂ�paÂ�niÂ�ment of a Â�fifty-piece orÂ�chesÂ�tra.12

How can this ob�ses�sion with mu�si�cal re�al�ism be ex�plained? One clar�ifi�ca�tion

is of an aesÂ�thetic naÂ�ture and conÂ�nected with the new idea of cinÂ�ema that deÂ�rived from synÂ�chronÂ�ized diÂ�alogue. In the siÂ�lent era, the lack of words imÂ�plied a more stylÂ�ized conÂ�cepÂ�tion of cinÂ�ema as a kind of spirÂ�iÂ�tual, paintÂ�like art, a sort of visÂ�ual symÂ�phony. Since reÂ�alÂ�ity in sound films could be reÂ�proÂ�duced with Â�greater fiÂ�delÂ�ity, the aesÂ�thetÂ�ics of the meÂ�dium Â�slipped toÂ�ward a Â�greater reÂ�alÂ�ism, which obÂ�viÂ�ously faÂ�vored the diÂ�alogue over the arÂ�tiÂ�fiÂ�cial Â�non-diegetic music. AnÂ�other moÂ�tiÂ�vaÂ�tion is of an ecoÂ�nomic naÂ�ture. At first—in the years 1927–28—sound films were proÂ�duced folÂ�lowÂ�ing the 1926 model of Don Juan. These films were baÂ�siÂ�cally siÂ�lent with synÂ�chronÂ�ized music Â�tracks. AnÂ�other faÂ�mous exÂ�amÂ�ple is SunÂ�rise (FrieÂ�drich WilÂ�helm MurÂ�nau, 1927, music by Hugo RieÂ�senÂ�feld). After the huge box ofÂ�fice sucÂ�cess of The SingÂ�ing Fool (1928, music by Louis SilÂ�vers et al.) and the first “all-talking” Â�Lights of New York (Bryan Foy, 1928), it was clear that the novÂ�elty of synÂ�chronÂ�ized sound was quite sucÂ�cessÂ�ful in atÂ�tractÂ�ing the auÂ�diÂ�ence, thus bringÂ�ing in big profÂ�its. In such films as SunÂ�rise, this inÂ�noÂ�vaÂ�tion was less evÂ�iÂ�dent. AlÂ�though music was inÂ�deed synÂ�chronÂ�ized with the imÂ�ages from a techÂ�niÂ�cal point of view, from the auÂ�diÂ�ence perÂ�specÂ�tive the inÂ�noÂ�vaÂ�tion could Â�hardly be noÂ�ticed. The sound of the orÂ�chesÂ�tra that once came

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out live from the orÂ�chesÂ�tra pit now simÂ�ply Â�emerged Â�through loudÂ�speakÂ�ers from a reÂ�corded supÂ�port. At this point, the inÂ�noÂ�vaÂ�tion could be betÂ�ter exÂ�ploited if the synÂ�chronÂ�izaÂ�tion proÂ�cess were exÂ�pliÂ�citly disÂ�played. This meant faÂ�vorÂ�ing diÂ�alogue, Â�on-screen music numÂ�bers, and the dieÂ�getic use of music, visÂ�ibly synÂ�chronÂ�ized with an idenÂ�tifiÂ�able Â�on-screen Â�source. ConÂ�seÂ�quently, HolÂ�lyÂ�wood proÂ�duced talkÂ�ies havÂ�ing a reÂ�alisÂ�tic narÂ�raÂ�tive and setÂ�ting, like that in ScarÂ�face (HoÂ�ward Hawks, 1932), a film with no music at all Â�besides the dieÂ�getic whisÂ�tling by Paul Muni/Tony CaÂ�monte. AnÂ�other much exÂ�ploited genre was the muÂ�siÂ�cal, where dieÂ�getic music preÂ�vailed, esÂ�peÂ�cially in the revue subÂ�genre, which was made up of a Â�string of muÂ�siÂ�cal numÂ�bers: faÂ�mous exÂ�amÂ�ples are The HolÂ�lyÂ�wood Revue of 1929 (Charles ReÂ�isÂ�ner, 1929, music by Nacio Herb Brown et al.) and ParÂ�aÂ�mount on PaÂ�rade (DorÂ�oÂ�thy ArzÂ�ner et al., 1930, music by HoÂ�ward JackÂ�son). The third facÂ�tor that disÂ�couÂ�raged the use of Â�non-diegetic music was a techÂ�niÂ�cal one: beÂ�fore 1932 sound edÂ�itÂ�ing and mixÂ�ing were very difÂ�fiÂ�cult, and 13 The this could preÂ�vent the siÂ�mulÂ�taÂ�neÂ�ous presÂ�ence of multiÂ�ple audio tracks. Â� reÂ�sult of this was the inÂ�abilÂ�ity to blend music and diÂ�alogue in terms of acÂ�ceptÂ� able sound qualÂ�ity. The techÂ�niÂ�cal limÂ�iÂ�taÂ�tions made feaÂ�sible neiÂ�ther Â�postrecording (later used to stage dieÂ�getic numÂ�bers in muÂ�siÂ�cals) nor dubÂ�bing (later used to add Â�non-diegetic music to the sound track).14 In the earÂ�liÂ�est years of sound cinÂ�ema, music was reÂ�corded durÂ�ing the filmÂ�ing at the same time as the diÂ�alogue. Music numÂ�bers had to be Â�staged by shootÂ�ing the acÂ�tion and siÂ�mulÂ�taÂ�neÂ�ously reÂ�cordÂ�ing the orÂ�chesÂ�tra and singÂ�ers playÂ�ing live on set. HavÂ�ing the orÂ�chesÂ�tra and singÂ�ers on set with acÂ�tors, and havÂ�ing to hanÂ�dle the filmÂ�ing and reÂ�cordÂ�ing of all the sound eleÂ�ments meant an inÂ�crease in proÂ�ducÂ�tion costs and shootÂ�ing time.15 BeÂ�cause this proÂ�cess was so difÂ�fiÂ�cult, music was obÂ�viÂ�ously used only when abÂ�soÂ� lutely necÂ�esÂ�sary and profÂ�itÂ�able, in other words, only in dieÂ�getic numÂ�bers, in which the inÂ�noÂ�vaÂ�tion of synÂ�chronÂ�ized sound could be patÂ�ently shown off to atÂ�tract the auÂ�diÂ�ence and offÂ�set the high costs. The techÂ�niÂ�cal isÂ�sues were Â�solved in 1932, when sound edÂ�itÂ�ing and multiÂ� track mixÂ�ing beÂ�came feaÂ�sible. Â�Non-diegetic music, Â�called backÂ�ground music, could now find its place in the sound cinÂ�ema. The ecoÂ�nomic reaÂ�son disÂ�apÂ�peared in 1930, after the unÂ�exÂ�pected flop of muÂ�siÂ�cal films at the box ofÂ�fice. The auÂ�diÂ�ence had had Â�enough of all those songs and muÂ�siÂ�cal numÂ�bers that were Â�partly a kind of reÂ�viÂ�val of the primÂ�iÂ�tive “cinÂ�ema of atÂ�tracÂ�tions” Â�rather than a narÂ�raÂ�tive cinÂ�ema. As a conÂ�seÂ�quence, many proÂ�ducÂ�ers deÂ�cided to disÂ�miss musiÂ�cians and to reÂ�duce the proÂ�ducÂ�tion of muÂ�siÂ�cals, with the inÂ�tent of foÂ�cusÂ�ing on talkÂ�ies withÂ�out music.16 Max Â�Steiner (1888–1971) had moved to HolÂ�lyÂ�wood durÂ�ing the early years of sound films and was one of those comÂ�posÂ�ers in danÂ�ger of being laid off. EvenÂ�tuÂ� ally, Â�though, he manÂ�aged to inÂ�vert the trend in HolÂ�lyÂ�wood. His Â�non-diegetic

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score for CiÂ�marÂ�ron (WesÂ�ley RugÂ�gles, 1931) is quite short and covÂ�ers only about 3 out of the 120 minÂ�utes of runÂ�ning time. AcÂ�cordÂ�ing to the preÂ�vailÂ�ing poetÂ�ics, most of the music Â�pieces are dieÂ�getic. In the last shot, howÂ�ever, “there is not dieÂ�getic jusÂ�tifiÂ�caÂ�tion for the orÂ�chesÂ�tral music which Â�swells the sound track transcendÂ�ing the Â�film’s dieÂ�getic bounÂ�dary and spillÂ�ing over into the final credÂ�its. The imÂ�porÂ�tance of Â�Steiner’s score for CiÂ�marÂ�ron, howÂ�ever, rests not only upon its transÂ�gresÂ�sion of the Â�industry’s priÂ�orÂ�ity on dieÂ�getic reÂ�alÂ�ism in a draÂ�matic conÂ�text (it was not the first or only film to do so), but also upon recÂ�ogÂ�niÂ�tion Â�within the inÂ�dusÂ�try of Â�Steiner’s deÂ�parÂ�ture from the acÂ�cepted norm.”17 The last obÂ�staÂ�cle to the emerÂ�gence of the clasÂ�siÂ�cal style—the poetÂ�ics of muÂ�siÂ�cal reÂ�alÂ�ism—was reÂ�moved by Â�Steiner with four subÂ�seÂ�quent RKO films that fiÂ�nally conÂ�vinced the proÂ�ducÂ�ers on the efÂ�fecÂ�tiveÂ�ness of Â�non-diegetic music in a sound film. The first film was the drama SymÂ�phony of Six MilÂ�lion (GregÂ�ory La Cava, 1932), then came The Most DanÂ�gerÂ�ous Game (ErÂ�nest B. SchoedÂ�sack, IrÂ�ving Â�Pichel, 1932) and Bird of ParÂ�aÂ�dise (King Vidor, 1932), two very difÂ�ferÂ�ent draÂ�mas— the forÂ�mer being a dark Â�thriller, the latÂ�ter an exÂ�otic PolyÂ�neÂ�sian meloÂ�drama— that strengthÂ�ened Â�Steiner’s repÂ�uÂ�taÂ�tion and inÂ�creased the Â�producers’ conÂ�fiÂ�dence in backÂ�ground music.18 FiÂ�nally, the film that comÂ�pleted the colÂ�lapse of the muÂ�siÂ�cal reÂ�alÂ�ism poetÂ�ics was King Kong (MerÂ�ian C. Â�Cooper and ErÂ�nest B. SchoedÂ�sack, 1933), for which Â�Steiner, deÂ�spite the slim muÂ�siÂ�cal budÂ�get, inÂ�sisted on comÂ�posÂ�ing an origÂ�iÂ�nal score, inÂ�stead of using preÂ�exÂ�istÂ�ing music Â�pieces.19 King Kong is defÂ�iÂ�nitely a Â�non-realistic film, and the most imÂ�porÂ�tant funcÂ�tion of Â�Steiner’s music is to give credÂ�ibilÂ�ity to Kong, a Â�fairly ruÂ�diÂ�menÂ�tary Â�stop-motion anÂ�iÂ�mated pupÂ�pet. WithÂ�out Â�Steiner’s score the auÂ�diÂ�ence could have deÂ�rided the monÂ�ster, inÂ�stead of being Â�scared at the beÂ�ginÂ�ning of the film and feelÂ�ing pity for him at the end: “Here the music is reÂ�quired, perÂ�haps for the first time in an Â�American film, to exÂ�plain to the auÂ�diÂ�ence what is acÂ�tuÂ�ally hapÂ�penÂ�ing on the Â�screen, since the camÂ�era is unÂ�able to arÂ�ticÂ�uÂ�late Â�Kong’s inÂ�stincÂ�tive feelÂ�ings of tenÂ�derÂ�ness toÂ�wards his helpÂ�less vicÂ�tim.”20 The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music: The First GenÂ�erÂ�aÂ�tion For its hisÂ�torÂ�iÂ�cal and styÂ�lisÂ�tic imÂ�porÂ�tance, King Kong can be idenÂ�tified as the inÂ�auÂ�guÂ�ral film of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. King Kong was also the first case to reÂ�veal a genÂ�eral trend in the use of film music: genÂ�res that are best at ease with music are the least reÂ�alisÂ�tic ones. Music is more easÂ�ily Â�placed in films about the past, disÂ�tant Â�places, fancy roÂ�mances, and exÂ�otic adÂ�venÂ�tures, where the narÂ�raÂ�tive is more in need of music to susÂ�pend the disÂ�beÂ�lief of the auÂ�diÂ�ence

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and to enÂ�sure the forÂ�mal coÂ�heÂ�sion of the film, all of which conÂ�firms what Jack WarÂ�ner used to say: “Films are fanÂ�tasy—and fanÂ�tasy needs music.”21 In the 1930s the genÂ�res where music is most Â�present and often takes a leadÂ�ing role are “adÂ�venÂ�ture films” like CapÂ�tain Blood (MiÂ�chael CurÂ�tiz, 1935, music by Erich WolfÂ�gang KornÂ�gold); The Â�Charge of the Light BriÂ�gade (MiÂ�chael CurÂ�tiz, 1936, music by Max Â�Steiner); The PrisÂ�oner of Zenda ( John CromÂ�well, 1937, music by AlÂ�fred NewÂ�man); Lost HoÂ�riÂ�zon (Frank Capra, 1937, music by DiÂ�miÂ�tri TiomÂ�kin); Beau Geste (William A. WellÂ�man, 1939, music by AlÂ�fred NewÂ�man); and CapÂ�tains CouÂ�raÂ�geous (VicÂ�tor FlemÂ�ing, 1937, music by Franz WaxÂ�man); “peÂ�riod draÂ�mas” like The PriÂ�vate Lives of ElizÂ�aÂ�beth and Essex (MiÂ�chael CurÂ�tiz, 1939, music by Erich WolfÂ�gang KornÂ�gold); Gone with the Wind (VicÂ�tor FlemÂ�ing, 1939, music by Max Â�Steiner); and Notre Dame (William DieÂ�terle, 1939, music by AlÂ�fred NewÂ�man); “meloÂ�draÂ�mas” like Stella Â� DalÂ�las (King Vidor, 1937, music by AlÂ�fred NewÂ�man) and WuÂ�therÂ�ing Â�Heights (William Wyler, 1939, music by AlÂ�fred NewÂ�man); “horÂ�ror moÂ�vies” like The Bride of FranÂ�kenÂ�stein ( James Whale, 1935, music by Franz WaxÂ�man); The InÂ�visÂ�ible Ray (LamÂ�bert HilÂ�lyer, 1936, music by Franz WaxÂ�man); and The Â�Devil-Doll (Tod BrownÂ�ing, 1936, music by Franz WaxÂ�man). If we think of the comÂ�eÂ�dies of the 1930s, such as BringÂ�ing Up Baby (HoÂ�ward Hawks, 1938); Mr. Deeds Goes to Town (Frank Capra, 1936); NiÂ�notchka (Ernst LuÂ�bitsch, 1939, music by WerÂ�ner R. HeyÂ�mann); His Girl FriÂ�day (HoÂ�ward Hawks, 1940); The Awful Truth (Leo Â�McCarey, 1937, music by Ben OakÂ�land); and My Man GodÂ�frey (GregÂ�ory La Cava, 1936), we realize that they tell conÂ�temÂ�poÂ�rary Â�enough to proÂ�vide a forÂ�mal coÂ�heÂ�sion: stoÂ�ries and the screenÂ�plays are strong Â� when music is Â�present it has a minor role—Â�mostly dieÂ�getic—and in many cases it is not Â�present at all. To grasp the difÂ�ferÂ�ence Â�between the preÂ�viÂ�ous reÂ�alisÂ�tic trend and new trend, comÂ�pare FranÂ�kenÂ�stein ( James Whale, 1931) with its seÂ�quel, The Bride of FranÂ�kenÂ�stein (1935). In the forÂ�mer—like in other horÂ�ror films such as DraÂ�cula (Tod BrownÂ�ing, 1931); MurÂ�ders in the Rue Â�Morgue (RobÂ�ert FloÂ�rey, 1932); and IsÂ�land of the Lost Souls (Erle C. KenÂ�ton, 1932)—music is Â�present only in the openÂ�ing and closÂ�ing tiÂ�tles, while the Â�monster’s apÂ�pearÂ�ances or the susÂ�penseÂ�ful Â�scenes have no music.22 But in The Bride of FranÂ�kenÂ�stein, Â�Waxman’s score is funÂ�daÂ�menÂ�tal in supÂ�portÂ�ing the narÂ�raÂ�tion for the enÂ�tire runÂ�ning time, with color efÂ�fects, timÂ�bre inÂ�venÂ�tions, and a netÂ�work of muÂ�siÂ�cal moÂ�tifs asÂ�soÂ�ciated with the varÂ�iÂ�ous charÂ�acÂ�ters. Only four years sepÂ�arÂ�ate these two films, both diÂ�rected by the same perÂ�son. The difÂ�ferÂ�ence, howÂ�ever, could not be more radÂ�iÂ�cal. If 1933 can be seen as the year of the beÂ�ginÂ�ning of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music, it is in 1935 that this style Â�reached its maÂ�turÂ�ity and a perÂ�vaÂ�sive Â�spread. Three films—all verÂ�iÂ�taÂ�ble mileÂ�stones in film music hisÂ�tory—atÂ�test to the

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Â�strength of the clasÂ�siÂ�cal style. The first one is The InÂ�former ( John Ford, 1935, music by Max Â�Steiner), a drama about Â�betrayal and reÂ�morse, and often sinÂ�gled out as the most exÂ�treme exÂ�amÂ�ple of the clasÂ�siÂ�cal close adÂ�heÂ�sion of music to visÂ�uÂ�als.23 AnÂ�other inÂ�fluenÂ�tial score is Â�Waxman’s for The Bride of FranÂ�kenÂ�stein, which set the basis for horÂ�ror film music. The third is CapÂ�tain Blood, with which Erich WolfÂ�gang KornÂ�gold made his ofÂ�fiÂ�cial debut as a HolÂ�lyÂ�wood comÂ�poser. KornÂ� gold did not only inÂ�stiÂ�tuÂ�tionÂ�alÂ�ize the way a score for an adÂ�venÂ�ture film Â�should sound—Â�late-romantic diÂ�alect, lush orÂ�chesÂ�traÂ�tion, promÂ�iÂ�nent brass secÂ�tion— but Â�brought to the task the senÂ�siÂ�tivÂ�ity and masÂ�tery of an opera comÂ�poser and the forÂ�mal Â�strength that Â�lacked in Â�Steiner’s fragÂ�menÂ�tary idiom. ClasÂ�siÂ�cal HolÂ�lyÂ�wood music style was now well Â�grounded. Film stuÂ�dios Â�formed music deÂ�partÂ�ments, acÂ�cordÂ�ing to the Â�assembly-line logic that charÂ�acÂ�terÂ� ized the stuÂ�dio Â�system. A muÂ�siÂ�cal diÂ�recÂ�tor was in Â�charge of the enÂ�tire opÂ�erÂ�aÂ�tion, faÂ�cilÂ�ities, and Â�branches of the deÂ�partÂ�ment, which inÂ�cluded a muÂ�siÂ�cal Â�archive, a legal deÂ�partÂ�ment for Â�contracts and copyÂ�right clearÂ�ance, and a castÂ�ing ofÂ�fice to reÂ�cruit singÂ�ers and musiÂ�cians. There were also singÂ�ing staff and inÂ�struÂ�ment inÂ�strucÂ�tors, and a techÂ�niÂ�cal team in Â�charge of reÂ�cordÂ�ing, edÂ�itÂ�ing, mixÂ�ing, and dubÂ�bing. The arÂ�tisÂ�tic workÂ�force inÂ�cluded comÂ�posÂ�ers, orÂ�chesÂ�traÂ�tors, arÂ�rangÂ�ers, conÂ�ducÂ�tors, piano acÂ�comÂ�paÂ�nists, copyÂ�ists, proofÂ�readÂ�ers and an in-house Â� symÂ� phony orÂ�chesÂ�tra.24 The comÂ�posÂ�ers were payÂ�rolled; they were given a fixed Â�weekly salÂ�ary, Â�rather than being paid for each inÂ�diÂ�vidÂ�ual work, and they would not own the music they wrote, as it was the propÂ�erty of the stuÂ�dio that could use and reuse it withÂ�out the Â�author’s conÂ�sent. They had to do ofÂ�fice hours, often supÂ�pleÂ� mented by overÂ�time to meet the short deadÂ�lines. In 1939 Â�Steiner Â�worked on eight films, inÂ�cludÂ�ing the mamÂ�moth score for Gone with the Wind, which alone conÂ�tains three hours of music. Some of Â�Hollywood’s first genÂ�erÂ�aÂ�tion of comÂ� posÂ�ers in the years from 1933 to 1945 were Franz WaxÂ�man (1906–67), VicÂ�tor Young (1899–1956), DiÂ�miÂ�tri TiomÂ�kin (1894–1979), Hugo FriedÂ�hofer (1901–81), and AlÂ�fred NewÂ�man (1901–70), the powÂ�erÂ�ful and inÂ�fluenÂ�tial music diÂ�recÂ�tor of 20th CenÂ�tury Fox.25 The young craft of film music atÂ�tracted the susÂ�piÂ�cion and disÂ�dain of many art comÂ�posÂ�ers, but it also Â�aroused the interÂ�est of othÂ�ers. Among the preÂ�emÂ�iÂ�nent art comÂ�posÂ�ers who Â�worked in HolÂ�lyÂ�wood, we Â�should menÂ�tion Aaron CopÂ�land (1900–90), alÂ�though he was only spoÂ�radÂ�iÂ�cally inÂ�volved.26 HowÂ�ever, it is the MitÂ�teÂ�lÂ� euÂ�roÂ�pean art comÂ�poser KornÂ�gold (1897–1957) who gave the most funÂ�daÂ�menÂ�tal and lastÂ�ing conÂ�triÂ�buÂ�tion to the clasÂ�siÂ�cal style and deÂ�serves more space:27 KornÂ�gold arÂ�rived in HolÂ�lyÂ�wood in 1934 with a shinÂ�ing repÂ�uÂ�taÂ�tion. Â�Hailed as a secÂ�ond MoÂ�zart, he had Â�astounded the music world with his

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conÂ�cert works and his opÂ�eras. As a teenÂ�age comÂ�poser, piÂ�aÂ�nist and conÂ�ducÂ�tor he had the most promÂ�iÂ�nent comÂ�posÂ�ers of the day shakÂ�ing their heads in disÂ�beÂ�lief. RichÂ�ard Â�Strauss said: “This firmÂ�ness of style, this sovÂ�eÂ�reignty of form, this inÂ�diÂ�vidÂ�ual exÂ�presÂ�sion, this harÂ�monic strucÂ�ture—one shudÂ�ders with awe to reÂ�alÂ�ise these comÂ�poÂ�siÂ�tions were writÂ�ten by a boy.” When KornÂ�gold was ten, his Â�father took him to GusÂ�tav MahÂ�ler for a critÂ�iÂ�cal judgÂ�ment. The boy Â�played from memÂ�ory a draÂ�matic canÂ�tata as MahÂ�ler Â�walked up and down readÂ�ing the score, his pace quickÂ�enÂ�ing with growÂ�ing exÂ�citeÂ�ment. At the end he Â�looked at the Â�father and said, “A genÂ�ius,” and made sugÂ�gesÂ�tions for edÂ�uÂ�caÂ�tion. A few years later, with a pair of Â�one-act KornÂ�gold opÂ�eras playÂ�ing all over EuÂ�rope, PucÂ�cini reÂ�marked, “The boy has so much talÂ�ent he could easÂ�ily give us some and still have Â�enough left for himÂ�self.” That Â�Strauss, MahÂ�ler and PucÂ�cini Â�should feel this way about the music of Erich KornÂ�gold was not surÂ�prisÂ�ing beÂ�cause they were the three strongÂ�est inÂ�fluÂ�ences upon it. An analÂ�yÂ�sis of KornÂ�gold reÂ�veals a StrausÂ�sian orÂ�chesÂ� tral Â�colour, a MahÂ�lerÂ�ian feelÂ�ing, and the meÂ�lodic conÂ�cepts of PucÂ�cini, all of them someÂ�how Â�melded and domÂ�iÂ�nated by a Â�strong VienÂ�nese charÂ�acÂ�ter—plus Â�Korngold’s own perÂ�sonÂ�alÂ�ity.28

The Â�highly talÂ�ented KornÂ�gold Â�penned some of the best film Â�scores in hisÂ�tory, exÂ�amÂ�ples of how film music can be good music for films while also being good music per se: CapÂ�tain Blood; AnÂ�thony AdÂ�verse (MerÂ�vyn Le Roy, 1936); The Â�Prince and The PauÂ�per (William KeighÂ�ley, 1937); The AdÂ�venÂ�tures of Robin Hood; The Sea Hawk (MiÂ�chael CurÂ�tiz, 1940); and Kings Row (Sam Wood, 1942). Â�Korngold’s touch conÂ�sisted in treatÂ�ing the film score as an opera score. KornÂ�gold would see a film as a liÂ�bretto to be Â�scored and apÂ�plied to the film work the same enÂ�ergy, creaÂ�tivÂ�ity, and exÂ�perÂ�tise that he would deÂ�vote to his art music. The Sea Hawk score has a true opÂ�erÂ�atic presÂ�ence, esÂ�peÂ�cially in the seÂ�quence where CapÂ�tain Â�Thorpe and his men unÂ�chain themÂ�selves from the oars and take posÂ�sesÂ�sion of the galÂ�ley, singÂ�ing “Strike for the Â�Shores of Dover.” The amÂ�bush seÂ�quence in SherÂ�wood ForÂ�est in The AdÂ�venÂ�tures of Robin Hood is very much like a balÂ�let. KornÂ�gold was able to comÂ�pose Â�highly funcÂ�tional music withÂ�out necÂ�esÂ�sarÂ�ily folÂ�lowÂ�ing every turn of the acÂ�tion too Â�closely, which would give the music a fragÂ�menÂ�tary form—typÂ�iÂ�cal of Â�Steiner’s music, for exÂ�amÂ�ple. He Â�showed, more than anyÂ�one else, how to comÂ�pose Â�scores that sucÂ�cessÂ�fully Â�served the film while mainÂ�tainÂ�ing Â�full-bodied Â�phrases and a Â�proper overÂ�all muÂ�siÂ�cal soÂ�lidÂ�ity of form and deÂ�velÂ�opÂ�ment. In the 1930s, HolÂ�lyÂ�wood music took form and inÂ�stiÂ�tuÂ�tionÂ�alÂ�ized its pracÂ�tices, soon beÂ�comÂ�ing part of the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema parÂ�aÂ�digm and givÂ�ing a

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semiÂ�nal conÂ�triÂ�buÂ�tion to the forÂ�maÂ�tion of Â�Hollywood’s conÂ�venÂ�tional image: glamÂ�our, posÂ�iÂ�tive feelÂ�ings, and happy endÂ�ings. The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music: The SecÂ�ond GenÂ�erÂ�aÂ�tion In the 1940s the world sitÂ�uÂ�aÂ�tion Â�changed, and a seÂ�ries of Â�events afÂ�fected the film inÂ�dusÂ�try as well. First, there had been World War II and its horÂ�rors, but there was also the rapÂ�idly changÂ�ing soÂ�ciÂ�oculÂ�tuÂ�ral conÂ�text: the Cold War inÂ�stillÂ�ing susÂ�piÂ�cion and fear in Â�American soÂ�ciÂ�ety; the baby Â�boomer genÂ�erÂ�aÂ�tion reÂ�shapÂ�ing deÂ�mogÂ�raÂ�phy and urÂ�banÂ�izaÂ�tion; the growÂ�ing sucÂ�cess of teleÂ�viÂ�sion creatÂ�ing a new comÂ�petÂ�iÂ�tive enÂ�terÂ�tainÂ�ment medium. Films inÂ�creasÂ�ingly began to feaÂ�ture more conÂ�troÂ�verÂ�sial, negÂ�aÂ�tive, and even unÂ�pleasÂ�ant stoÂ�ries and charÂ�acÂ�ters. The risÂ�ing genre of those years, which would beÂ�come the symÂ�bol of the Â�decade, was the noir film, charÂ�acÂ�terÂ�ized by exÂ�isÂ�tenÂ�tial malÂ�aise, moral amÂ�biÂ�guÂ�ity, and a creepÂ�ing sense of disÂ�orÂ�ienÂ�taÂ�tion. The Â�low-key cinÂ�eÂ�maÂ�togÂ�raÂ�phy and menÂ�acÂ�ing shadÂ�ows inÂ�herÂ�ited from GerÂ�man ExÂ�presÂ�sionÂ�ism—used in the preÂ�viÂ�ous Â�decade for horÂ�ror films—now tresÂ�passed on conÂ�temÂ�poÂ�rary urban space. Its Â�high-contrast chiÂ�aÂ�rosÂ�curo, dark spots, and Â�slashes of viÂ�oÂ�lent light reÂ�placed the Â�well-balanced midÂ�dle tones of the Â�soft-focus, Â�high-key style preÂ�viÂ�ously used. DécÂ�oupÂ�age and seÂ�lecÂ�tive focus—signs of a narÂ�raÂ�tion that Â�guided the Â�viewer’s atÂ�tenÂ�tion and underÂ�standÂ�ing Â�around the Â�pro-filmic space and the Â�narrative’s cauÂ�sal chain— were reÂ�placed with Â�plan-séquence and Â�deep-focus cinÂ�eÂ�maÂ�togÂ�raÂ�phy, which made the Â�viewer’s exÂ�peÂ�riÂ�ence freer and more Â�self-directed but also the orÂ�phan of a reÂ�liÂ�able narÂ�raÂ�tional guide.29 This soÂ�cial unÂ�easiÂ�ness inÂ�fluÂ�enced film music too. The sympÂ�toms were a shift from the Â�late-nineteenth-century roÂ�manÂ�tic diÂ�alect to Â�twentieth-century modÂ�ernÂ�ism, with a deÂ�crease of conÂ�soÂ�nance, soothÂ�ing melÂ�oÂ�dies, and heÂ�roic fanÂ�fares givÂ�ing way to a rise of anÂ�guÂ�lar melÂ�oÂ�dies, unÂ�stable harÂ�moÂ�nies, and more gratÂ�ing disÂ�soÂ�nance. The main auÂ�thors emergÂ�ing durÂ�ing this peÂ�riod—the secÂ�ond genÂ�erÂ�aÂ�tion—introÂ�duced into film music some diÂ�alecÂ�tal Â�traits of the twenÂ�tiÂ�eth cenÂ�tury, and upÂ�dated the style of the preÂ�viÂ�ous Â�decade in outÂ�standÂ�ing films like CitÂ�iÂ�zen Kane (Orson Â�Welles, 1941); DouÂ�ble InÂ�demÂ�nity (Billy Â�Wilder, 1944); Laura (Otto PreÂ�minger, 1944); and The Lost Weekend (Billy Â�Wilder, 1946). The most inÂ�fluenÂ�tial comÂ�poser of this secÂ�ond genÂ�erÂ�aÂ�tion was BerÂ�nard HerrÂ�mann (1911–75). He made his film debut at the age of Â�twenty-nine with his groundÂ�breakÂ�ing score for CitÂ�iÂ�zen Kane. In Â�Welles’s film, muÂ�siÂ�cal ideas are Â�linked to conÂ�cepts or charÂ�acÂ�ters—XanÂ�adu, Death, the ChronÂ�iÂ�cle—but they can Â�hardly be deÂ�fined as Â�themes; they are Â�rather Â�shorter fragÂ�ments or moÂ�tifs and

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they lack the typÂ�iÂ�cal “humÂ�mable qualÂ�ity” of roÂ�manÂ�tic melÂ�oÂ�dies. The moÂ�tivic writÂ�ing is Â�Herrmann’s most promÂ�iÂ�nent tradeÂ�mark. Think of the Â�scores for North by NorthÂ�west (AlÂ�fred HitchÂ�cock, 1959) and Â�Psycho (AlÂ�fred HitchÂ�cock, 1960) to noÂ�tice how they are based on the repÂ�eÂ�tiÂ�tion and variÂ�aÂ�tion of brief reÂ�curÂ�ring and obÂ�sesÂ�sive moÂ�tifs. The faÂ�mous Â�Psycho preÂ�lude is built on the alÂ�terÂ�naÂ�tion of a Â�major-seventh chord (which Royal S. Brown calls the “HitchÂ�cock chord”30 ) with a Â�two-bar “hysÂ�terÂ�iÂ�cal” fragÂ�ment for viÂ�oÂ�lins and a Â�longer meÂ�lodic line that does not reÂ�solve to anyÂ�thing and has no final desÂ�tiÂ�naÂ�tion.31 EveryÂ�thing Â�sounds alÂ�most juxÂ�taÂ�posed, withÂ�out meÂ�lodic or harÂ�monic deÂ�velÂ�opÂ�ment, often floatÂ�ing in a tonal unÂ�cerÂ�tainty. In North by NorthÂ�west, the main motif of the film is not even a meÂ�lodic fragÂ�ment but just a rhythÂ�mic fanÂ�dango figÂ�ure, reÂ�prised in difÂ�ferÂ�ent orÂ�chesÂ�tral thickÂ�nesses and colÂ�ors. AnÂ�other charÂ�acÂ�terÂ�isÂ�tic of Â�Herrmann’s idiom is inÂ�deed his masÂ�tery in the use of exÂ�presÂ�sive and evocÂ�aÂ�tive orÂ�chesÂ�tral colÂ�ors. The rapid pace of film edÂ�itÂ�ing and the fast Â�shifts from one atÂ�mosÂ�phere and tone to anÂ�other make it difÂ�fiÂ�cult to use the traÂ�diÂ�tional harÂ�monic and meÂ�lodic deÂ�velÂ�opÂ� ment techÂ�niques, beÂ�cause they reÂ�quire a Â�longer time to unÂ�fold propÂ�erly. HerrÂ�mann then opted for “colorÂ�isÂ�tic deÂ�velÂ�opÂ�ment”: he reÂ�sponded to these fast cinÂ�eÂ�matic tranÂ�siÂ�tions by modÂ�ifyÂ�ing the orÂ�chesÂ�traÂ�tion in order to obÂ�tain fast music reÂ�acÂ�tions. BeÂ�cause of this apÂ�proach, Â�Herrmann’s music comes with an inÂ�noÂ�vaÂ�tive orÂ�chesÂ�tral color palÂ�ette. CitÂ�iÂ�zen Kane opens with unÂ�usuÂ�ally turÂ�bid bass writÂ�ing—basÂ�soons, contraÂ�basÂ�soons, bass clarÂ�iÂ�nets, alto flute, vibes—with no Â�clearly disÂ�tinÂ�guishÂ�able melÂ�ody but Â�rather a Â�slowly creepÂ�ing moveÂ�ment. AnÂ�other reÂ�curÂ�ring HerrÂ�mann trait is the use of clasÂ�siÂ�cal forms and Â�dances, more as rhythÂ�mic patÂ�terns than Â�full-bodied forms. Â�Besides the alÂ�ready menÂ�tioned fanÂ�dango, we can find a haÂ�banÂ�era—acÂ�tuÂ�ally, the rhythÂ�mic patÂ�tern of a haÂ�banÂ�era—as Â�Carlotta’s motif in VerÂ�tigo (AlÂ�fred HitchÂ�cock, 1958). The CitÂ�iÂ�zen Kane score is alÂ�most a suite of Â�dances and traÂ�diÂ�tional forms: “HornÂ�pipe Polka,” “Scherzo,” “Waltz,” “GalÂ�lop,” a kind of Grand Opéra aria speÂ�cifÂ�iÂ�cally comÂ�posed for the scene of Mrs. Â�Kane’s debut—“Salaambo’s Aria”—and a “Theme and VariÂ�aÂ�tions” as a sarÂ�casÂ�tic acÂ�comÂ�paÂ�niÂ�ment to the monÂ�tage where we see the gradÂ�ual deÂ�teÂ�riÂ�oraÂ�tion of the reÂ�laÂ�tionÂ�ship Â�between Kane and his first wife. AnÂ�other exÂ�amÂ�ple of a Â�suite-like score is The Three Â�Worlds of GulÂ�liver ( Jack Sher, 1960), which conÂ�tains an overÂ�ture, a miÂ�nuet, and sevÂ�eral Â�marches in the Â�eighteenth-century diÂ�alect, as well as a love theme that uses the modal diÂ�alect of old EnÂ�glish folkÂ�songs. Â�Miklós Rózsa (1907–95) was an art comÂ�poser with parÂ�allel caÂ�reers in film and conÂ�cert music.32 Born in HunÂ�gary, Rózsa was inÂ�fluÂ�enced by the popÂ�uÂ�lar forms of his land, gypsy and MagÂ�yar songs, much like his counÂ�tryÂ�man Béla Â�Bartók. His idiom is chroÂ�matic and charÂ�acÂ�terÂ�ized by a rhythÂ�mic inÂ�ciÂ�siveÂ�ness,

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metÂ�riÂ�cal irÂ�regÂ�uÂ�larÂ�ities, and disÂ�soÂ�nant harÂ�moÂ�nies. In HolÂ�lyÂ�wood, Â�Rózsa’s name beÂ�came asÂ�soÂ�ciated with two large Â�trends. In the 1940s, after DouÂ�ble InÂ�demÂ�nity, he Â�worked Â�mostly for films dealÂ�ing with crime, Â�self-destruction, and madÂ�ness: The Lost WeekÂ�end, SpellÂ�bound (AlÂ�fred HitchÂ�cock, 1945); The Â�Strange Love of MarÂ�tha Ivers (Lewis MileÂ�stone, 1946); The Red House (Daves Â�Dalmer, 1947); SeÂ�cret BeÂ�yond the Door (Fritz Lang, 1948); and The AsÂ�phalt JunÂ�gle ( John HuÂ�ston, 1950). Â�Rózsa’s disÂ�soÂ�nant, harsh music was ideal for the new probÂ�leÂ�matic topÂ�ics of postÂ�war cinÂ�ema. He was the first comÂ�poser to use the thereÂ�min in HolÂ�lyÂ�wood; this Â�electro-acoustic inÂ�struÂ�ment was the anÂ�cesÂ�tor, along with the Ondes MarteÂ�not, of modÂ�ern syntheÂ�sizÂ�ers.33 Its etheÂ�real, tremÂ�bling, and eerie sound was exÂ�tremely efÂ�fecÂ�tive in conÂ�veyÂ�ing the Â�characters’ menÂ�tal disÂ�orÂ�ienÂ�taÂ�tion and moral disÂ�orÂ�der. In the folÂ�lowÂ�ing Â�decade, Rózsa Â�changed hats and beÂ�came the unÂ�disÂ�puted masÂ�ter of Â�biblical-historical coÂ�losÂ�sals like Quo Vadis (MerÂ�vyn Le Roy, 1950); IvanÂ�hoe (RichÂ�ard Â�Thorpe, 1952); PlyÂ�mouth AdÂ�venÂ�ture (ClarÂ�ence Brown, 1952); JuÂ�lius CaeÂ�sar ( JoÂ�seph L. ManÂ�kieÂ�wicz, 1952); Â�Knights of the Round Table (RichÂ�ard Â�Thorpe, 1953); Â�Ben-Hur (William Wyler, 1959); King of Kings (NichÂ�oÂ�las Ray, 1961); El Cid (AnÂ�thony Mann, 1961); and Sodom and GoÂ�morÂ�rah (RobÂ�ert AlÂ�drich, 1962). In prepÂ�arÂ�aÂ�tion for these films, Rózsa would reÂ�search the music of the peÂ�riod in order to reach a sort of philÂ�oÂ�logÂ�iÂ�cal acÂ�cuÂ�rateÂ�ness, emÂ�ployÂ�ing arÂ�chaic modal harÂ�moÂ�nies and Â�ancient-sounding inÂ�struÂ�menÂ�taÂ�tion. David RakÂ�sin (1912–2004), after years of hard work at 20th CenÂ�tury Fox, won visÂ�ibilÂ�ity in 1944 with his score for Laura, whose unÂ�forÂ�getÂ�table theme soon Â�turned into a sucÂ�cessÂ�ful popÂ�uÂ�lar song. This melÂ�ody is interÂ�estÂ�ing not just for the harÂ�monic comÂ�plexÂ�ity when comÂ�pared with coÂ�eval songs but also beÂ�cause it is the only theme Â�present in the film. InÂ�deed, this is one of the earÂ�liÂ�est exÂ�amÂ�ples of a “monoÂ�theÂ�matic” score. In Â�Preminger’s film, everyÂ�body is obÂ�sessed or in love with Laura, a “ghost-woman” whose hauntÂ�ing presÂ�ence is aptly repÂ�reÂ�sented by this obÂ�sesÂ�sive melÂ�ody. “Laura’s Theme” is everyÂ�where and apÂ�pears throughÂ�out the film alÂ�terÂ�nately shiftÂ�ing from the dieÂ�getic level to the Â�non-diegetic, floatÂ�ing Â�through the “walls” of the varÂ�iÂ�ous narÂ�raÂ�tive levÂ�els, just like a ghost would do. The theme beÂ�comes Â�Laura’s muÂ�siÂ�cal subÂ�stiÂ�tute. The dead woman canÂ�not be seen, but her presÂ�ence Â�floats conÂ�stantly in the air as her music theme does. Â�Raksin’s idiom is reÂ�fined and harÂ�monÂ�iÂ�cally soÂ�phisÂ�tiÂ�cated; his writÂ�ing is more comÂ�plex than the HolÂ�lyÂ�wood stanÂ�dards, with a penÂ�chant for the variÂ�aÂ�tion and deÂ�velÂ�opÂ�ment of the muÂ�siÂ�cal maÂ�teÂ�rial. MoreÂ�over, the Laura music track conÂ�tains an ocÂ�curÂ�rence of elecÂ�tronÂ�ically disÂ�torted piano—a rare inÂ�stance in the clasÂ�siÂ�cal peÂ�riod—to deÂ�pict the male proÂ�tagÂ�oÂ�nist disÂ�turbÂ�ingly fallÂ�ing in love with the late Laura.34

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StyÂ�lisÂ�tic Â�Changes and the End of an Era In the 1950s, HolÂ�lyÂ�wood enÂ�tered a peÂ�riod of criÂ�sis. In order to difÂ�ferÂ�enÂ�tiate their prodÂ�ucts from those of teleÂ�viÂ�sion, film comÂ�paÂ�nies reÂ�sorted inÂ�sisÂ�tently to techÂ�noÂ�logÂ�iÂ�cal inÂ�noÂ�vaÂ�tions with great specÂ�tacÂ�uÂ�lar imÂ�pact. The idea was to lure moÂ�vieÂ�goers into theÂ�aÂ�ters with the promÂ�ise of big shows that could not be seen, or propÂ�erly apÂ�preÂ�ciated, on the small Â�screen of the TV sets. Such gimÂ�micks conÂ�sisted of varÂ�iÂ�ous types of Â�wide-screen forÂ�mat (CinÂ�eÂ�rama, CinÂ�eÂ�maÂ�scope, Â�Todd-AO, VisÂ�taÂ�viÂ�sion);35 stereoÂ�phonic sound (with the introÂ�ducÂ�tion of the magÂ�netic sound reÂ�cordÂ�ing);36 color cinÂ�eÂ�maÂ�togÂ�raÂ�phy (the swan song of the triÂ�pack TechÂ�niÂ�color proÂ�cess beÂ�fore being overÂ�powÂ�ered by EastÂ�manÂ�Color in the folÂ�lowÂ�ing Â�decade);37 and Â�short-lived techÂ�niÂ�cal cuÂ�riÂ�osÂ�ities: 3D, as in Dial M for MurÂ�der (AlÂ�fred HitchÂ�cock, 1954), or the biÂ�zarre “PerÂ�cepto.”38 This parÂ�ticÂ�uÂ�lar gadÂ�get—a sign of how HolÂ�lyÂ�wood proÂ�ducÂ�ers were badly in need of bringÂ�ing peoÂ�ple back to theÂ�aÂ�ters—conÂ�sisted of electriÂ�cal buzzÂ�ers atÂ�tached to the underÂ� side of the seats that would viÂ�brate to inÂ�crease the starÂ�tle of the auÂ�diÂ�ence durÂ�ing a sudÂ�den horÂ�ror shot.39 PerÂ�cepto was used, for exÂ�amÂ�ple, in The TinÂ�gler (William CasÂ�tle, 1959). In this kind of film, music would not deÂ�viÂ�ate sigÂ�nifÂ�iÂ�cantly from the diÂ�alect of the preÂ�viÂ�ous Â�decade. A genre that took on great imÂ�porÂ�tance in this peÂ�riod was the muÂ�siÂ�cal, conÂ�sisÂ�tent with Â�Hollywood’s conÂ�cenÂ�traÂ�tion on specÂ�tacÂ�uÂ�lar films. For its rich music, charmÂ�ing songs, lush set deÂ�sign, and specÂ�tacÂ�uÂ�lar Â�pieces of choreogÂ�raÂ�phy, the muÂ�siÂ�cal beÂ�came one of the Â�decade’s most popÂ�uÂ�lar genÂ�res, esÂ�peÂ�cially in the “ArÂ�thur Freed Unit” outÂ�put at MGM, from An Â�American in Paris (VinÂ�cente MinÂ�nelli, 1951); Â�Singin’ in the Rain (StanÂ�ley Donen, Gene Kelly, 1952); Seven Â�Brides for Seven BrothÂ�ers (StanÂ�ley Donen, 1956); to Gigi (VinÂ�cente MinÂ�nelli, 1958). In muÂ�siÂ�cals, songs were foreÂ�grounded and preÂ�sented in muÂ�siÂ�cal numÂ�bers at dieÂ�getic level, while film music sensu Â�stricto—backÂ�ground Â�non-diegetic music—had a secÂ�onÂ�dary role. NoneÂ�theÂ�less, we Â�should menÂ�tion some arÂ�rangÂ�ers and orÂ�chesÂ�traÂ� tors workÂ�ing in muÂ�siÂ�cal films whose conÂ�triÂ�buÂ�tions have left an inÂ�delÂ�ible mark: ConÂ�rad SalÂ�inÂ�ger, Saul ChaÂ�plin, Â�Adolph Â�Deutsch, AlÂ�exÂ�anÂ�der “Sandy” CouÂ�rage, and Â�Johnny Green, music diÂ�recÂ�tor at MGM in that Â�decade. The main muÂ�siÂ�cal inÂ�noÂ�vaÂ�tions of the 1950s can be found in the least specÂ�tacÂ�uÂ�lar films, that is, in reÂ�alisÂ�tic draÂ�mas dealÂ�ing with conÂ�temÂ�poÂ�rary life. Such inÂ�noÂ�vaÂ�tions, which were not just inÂ�corÂ�poÂ�raÂ�tions of other diÂ�alects but had Â�started to afÂ�fect the overÂ�all style and were thus the first signs of the forthÂ�comÂ�ing “modÂ�ern style” of the 1960s, were the introÂ�ducÂ�tion of jazz, atoÂ�nalÂ�ity, and even Â�twelve-tone music.

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Jazz, in its varÂ�iÂ�ous forms and subÂ�classes, had been used up to this time as dieÂ�getic music, to give a negÂ�aÂ�tive conÂ�noÂ�taÂ�tion to crimÂ�iÂ�nal charÂ�acÂ�ters or disÂ� repÂ�uÂ�taÂ�ble clubs. For exÂ�amÂ�ple, think of the “Drum BooÂ�gie” muÂ�siÂ�cal numÂ�ber sung and Â�danced by BarÂ�bara StanÂ�wyck, the Â�gangster’s moll, in Ball of Fire (HoÂ�ward Hawks, 1941), or “dirty” jazz to charÂ�acÂ�terÂ�ize the vice and imÂ�moÂ�ralÂ�ity of the slimy jazz drumÂ�mer Â�played by EliÂ�sha Cook Jr. in PhanÂ�tom Lady (RobÂ�ert SiodÂ�mak, 1944). Jazz was also asÂ�soÂ�ciated with Â�African Â�Americans as a race conÂ�noÂ�taÂ�tion as in King of Jazz ( John MurÂ�ray AnÂ�derÂ�son, 1930); HellÂ�zaÂ�popÂ�pin (Henry C. PotÂ�ter, 1941); Cabin in the Sky (VinÂ�cente MinÂ�nelli, 1943); and High SoÂ�ciÂ�ety (Charles WalÂ�ters, 1956). In some 1950s films, jazz was used for the first time even at the Â�non-diegetic level, losÂ�ing the raÂ�cial conÂ�noÂ�taÂ�tion but someÂ�times keepÂ�ing the crimÂ�iÂ�nal one. Alex North (1910–91) apÂ�plied the jazz diÂ�alect to a symÂ�phonic score in A StreetÂ�car Named DeÂ�sire (Elia Kazan, 1951). Â�North’s carÂ�nal music is the perÂ�fect aural comÂ�pleÂ�ment of New Â�Orleans’s torÂ�rid setÂ�ting where the sorÂ�did story of Â�Blanche, Â�Stella, and StanÂ�ley takes place.40 LeÂ�oÂ�nard RoÂ�senÂ�man (1924–2008) Â�ushered in the Â�twelve-tone diÂ�alect in HolÂ�lyÂ�wood in The CobÂ�web (VinÂ�cente MinÂ�nelli, 1955). This Â�choice, howÂ�ever, can Â�hardly be seen as the adÂ�vent of the “new music” in cinÂ�ema—reÂ�placÂ�ing the old Â�late-romantic music—as adÂ�voÂ�cated by Theodor W. Â�Adorno and Hanns EisÂ�ler in ComÂ�posÂ�ing for the Films.41 Â�Rather, the Â�twelve-tone diÂ�alect enÂ�tered the clasÂ�siÂ� cal style beÂ�cause it was apÂ�proÂ�priÂ�ate for narÂ�raÂ�tive reaÂ�sons. The CobÂ�web is set in a psychiÂ�atÂ�ric hosÂ�piÂ�tal, and Â�twelve-tone music was the muÂ�siÂ�cal equivÂ�aÂ�lent of madÂ� ness as opÂ�posed to tonal music, which in turn corÂ�reÂ�sponded to norÂ�malÂ�ity, in the HolÂ�lyÂ�wood frameÂ�work. SimÂ�iÂ�larly, Rózsa wrote the only Â�twelve-tone piece of music of his enÂ�tire caÂ�reer for Â�Satan’s apÂ�pearÂ�ance in King of Kings; it was “perÂ� verse” music for a perÂ�verse creaÂ�ture, and this Â�seemed to be the equaÂ�tion in HolÂ�lyÂ�wood.42 The use of jazz in A StreetÂ�car Named DeÂ�sire and Â�twelve-tone music in The CobÂ�web was not a Â�straight revÂ�oÂ�luÂ�tion but Â�merely the acÂ�quiÂ�siÂ�tion of new diÂ�alecÂ�tal tools and their inÂ�teÂ�graÂ�tion into the parÂ�aÂ�digm, in order to betÂ�ter reÂ�spond to new exÂ�presÂ�sive needs. Elmer BernÂ�stein (1922–2004) Â�brought in a more subÂ�stanÂ�tial inÂ�noÂ�vaÂ�tion. With the music for The Man with the Â�Golden Arm (Otto PreÂ�minger, 1955), he did not just adopt the jazz diÂ�alect as North had done but also reÂ�corded the score with the drumÂ�mer Â�Shelly Manne and a jazz combo, inÂ�stead of the traÂ�diÂ�tional symÂ�phony orÂ�chesÂ�tra. This Â�choice preÂ�figÂ�ured the modÂ�ern style of the next Â�decade and put the score outÂ�side the clasÂ�siÂ�cal style. As to negÂ�aÂ�tive conÂ�noÂ�taÂ�tions, the usual asÂ�soÂ�ciÂ�aÂ�tion of jazz with the crimÂ�iÂ�nal underÂ�world, for exÂ�amÂ�ple in The Man with the Â�Golden Arm, a story about drug adÂ�dicÂ�tion, is abanÂ�doned in AnatÂ�omy of a MurÂ�der (Otto PreÂ�minger, 1959), whose

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music was comÂ�posed by Duke EllÂ�ingÂ�ton, also apÂ�pearÂ�ing in a cameo role. Here, jazz music is fiÂ�nally no Â�longer asÂ�soÂ�ciated necÂ�esÂ�sarÂ�ily with outÂ�laws but with a lawÂ�yer—Paul BiÂ�egler, Â�played by James StewÂ�art—an amÂ�aÂ�teur piÂ�aÂ�nist who loves that music. As for other genÂ�res, the Â�change of diÂ�alect in the music for WestÂ�erns must be menÂ�tioned. This type of music used to be based on folk inÂ�flecÂ�tions and Â�quotes conÂ�tained in the othÂ�erÂ�wise clasÂ�siÂ�cal HolÂ�lyÂ�wood Â�late-romantic symÂ�phonic diÂ�alect. At most, the diÂ�alect was colÂ�ored with some threatÂ�enÂ�ing modal topÂ�ics conÂ�venÂ�tionÂ� ally used as “InÂ�dian music”—as in Max Â�Steiner’s score for The SearchÂ�ers ( John Ford, 1956).43 ExÂ�amÂ�ples of folk inÂ�fluÂ�ences are the balÂ�lad “Do Not ForÂ�sake Me, Oh My DarÂ�ling” writÂ�ten by TiomÂ�kin and Ned WashÂ�ingÂ�ton for High Noon, or the Â�degüello, a slow MexÂ�iÂ�can figÂ�uraÂ�tion for trumÂ�pet anÂ�nouncÂ�ing the imÂ�miÂ�nent batÂ�tle, which is heard beÂ�fore the arÂ�riÂ�val of Â�Burdette’s gang in Rio Bravo (HoÂ�ward Hawks, 1959) and is also used in The Alamo ( John Wayne, 1960). DiÂ�miÂ�tri TiomÂ�kin, a RusÂ�sian naÂ�tive inÂ�fluÂ�enced by RachÂ�manÂ�iÂ�nov, beÂ�came the most imÂ�porÂ�tant comÂ�poser of WestÂ�ern genre music in clasÂ�siÂ�cal HolÂ�lyÂ�wood. Â�Between this “RusÂ� sian” peÂ�riod and Ennio Â�Morricone’s revÂ�oÂ�luÂ�tionÂ�ary apÂ�proach—which overÂ� threw all the WestÂ�ern stereoÂ�types by bringÂ�ing in eleÂ�ments of rock, arÂ�chaic modÂ�alÂ�ism, and onÂ�oÂ�matÂ�oÂ�poeic Â�sounds beÂ�fore beÂ�comÂ�ing itÂ�self a stereoÂ�type—a diÂ�alecÂ�tal inÂ�noÂ�vaÂ�tion took place in HolÂ�lyÂ�wood. JeÂ�rome MoÂ�ross (1913–83), an art comÂ�poser of balÂ�lets, symÂ�phonic, and chamÂ�ber music, and Aaron Â�Copland’s colÂ�labÂ�oÂ�raÂ�tor, Â�brought Â�Copland’s Â�twentieth-century idiom—a kind of panÂ�diÂ�aÂ�tonic neoÂ�clasÂ�siÂ�cism that reÂ�trieves the oldÂ�est Â�American muÂ�siÂ�cal herÂ�iÂ�tage and its modal harÂ�mony—into the WestÂ�ern genre. This way, MoÂ�ross proÂ�posed a tonal diÂ�alect that was auÂ�thenÂ�tiÂ�cally Â�American and far from both the turÂ�gid old Â�lateromanticism and from the “perÂ�verse” Â�twelve-tone music. With Â�Moross’s The Big CounÂ�try (William Wyler, 1958) the Â�American genre par exÂ�celÂ�lence Â�found a conÂ�genÂ�ial, truly Â�American music. The modal harÂ�monÂ�izaÂ�tion, penÂ�taÂ�tonic melÂ�oÂ�dies, synÂ�coÂ�pated Â�rhythms, and Â�bright orÂ�chesÂ�tral sound of The Big CounÂ�try was and still is a model, disÂ�tinÂ�guishÂ�ing the Â�tradition-oriented WestÂ�erns—The MagÂ�nifÂ�iÂ�cent Seven ( John Â�Sturges, 1960, music by Elmer BernÂ�stein); The CowÂ�boys (Mark RyÂ�dell, 1972, music by John Â�Williams); and SilÂ�veÂ�rado (LawÂ�rence KasÂ�dan, 1985, music by Bruce BroughÂ�ton)—from reÂ�viÂ�sionÂ�ist or postÂ�clasÂ�siÂ�cal WestÂ�erns like The Wild Bunch (Sam PeckÂ�inÂ�pah, 1969, music by Jerry FieldÂ�ing), whose model is MorÂ�riÂ�cone. The stuÂ�dio Â�system, which had been sufÂ�ferÂ�ing an inÂ�come criÂ�sis since the 1950s, fell apart in the 1960s. Film comÂ�paÂ�nies were being acÂ�quired by big corÂ�poÂ�raÂ�tions for which film proÂ�ducÂ�tion was just one of the many interÂ�ests and busiÂ�ness lines. HolÂ�lyÂ�wood stuÂ�dios had to reÂ�duce in size; RKO no Â�longer exÂ�isted, havÂ�ing alÂ�ready

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been wound up in 1956, and many stuÂ�dios Â�turned to what can be Â�called surÂ�viÂ�val stratÂ�eÂ�gies, if comÂ�pared to the exÂ�uÂ�berÂ�ant exÂ�panÂ�sion stratÂ�eÂ�gies of the Â�Golden Age. The last efÂ�forts to bring the Â�masses back into film theÂ�aÂ�ters, in parÂ�ticÂ�uÂ�lar the techÂ�noÂ�logÂ�iÂ�cal gimÂ�mickry and specÂ�tacÂ�uÂ�lar coÂ�losÂ�sals and muÂ�siÂ�cals of the 1950s, did not proÂ�duce the deÂ�sired efÂ�fects. HolÂ�lyÂ�wood was no Â�longer the “dream facÂ�tory,” beÂ�cause of a numÂ�ber of facÂ�tors, the most notÂ�able of which was the Â�spread of teleÂ�viÂ�sion.44 The criÂ�sis also afÂ�fected the music deÂ�partÂ�ments, which were seÂ�verely reÂ�duced or Â�closed down altoÂ�gether. In 1958 a Â�strike by the Â�American FedÂ�erÂ�aÂ�tion of MusiÂ�cians (AFM), aimÂ�ing at reÂ�negoÂ�tiatÂ�ing the Â�contracts Â�between the musiÂ�cians and the film inÂ�dusÂ�try, parÂ�aÂ�lyzed Â�Hollywood’s music. The score for VerÂ�tigo was reÂ�corded in LonÂ�don, not conÂ�ducted by HerrÂ�mann but by local speÂ�cialÂ�ist Muir MaÂ�thieÂ�son.45 EvenÂ�tuÂ�ally, the new Â�contract was not Â�signed with AFM but with a new union, the MusiÂ�cians Guild of AmerÂ�ica (MGA). “Under the old pact with the AFM, the major stuÂ�dios had no Â�choice but to hire ‘contract orÂ�chesÂ�tras.’ .€.€. The new agreeÂ�ment with the MGA proÂ�vided musiÂ�cians with higher Â� pay, but the pay was now deÂ�terÂ�mined by ‘varÂ�iÂ�able wage rates acÂ�cordÂ�ing to the numÂ�ber of musiÂ�cians Â�called for every three-hour Â� reÂ�cordÂ�ing sesÂ�sion. .€.€. CerÂ�tain musiÂ�cians inÂ�deed stood to gain conÂ�sidÂ�erÂ�ably from the MGA agreeÂ�ment. But the stuÂ�dios Â�gained as well, for they no Â�longer had to enÂ�gage—or at least, pay for, Â�whether they used it or not—a full orÂ�chesÂ�tra for every reÂ�cordÂ�ing sesÂ�sion.’”46 As Hugo FriedÂ�hofer reÂ�calls, “All of the big stuÂ�dios had big orÂ�chesÂ�tras under Â�contract. And they had to utiÂ�lize them. So the comÂ�poser was Â�forced to write more exÂ�panÂ�sively and exÂ�tenÂ�sively than he might have liked.”47 From a styÂ�lisÂ�tic point of view, this contracÂ�tual reÂ�negoÂ�tiÂ�aÂ�tion Â�caused the proÂ�gresÂ�sive disÂ�cardÂ�ing of the symÂ�phony orÂ�chesÂ�tra as the preÂ�ferred muÂ�siÂ�cal means for film music. Â�Smaller, less Â�costly inÂ�struÂ�menÂ�tal enÂ�semÂ�bles, which were Â�closer to the muÂ�siÂ�cal Â�tastes of the moÂ�ment and inÂ�deed more Â�trendy, won favor with film proÂ�ducÂ�ers, a tenÂ�dency anÂ�ticÂ�iÂ�pated by BernÂ�stein with The Man with the Â�Golden Arm. The comÂ�poser who Â�guided HolÂ�lyÂ�wood music from the clasÂ�siÂ�cal to the modÂ�ern style was Henry ManÂ�cini, who can be conÂ�sidÂ�ered one of the leadÂ�ing repÂ�reÂ�senÂ�taÂ�tives of the new style. HavÂ�ing grown up proÂ�fesÂ�sionÂ�ally in the music deÂ�partÂ�ment of UniÂ�verÂ�sal PicÂ�tures, ManÂ�cini was perÂ�haps the first perÂ�son to perÂ�ceive the new tide and to conÂ�tribÂ�ute to this Â�change with his own work. He was very Â�clever in inÂ�teÂ�gratÂ�ing in his Â�scores comÂ�merÂ�cially sucÂ�cessÂ�ful songs like “Moon River” (lyrÂ�ics by Â�Johnny MerÂ�cer) in BreakÂ�fast at Â�Tiffany’s (Blake EdÂ�ward, 1961), balÂ�ancÂ�ing the forÂ�mal funcÂ�tions of the clasÂ�siÂ�cal style with the Â�trendy comÂ�merÂ�cial apÂ�peal that music was supÂ�posed to have now.

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As the clasÂ�siÂ�cal style began to Â�emerge beÂ�fore 1933 and Â�reached its maÂ�turÂ�ity later in 1935, simÂ�iÂ�larly Â�classical-style film music can still be heard after 1958, in films like How the West Was Won ( John Ford et al., 1962, music by AlÂ�fred NewÂ�man); LawÂ�rence of AraÂ�bia (David Lean, 1962, music by MauÂ�rice Jarre); and Ben-Hur (William Wyler, 1959, music by Â�Miklós Rózsa). Â�Classical-style film music beÂ�came deÂ�finÂ�iÂ�tively obÂ�soÂ�lete only in the mid-1960s. HowÂ�ever, 1958 was the year that Â�marked the ofÂ�fiÂ�cial supÂ�presÂ�sion of the stanÂ�dard stuÂ�dio orÂ�chesÂ�tras, and that date seems to be the most apÂ�proÂ�priÂ�ate to mark the end of film Â�music’s clasÂ�siÂ�cal style, which for the past Â�twenty-five years had been Â�strongly asÂ�soÂ�ciated with those very orÂ�chesÂ�tras.

2 “The ClasÂ�siÂ�c al HolÂ�lyÂ�wood Mu sic” A S tyÂ�l is Â�tic DefÂ�iÂ�n iÂ�t i o n

W

hat exÂ�actly is the “ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music”? How can we disÂ�tinÂ� guish a clasÂ�siÂ�cal HolÂ�lyÂ�wood score from, say, a coÂ�eval ItalÂ�ian score? To anÂ�swer the first quesÂ�tion, we have to deÂ�tect the typÂ�iÂ�cal charÂ�acÂ�terÂ�isÂ�tics that deÂ�fine the “ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music.” In short, we have to deÂ�fine its style. To give a defÂ�iÂ�niÂ�tion as arÂ�ticÂ�uÂ�late as posÂ�sible, Â�film-music style Â�should be subÂ�diÂ�vided into four areas: lanÂ�guage, techÂ�niques, muÂ�siÂ�cal means, and typÂ�iÂ�cal forÂ�mal funcÂ�tions. LanÂ�guage In chapÂ�ter 1 we saw the linÂ�guisÂ�tic Â�changes of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music throughÂ�out its hisÂ�tory. Â�Besides inÂ�fluÂ�ences, upÂ�dates, and the Â�composers’ idioÂ�matic difÂ�ferÂ�ences, HolÂ�lyÂ�wood music lanÂ�guage is baÂ�siÂ�cally tonal and roÂ�manÂ�tic. In parÂ�ticÂ�uÂ� lar, the model is the Â�late-romantic art music bridgÂ�ing the nineÂ�teenth and the twenÂ�tiÂ�eth cenÂ�tuÂ�ries, the most promÂ�iÂ�nent names being RichÂ�ard WagÂ�ner, RichÂ�ard Â�Strauss, GusÂ�tav MahÂ�ler, GiaÂ�como PucÂ�cini, Pyotr TchaiÂ�kovÂ�sky, and SerÂ�gei RachÂ�manÂ�iÂ�nov. LinÂ�guisÂ�tiÂ�cally, in the 1930s, HolÂ�lyÂ�wood music was alÂ�ready old— drawÂ�ing from a diÂ�alect that was alÂ�ready conÂ�sidÂ�ered outÂ�dated and “conÂ�serÂ�vaÂ�tive.” The Â�avant-garde Â�twentieth-century music—atoÂ�nalÂ�ity, polyÂ�toÂ�nalÂ�ity, Â�twelve-tone

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music, and the like—was at first comÂ�pletely igÂ�nored and then inÂ�teÂ�grated only parÂ�tially and Â�mostly for speÂ�cific narÂ�raÂ�tive reaÂ�sons. Why did HolÂ�lyÂ�wood Â�choose an Â�old-fashioned diÂ�alect, Â�rather than a conÂ� temÂ�poÂ�rary one? T. W. Â�Adorno and Hanns EisÂ�ler adÂ�voÂ�cated the use of a Â�twentiethcentury modÂ�ernÂ�ist diÂ�alect beÂ�cause, as they exÂ�plained, it was more flexÂ�ible and reÂ�sponded betÂ�ter to the speed and fragÂ�menÂ�taÂ�tion of film edÂ�itÂ�ing comÂ�pared to the long melÂ�oÂ�dies of the roÂ�manÂ�tic tonal diÂ�alect.1 AlÂ�though that might be true, there were sevÂ�eral reaÂ�sons for optÂ�ing for an outÂ�moded diÂ�alect, some of which can be easÂ�ily Â�guessed. For exÂ�amÂ�ple, the proÂ�ducÂ�ers, those who paid for the music, were noÂ�toÂ�riÂ�ously unÂ�culÂ�tured muÂ�siÂ�cally—and not only muÂ�siÂ�cally. TesÂ�tiÂ�moÂ�nies on this point Â�abound: “A moÂ�tion picÂ�ture proÂ�ducer is a man who knows everyÂ�thing there is to know about everyÂ�thing—exÂ�cept music.”2 ConÂ�seÂ�quently, they preÂ�ferred the diÂ�alect with which they were faÂ�milÂ�iar, Â�namely the acÂ�cessÂ�ible roÂ�manÂ�tic tonal diÂ�alect as popÂ�uÂ�larÂ�ized by muÂ�siÂ�cal theÂ�aÂ�ter and popÂ�uÂ�lar songs. For the same reaÂ�son, it is easy to see how prodÂ�ucts like HolÂ�lyÂ�wood films—aimÂ�ing at reachÂ�ing as wide an auÂ�diÂ�ence as posÂ�sible—obÂ�viÂ�ously Â�tended to use Â�well-known “easy” forÂ�muÂ�las, faÂ�milÂ�iar to the vast maÂ�jorÂ�ity of viewÂ�ers. InÂ�stincÂ�tively, those who were in Â�charge of film proÂ�ducÂ�tion used themÂ�selves and their own Â�tastes as a model of the avÂ�erÂ�age Â�viewer. Even more, the conÂ�serÂ�vaÂ�tism of the HolÂ�lyÂ�wood music deÂ�partÂ�ments Â�relied on the very muÂ�siÂ�cal edÂ�uÂ�caÂ�tion of the foundÂ�ing Â�fathers of the craft, as ChrisÂ�toÂ�pher Â�Palmer exÂ�plains: [ T ]he main Â�conservatory-bred comÂ�posÂ�ers like Â�Miklós Rózsa, Erich WolfÂ�gang KornÂ�gold and BerÂ�nard HerrÂ�mann were the exÂ�cepÂ�tion Â�rather than the rule: muÂ�siÂ�cal theaÂ�tre was the craÂ�dle of HolÂ�lyÂ�wood music, and the muÂ�siÂ�cal idiom of the theaÂ�tre has alÂ�ways been conÂ�serÂ�vaÂ�tive. Hence the fact that in Â�Hollywood’s forÂ�maÂ�tive years there grew up a Â�deeplyentrenched conÂ�serÂ�vaÂ�tism which jealÂ�ously Â�guarded its preÂ�rogÂ�aÂ�tives and was quick to supÂ�press any “proÂ�gresÂ�sive” or “modÂ�ernÂ�isÂ�tic” tenÂ�denÂ�cies among junÂ�iors or novÂ�ices. .€.€. This muÂ�siÂ�cal isoÂ�laÂ�tionÂ�ism was Â�wholly typÂ�iÂ�cal: the “real” world would have deÂ�cried the music of KornÂ�gold, NewÂ�man and Â�Steiner as anachÂ�ronÂ�isÂ�tic and reÂ�fused it a place, Â�whereas the “fantasy-world” of HolÂ�lyÂ�wood not only Â�wanted it but enÂ�courÂ�aged its proÂ�creaÂ�tion in vast quanÂ�tities. “RoÂ�manÂ�tic” music, music of roÂ�mance, of fanÂ�tasy, dream, ilÂ�luÂ�sion: what more logÂ�iÂ�cal than that it Â�should find a final refÂ�uge in the real Â�world’s Â�dream-factory?3

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This quoÂ�taÂ�tion sugÂ�gests two adÂ�diÂ�tional exÂ�plaÂ�naÂ�tions for the Â�choice of roÂ� manÂ�tic diÂ�alect: (1) the adopÂ�tion of Â�well-tested tools of Â�nineteenth-century music theÂ�aÂ�ter—the leitÂ�moÂ�tiv being the most promÂ�iÂ�nent—and (2) the “ilÂ�luÂ�sionÂ�isÂ�tic” comÂ�plicÂ�ity that music was exÂ�pected to have in the HolÂ�lyÂ�wood “dream-factory.” This ilÂ�luÂ�sionÂ�isÂ�tic comÂ�plicÂ�ity is what we call “macro-emotive funcÂ�tion.” Music helps viewÂ�ers enter the Â�film’s “posÂ�sible world” and faÂ�cilÂ�iÂ�tates the “susÂ�penÂ�sion of disÂ�beÂ�lief ” necÂ�esÂ�sary to acÂ�cept the narÂ�raÂ�tive conÂ�venÂ�tions. AnÂ�other exÂ�plaÂ�naÂ�tion of why the clasÂ�siÂ�cal HolÂ�lyÂ�wood music faÂ�vored the roÂ�manÂ�tic diÂ�alect has been given in terms of ideolÂ�ogy and psychoÂ�analÂ�yÂ�sis. Caryl Flinn exÂ�plains Â�Hollywood’s adopÂ�tion of the roÂ�manÂ�tic diÂ�alect music on the Â�grounds of an asÂ�serted utoÂ�pian and nosÂ�talÂ�gic naÂ�ture of roÂ�manÂ�tic music.4 This “out-dated” music has a soothÂ�ing efÂ�fect on lisÂ�tenÂ�ers since it Â�evokes a “roÂ�manÂ�tic” past, hapÂ�pier times in which peoÂ�ple (supÂ�posÂ�edly) lived a simÂ�pler life in more coÂ�heÂ�sive comÂ�muÂ�nities, as opÂ�posed to the fragÂ�menÂ�taÂ�tion, inÂ�diÂ�vidÂ�uÂ�alÂ�ism, and comÂ�plexÂ�ity of conÂ�temÂ�poÂ�rary soÂ�ciÂ�ety.5 On the other hand, Flinn also exÂ�plains the nosÂ�talÂ�gia efÂ�fect in psychoÂ�anÂ�aÂ�lytic terms. The humÂ�mable naÂ�ture of roÂ�manÂ�tic music with which film viewÂ�ers are Â�flooded alÂ�legÂ�edly makes it posÂ�sible for them to reÂ�cover the “lost maÂ�terÂ�nal obÂ�ject” in a sort of pleasÂ�ant reÂ�gresÂ�sion. RoÂ�manÂ�tic music nosÂ�talÂ�giÂ�cally reÂ�enÂ�acts the fuÂ�sion with the Â�mother’s womb where the fetus lives in a sort of sound enÂ�veÂ�lope. BeÂ�fore seeÂ�ing, the fetus can alÂ�ready hear his Â�mother’s voice, a hearÂ�ing that is not yet seÂ�manÂ�tic, but muÂ�siÂ�cal.6 The orÂ�chesÂ�tra conÂ�ducÂ�tor and Â�film-music speÂ�cialÂ�ist John MauÂ�ceri reÂ�flects on nosÂ�talÂ�gia and HolÂ�lyÂ�wood music in hisÂ�torÂ�iÂ�cal terms. He sees HolÂ�lyÂ�wood and its muÂ�siÂ�cal comÂ�muÂ�nity as a sort of proÂ�tected oasis in which roÂ�manÂ�tic diÂ�alect and its perÂ�forÂ�mance pracÂ�tices were preÂ�served: There is a real dyÂ�nasty, a traÂ�diÂ�tion that conÂ�tinÂ�ues, and the traÂ�diÂ�tion is based on a EuÂ�roÂ�pean traÂ�diÂ�tion unÂ�touched by the horÂ�rors of the bombÂ�ings of World War II. In fact, it [HolÂ�lyÂ�wood] was the benÂ�eÂ�fiÂ�ciÂ�ary of the peoÂ�ple who esÂ�caped the war. The great EuÂ�roÂ�pean traÂ�diÂ�tion came to HolÂ�lyÂ�wood like that—sudÂ�denly. .€.€. SomeÂ�thing horÂ�rible hapÂ�pened [in EuÂ�rope] but someÂ�thing very good hapÂ�pened here to balÂ�ance it. .€.€. I love workÂ�ing in Los AnÂ�geles. .€.€. There is a treÂ�menÂ�dous culÂ�tural traÂ�diÂ� tion. .€.€. They [HolÂ�lyÂ�wood musiÂ�cians] sound more like the Â�Vienna PhilÂ�harÂ�monic beÂ�fore the war than the Â�Vienna PhilÂ�harÂ�monic today. PeoÂ�ple at the Â�Vienna PhilÂ�harÂ�monic are peoÂ�ple who have grown up after the war with all the Â�changes of culÂ�ture and style. In EuÂ�rope, it beÂ�came very wrong to play long notes, to play with viÂ�brato, to play porÂ�taÂ�mento, beÂ�cause this was conÂ�sidÂ�ered emoÂ�tional and maybe withÂ�out

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taste. EuÂ�roÂ�pean orÂ�chesÂ�tras are much Â�colder now. BouÂ�lez and StockÂ� hauÂ�sen were just sympÂ�toÂ�matic of a Â�change toÂ�ward music. They Â�played more scheÂ�matic perÂ�forÂ�mances of Â�Brahms; it is Â�really inÂ�exÂ�cusÂ�able to take the emoÂ�tion out of the music and to play a post–World War II Â�twentieth-century style. Â�Whereas in HolÂ�lyÂ�wood one conÂ�tinÂ�ues the great inÂ�struÂ�menÂ�tal traÂ�diÂ�tions of EuÂ�rope beÂ�cause their homes were not Â�bombed, they did not have to go into Â�air-raid shelÂ�ters, their chilÂ�dren were not screamÂ�ing in the night.7

TimÂ�oÂ�thy E. Â�Scheurer—from a Â�semio-anthropological perÂ�specÂ�tive—sees in HolÂ�lyÂ�wood music, in its forÂ�muÂ�laic roÂ�manÂ�tiÂ�cism and its many cliÂ�chés, conÂ� venÂ�tional gesÂ�tures and topÂ�ics, a muÂ�siÂ�cal equivÂ�aÂ�lent of those reÂ�curÂ�ring eleÂ�ments that make HolÂ�lyÂ�wood genÂ�res—also based on forÂ�muÂ�las and cliÂ�chés—a form of popÂ�uÂ�lar myth.8 PerÂ�haps more conÂ�vincÂ�ingly, a forÂ�mal/funcÂ�tional exÂ�plaÂ�naÂ�tion of Â�Hollywood’s tenÂ�dency to use the roÂ�manÂ�tic diÂ�alect lies in the narÂ�raÂ�tive form of HolÂ�lyÂ� wood films themÂ�selves. In the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema, the priÂ�mary purÂ�pose was to tell a story. ConÂ�seÂ�quently, filmÂ�makÂ�ers had to make sure that viewÂ�ers were able to easÂ�ily reach an emÂ�paÂ�thetic conÂ�necÂ�tion with the charÂ�acÂ�ters, and to folÂ�low and underÂ�stand the narÂ�raÂ�tive in the simÂ�plest way posÂ�sible. “InÂ�visÂ�ible edÂ�itÂ�ing,” “inÂ�visÂ�ible stoÂ�ryÂ�tellÂ�ing,” “unÂ�obÂ�truÂ�sive style” are some terms reÂ�curÂ�rently asÂ�soÂ� ciated with the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema, where a Â�well-constructed narÂ�raÂ�tive is more imÂ�porÂ�tant than the disÂ�play of origÂ�iÂ�nalÂ�ity and perÂ�sonal style. InÂ�deed, the narÂ�raÂ�tive form is based on Â�strong and Â�proven forÂ�muÂ�las and norms: the “stairÂ� step conÂ�strucÂ�tion” that alÂ�terÂ�nates proÂ�pulÂ�sive and deÂ�layÂ�ing narÂ�raÂ�tive Â�events; the “caÂ�nonic story” that repÂ�liÂ�cates the outÂ�line of the Â�hero’s jourÂ�ney typÂ�iÂ�cal of fairy tales; Â�well-shaped charÂ�acÂ�ters who underÂ�take Â�well-motivated acÂ�tions to Â�achieve their Â�well-defined goals; Â�clearly specÂ�ified deadÂ�lines; “cloÂ�sure efÂ�fect” given by the closÂ�ing of all the story lines and their chanÂ�nelÂ�ing to the happy endÂ�ing; neoÂ� clasÂ�siÂ�cal criÂ�teÂ�ria of unity of time, space, and acÂ�tion Â�linked by a Â�strong cauÂ�salÂ�ity.9 The stoÂ�ryÂ�tellÂ�ing is foreÂ�grounded, while the styÂ�lisÂ�tic level tends to beÂ�come inÂ� visÂ�ible beÂ�cause it works in the backÂ�ground. DeÂ�vices Â�should not draw atÂ�tenÂ�tion to themÂ�selves as techÂ�niÂ�cal proÂ�cesses: for exÂ�amÂ�ple, a camÂ�era moveÂ�ment or an edÂ�itÂ�ing match must not be graÂ�tuiÂ�tous but Â�should reÂ�spond to a narÂ�raÂ�tive funcÂ�tion and have a Â�proper moÂ�tiÂ�vaÂ�tion. LikeÂ�wise, music Â�should coopÂ�erÂ�ate to the narÂ�raÂ�tive withÂ�out drawÂ�ing atÂ�tenÂ�tion to itÂ�self. The criÂ�terÂ�ion of “inÂ�audÂ�ibilÂ�ity” is someÂ�what valid for all Â�film-music Â�styles, meanÂ�ing that film music is genÂ�erÂ�ally subÂ�orÂ�diÂ�nated to the visÂ�uÂ�als. This is parÂ�ticÂ�uÂ� larly true with reÂ�gard to the clasÂ�siÂ�cal HolÂ�lyÂ�wood style. For inÂ�stance, it is evÂ�iÂ�dent

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how Ennio Â�Morricone’s music in a SerÂ�gio Leone WestÂ�ern is deÂ�cidÂ�edly more obÂ�truÂ�sive than DiÂ�miÂ�tri Â�Tiomkin’s in a HoÂ�ward Hawks WestÂ�ern. Both comÂ�posÂ�ers and scholÂ�ars have Â�widely comÂ�mented on the parÂ�aÂ�dox of a kind of music that is supÂ�posed to be comÂ�posed in such a way that it be alÂ�most inÂ�audÂ�ible,10 and have reÂ�jected the idea that not being audÂ�ible means not being useÂ�ful or valÂ�uÂ�able.11 In ClauÂ�dia Â�Gorbman’s UnÂ�heard MelÂ�oÂ�dies: NarÂ�raÂ�tive Film Music, “inÂ�audÂ�ibilÂ�ity” is the startÂ�ing point to exÂ�plain the role of film music, again from a psychoÂ�anÂ�aÂ�lytic perÂ�specÂ�tive. GorbÂ�man Â�equates film music with “Muzak,” the backÂ�ground music aired in elÂ�eÂ�vaÂ�tors and superÂ�marÂ�kets. The funcÂ�tion of Muzak (reÂ�branded since 2013 as Mood) is to Â�soothe the conÂ�suÂ�mers—in our case, the viewÂ�ers— and to make them less probÂ�leÂ�matic soÂ�cial eleÂ�ments: if they think less, they are supÂ�posed to buy more, eiÂ�ther the goods in a superÂ�marÂ�ket or the story Â�events in a film theÂ�aÂ�ter. Like Muzak/Mood in superÂ�marÂ�kets and airÂ�ports, film music is not inÂ�tended to be lisÂ�tened to but is inÂ�tended to make viewÂ�ers less critÂ�iÂ�cal and to luÂ�briÂ�cate the cogs of the ficÂ�tional maÂ�chine. Music hides the techÂ�niÂ�cal “cinÂ�eÂ�matic apÂ�paÂ�raÂ�tus,” makes it Â�easier to acÂ�cept the ficÂ�tional world, Â�unites all viewÂ�ers in a homoÂ�geÂ�neÂ�ous lisÂ�tenÂ�ing comÂ�muÂ�nity.12 CogÂ�niÂ�tive psycholÂ�ogy, unÂ�like psychoÂ�analÂ�yÂ�sis, preÂ�supÂ�poses an acÂ�tive Â�viewer who conÂ�structs the meanÂ�ing of the film Â�rather than pasÂ�sively reÂ�ceivÂ�ing it;13 then, the inÂ�audÂ�ibilÂ�ity pheÂ�nomÂ�eÂ�non is exÂ�plained Â�within the “CongruenceAssociationist” frameÂ�work, on the Â�grounds of Â�music’s two comÂ�poÂ�nents: the acousÂ�tiÂ�cal and the afÂ�fecÂ�tive. In AnÂ�naÂ�bel J. Â�Cohen’s words: While music in the film Â�serves as a veÂ�hiÂ�cle used to transÂ�port emoÂ�tional meanÂ�ing, it is a veÂ�hiÂ�cle that is often “inÂ�audÂ�ible” .€.€. , much as the font of this page is transÂ�parÂ�ent until I draw atÂ�tenÂ�tion to it. We can disÂ�crimÂ�iÂ� nate Â�between Â� Courier and GalÂ�liÂ�ard, but when readÂ�ing, we don’t Â�really much care Â�whether it is one or the other, as long as it is legÂ�ible. SimÂ�iÂ�larly, the Â�viewer-listener acÂ�cepts the muÂ�siÂ�cal meanÂ�ing, but acousÂ�tiÂ� cal propÂ�erÂ�ties of the music itÂ�self seem to funcÂ�tion transÂ�parÂ�ently as a kind of “acousÂ�tiÂ�cal font.” .€.€. In this analÂ�ogy, we can conÂ�sider music to have two comÂ�poÂ�nents: an afÂ�fecÂ�tive comÂ�poÂ�nent and an acousÂ�tiÂ�cal, strucÂ�tuÂ�ral comÂ�poÂ�nent. When these two comÂ�poÂ�nents of music are preÂ�sented siÂ�mulÂ� taÂ�neÂ�ously with a visÂ�ual image, the conÂ�juncÂ�tion of the afÂ�fecÂ�tive eleÂ�ment and the visÂ�ual image makes a new meanÂ�ingÂ�ful whole, a whole much Â�closer to our sense of reÂ�alÂ�ity than the visÂ�ual image alone, or than the visÂ�ual image conÂ�joined with both the afÂ�fecÂ�tive and acousÂ�tiÂ�cal comÂ�poÂ� nents. Â�Through the ilÂ�luÂ�sory conÂ�juncÂ�tion proÂ�cess, the afÂ�fect, origÂ�iÂ�nally carÂ�ried via the acousÂ�tic propÂ�erÂ�ties of music, atÂ�taÂ�ches to the visÂ�ual

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stim�u�lus. .€.€. [M]usic is a ve�hi�cle trans�port�ing a va�riety of in�for�ma�tion, only some of which is rel�e�vant to a par�tic�u�lar cin�e�matic goal. The brain seems to be able to se�lect what is use�ful for the goal at hand. .€.€. This frame�work ex�plains the puz�zling and par�a�dox�i�cal role of back�ground music in film. Music adds in�for�ma�tion that is both con�sis�tent and in�con�sis�tent with the nar�ra�tive. The af�fec�tive qual�ity is con�sis�tent; the acous�ti�cal as�pects of the music are not. Al�though the af�fec�tive as�so�ci�a� tions pro�duced by the music seem to be�long to the cor�re�spond�ing im�ages, the �sounds that pro�duced those as�so�ci�a�tions do not. Some�how, the brain at�tends to this af�fec�tive mean�ing, while ig�nor�ing or at�ten�u�at�ing its acous�ti�cal �source.14

This is why film music is inÂ�audÂ�ible: the acousÂ�tiÂ�cal/strucÂ�tuÂ�ral comÂ�poÂ�nent—the one on which we genÂ�erÂ�ally focus our atÂ�tenÂ�tion durÂ�ing a conÂ�cert—beÂ�comes secÂ�onÂ�dary in the audioÂ�visÂ�ual film exÂ�peÂ�riÂ�ence, beÂ�cause our atÂ�tenÂ�tion is foÂ�cused on someÂ�thing else. MoreÂ�over, it is not just a matÂ�ter of atÂ�tenÂ�tion but also of two difÂ�ferÂ�ent cogÂ�niÂ�tive proÂ�cesses loÂ�cated in difÂ�ferÂ�ent brain areas. For exÂ�amÂ�ple, think of music underÂ�scorÂ�ing a diÂ�alogue: Why is it “inÂ�audÂ�ible”? In the comÂ�mon rightÂ� handed nonÂ�musiÂ�cian Â�viewer, the left hemiÂ�sphere, which proÂ�cesses anÂ�aÂ�lytÂ�iÂ�cally the strucÂ�tuÂ�ral comÂ�poÂ�nent of sound stimÂ�uli, proÂ�cesses the meanÂ�ing of the diÂ�alogue. On the other hand, music is Â�passed to the right hemiÂ�sphere, which is speÂ�cialÂ�ized in proÂ�cessÂ�ing hoÂ�lisÂ�tiÂ�cally the afÂ�fecÂ�tive/emoÂ�tional comÂ�poÂ�nent.15 In a diÂ�alogue scene, the avÂ�erÂ�age Â�viewer’s atÂ�tenÂ�tion is foÂ�cused on the anÂ�aÂ�lytÂ�iÂ�cal proÂ�cess of the verÂ�bal comÂ�poÂ�nent of the sound track—diÂ�alogue—while the muÂ�siÂ�cal comÂ�poÂ�nent Â�passes Â�through hoÂ�lisÂ�tic proÂ�cesses, that is, it is perÂ�ceived in its afÂ�fecÂ�tive comÂ�poÂ�nent and thus music is “inÂ�audÂ�ible.” When the strucÂ�tuÂ�ral comÂ�poÂ�nent is too obÂ�truÂ�sive— for exÂ�amÂ�ple, in film music with very elabÂ�orate counterÂ�point—the left hemiÂ� sphere and the anÂ�aÂ�lytÂ�iÂ�cal proÂ�cess are also inÂ�volved in the lisÂ�tenÂ�ing, which may draw the Â�viewers’ atÂ�tenÂ�tion away from the diÂ�alogue or the narÂ�raÂ�tive underÂ� standÂ�ing. In case the lisÂ�tener/Â�viewer is a musiÂ�cian, his knowlÂ�edge of the synÂ� tacÂ�tiÂ�cal/strucÂ�tuÂ�ral asÂ�pects of music Â�causes the inÂ�volveÂ�ment of both hemiÂ�spheres and thereÂ�fore music can beÂ�come not only audÂ�ible but may even disÂ�turb the diÂ�alogue underÂ�standÂ�ing in parÂ�ticÂ�uÂ�larly muÂ�siÂ�cally reÂ�cepÂ�tive peoÂ�ple. In the clasÂ� siÂ�cal HolÂ�lyÂ�wood cinÂ�ema the Â�viewer’s atÂ�tenÂ�tion and his Â�analytical-sequential proÂ�cesses are foÂ�cused on the unÂ�foldÂ�ing of the narÂ�raÂ�tive, and all the styÂ�lisÂ�tic deÂ�vices, inÂ�cludÂ�ing music, beÂ�come unÂ�noÂ�ticeÂ�able. The avÂ�erÂ�age Â�viewer does not noÂ�tice the naÂ�ture or even the presÂ�ence of music as he does not noÂ�tice eiÂ�ther the numÂ�ber of cuts and kinds of edÂ�itÂ�ing Â�matches in a scene, or the lightÂ�ing patÂ�tern in a shot.

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Â�Hollywood’s voÂ�caÂ�tion for stoÂ�ryÂ�tellÂ�ing also exÂ�plains why the tonal Â�system is preÂ�ferred to atoÂ�nalÂ�ity. The tonal Â�system, Â�besides being based on uniÂ�verÂ�sally Â�shared interÂ�vals as the fifth and the ocÂ�tave, has a Â�strong narÂ�raÂ�tive naÂ�ture.16 In its movÂ�ing to and from the tonic, it tells the story of a Â�back-to-home jourÂ�ney Â�across obÂ�staÂ�cles (disÂ�soÂ�nances), the clearÂ�ing of such obÂ�staÂ�cles (resÂ�oÂ�luÂ�tion of the disÂ�soÂ�nances), and the final reÂ�turn to the home startÂ�ing point (the reÂ�turn to the tonic, often with a IV–V–I auÂ�thenÂ�tic caÂ�dence, a sort of muÂ�siÂ�cal happy endÂ�ing). This jourÂ�ney is exÂ�actly the arÂ�cheÂ�typal jourÂ�ney narÂ�rated by HolÂ�lyÂ�wood films.17 BeÂ�cause of the wideÂ�spread faÂ�milÂ�iarÂ�ity of its diÂ�alect, roÂ�manÂ�tic music could betÂ�ter act as a neuÂ�tral veÂ�hiÂ�cle of the afÂ�fecÂ�tive comÂ�poÂ�nent and thus was the best Â�choice to fit the funcÂ�tional transÂ�paÂ�rency that cinÂ�eÂ�matic deÂ�vices were reÂ�quired to have. On the Â�contrary, Â�avant-garde music, with its esÂ�oÂ�teric diÂ�alect, can Â�hardly be perÂ�ceived as neuÂ�tral and would draw the Â�listener’s atÂ�tenÂ�tion to its strucÂ�tuÂ�ral comÂ�poÂ�nent. That is why—pace Â�Adorno and EisÂ�ler—modÂ�ernÂ�ist music had alÂ�most no use in the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema. AcÂ�cordÂ�ing to the musiÂ�colÂ�oÂ�gist LeÂ�oÂ�nard B. Meyer, the uniÂ�verÂ�sal apÂ�peal of roÂ�manÂ�tic music is due to the imÂ�porÂ�tance given more to secÂ�onÂ�dary paÂ�ramÂ�eÂ�ters, such as dyÂ�namÂ�ics, agogÂ�ics, and exÂ�presÂ�sion Â�rather than to priÂ�mary paÂ�ramÂ�eÂ�ters, which inÂ�clude overÂ�all form, harÂ�mony rules, synÂ�tacÂ�tic reÂ�laÂ�tions Â�between tones, and so forth.18 PriÂ�mary and secÂ�onÂ�dary paÂ�ramÂ�eÂ�ters are simÂ�iÂ�lar to the strucÂ�tuÂ�ral/ afÂ�fecÂ�tive disÂ�tincÂ�tion preÂ�viÂ�ously made. In roÂ�manÂ�tic music, the afÂ�fecÂ�tive comÂ�poÂ� nent has a Â�greater imÂ�porÂ�tance than the strucÂ�tuÂ�ral one. The clasÂ�siÂ�cal diÂ�alect, as in the music of MoÂ�zart and Haydn, is also based on melÂ�ody and toÂ�nalÂ�ity, but the priÂ�mary paÂ�ramÂ�eÂ�ters are more imÂ�porÂ�tant than the secÂ�onÂ�dary ones and are less Â�suited to conÂ�vey the afÂ�fecÂ�tive/emoÂ�tional comÂ�poÂ�nent. HowÂ�ever, acÂ�cordÂ�ing to Meyer, the modÂ�ernÂ�ist diÂ�alects inÂ�flate the secÂ�onÂ�dary paÂ�ramÂ�eÂ�ters to an exÂ�treme, to the detÂ�riÂ�ment of the priÂ�mary paÂ�ramÂ�eÂ�ters that tend to lose any imÂ�porÂ�tance.19 For inÂ�stance, in alÂ�eaÂ�toric music such as that of John Cage there are only secÂ�onÂ� dary paÂ�ramÂ�eÂ�ters. In roÂ�manÂ�tic music, priÂ�mary paÂ�ramÂ�eÂ�ters are still there to guide the muÂ�siÂ�cal underÂ�standÂ�ing. In modÂ�ernÂ�ist music, on the Â�contrary, the comÂ�mon lisÂ�tener has no guide to folÂ�low; the piece of music Â�sounds simÂ�ply meanÂ�ingÂ�less and emoÂ�tionÂ�ally neuÂ�tral to him, when not causÂ�ing anxÂ�iety beÂ�cause of the frusÂ�traÂ� tion of exÂ�pecÂ�taÂ�tions and the total lack of some kind of conÂ�venÂ�tional orÂ�ienÂ�taÂ�tion signs.20 For this reaÂ�son, unÂ�reÂ�solved disÂ�soÂ�nances and atoÂ�nal writÂ�ing are acÂ�cepted in HolÂ�lyÂ�wood when they can give their disÂ�orientÂ�ing and disÂ�tressÂ�ing conÂ�triÂ�buÂ�tion to disÂ�turbÂ�ing stoÂ�ries, Â�creepy charÂ�acÂ�ters, and omÂ�iÂ�nous Â�places. AnÂ�other charÂ�acÂ�terÂ�isÂ�tic of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music and of film music in genÂ�eral, apart from some modÂ�ern inÂ�stances such as Â�Kubrick’s films, is the alÂ�most exÂ�cluÂ�sive use of origÂ�iÂ�nal maÂ�teÂ�rial inÂ�stead of repÂ�erÂ�toire Â�pieces, unÂ�like the

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music comÂ�piÂ�laÂ�tions of siÂ�lent cinÂ�ema. The reaÂ�sons are both ecoÂ�nomic and narÂ�raÂ�tive. The ecoÂ�nomic reaÂ�son can be easÂ�ily exÂ�plained: it was more afÂ�fordÂ�able using origÂ�iÂ�nal music—whose copyÂ�rights were owned by the stuÂ�dio—Â�rather than underÂ�takÂ�ing the Â�costly and often inÂ�triÂ�cate legal paperÂ�work reÂ�quired to seÂ�cure the clearÂ�ance for a copyÂ�righted piece of music.21 From a narÂ�raÂ�tive viewÂ� point, a faÂ�mous repÂ�erÂ�toire piece such as Â�Beethoven’s SymÂ�phony no. 6, op. 68 (the PasÂ�toÂ�ral SymÂ�phony) or any easÂ�ily recÂ�ogÂ�nizÂ�able piece is Â�likely to disÂ�tract from the stoÂ�ryÂ�tellÂ�ing. If the Â�viewer recÂ�ogÂ�nizes the piece, his atÂ�tenÂ�tion can be drawn away from the visÂ�uÂ�als and the acÂ�comÂ�paÂ�nyÂ�ing afÂ�fecÂ�tive comÂ�poÂ�nent of the music. In this case, the lisÂ�tener knows the piece; its genÂ�eral strucÂ�ture is Â�present to his memÂ�ory and can be reÂ�trieved, inÂ�ducÂ�ing him to folÂ�low the music flow, to anÂ�ticÂ�iÂ�pate its deÂ�velÂ�opÂ�ment, to focus on its strucÂ�ture. When hearÂ�ing this music in a scene, the Â�viewer would probÂ�ably disÂ�conÂ�nect from the narÂ�raÂ�tive and be led to metaÂ�texÂ�tual conÂ�sidÂ�erÂ�aÂ�tions such as “Ah! They are using the ‘PasÂ�toÂ�ral.’ I wonÂ�der why they have choÂ�sen it,” not to menÂ�tion the conÂ�noÂ�taÂ�tions and exÂ�traÂ� texÂ�tual asÂ�soÂ�ciÂ�aÂ�tions that each faÂ�mous repÂ�erÂ�toire piece carÂ�ries along with it. In a hypoÂ�thetÂ�iÂ�cal film where the PasÂ�toÂ�ral were used as a backÂ�ground for an amiÂ�able party conÂ�verÂ�saÂ�tion in a Â�trendy ManÂ�hatÂ�tan flat, the Â�viewer might proÂ�ject the Â�piece’s traÂ�diÂ�tional asÂ�soÂ�ciÂ�aÂ�tions with shepÂ�herds and rural Â�scenes on the visÂ�uÂ�als, and judge the music to be out of place.22 AcÂ�cordÂ�ing to the HolÂ�lyÂ�wood conÂ�venÂ�tions, the use of repÂ�erÂ�toire music Â�should have some kind of clear moÂ�tiÂ�vaÂ�tion. For exÂ�amÂ�ple, in PeoÂ�ple Will Talk ( JoÂ�seph L. ManÂ�kieÂ�wicz, 1951, muÂ�siÂ�cal diÂ�recÂ�tion by AlÂ�fred NewÂ�man), Cary Grant plays a proÂ�fesÂ�sor who is also the conÂ�ducÂ�tor of the Â�faculty’s amÂ�aÂ�teur orÂ�chesÂ�tra. They are shown reÂ�hearsÂ�ing, quite apÂ�proÂ�priÂ�ately, Â�Brahms’s AcÂ�aÂ�demic FesÂ�tiÂ�val OverÂ�ture (AkadÂ�eÂ�misÂ�che Â�Festouvertüre, 1880, op. 80.) The film score Â�presents Â�Brahms’s theme even at Â�non-diegetic level, which is moÂ�tiÂ�vated both by the conÂ�gruÂ�ence of the piece with the acÂ�aÂ�demic loÂ�cale and beÂ�cause this piece is also Â�present Â�within the narÂ�raÂ�tive world. One of the most comÂ�mon uses of repÂ�erÂ�toire music, and a Max Â�Steiner tradeÂ�mark, is that of using it to clarÂ�ify in which geoÂ�graphÂ�iÂ�cal place or hisÂ�torÂ�iÂ�cal peÂ�riod the film is set. Think of Â�Steiner’s use of the SouthÂ�ern folk tune “Dixie” in Gone with the Wind (VicÂ�tor FlemÂ�ing, 1939), or “LonÂ�don Â�Bridge Is FallÂ�ing Down” in the openÂ�ing seÂ�quence of Top Hat (Mark SanÂ�drich, 1935), to deÂ�note the BritÂ�ish ausÂ�terÂ�ity of the “LonÂ�don ThackÂ�eÂ�ray Club, Â�Founded 1864.” TechÂ�niques In genÂ�eral, film music does not use the clasÂ�siÂ�cal Â�art-music forms of soÂ�nata, fugue, and the like. They are strucÂ�tuÂ�rally too rigid, and their deÂ�velÂ�opÂ�ment

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reÂ�quires too long a time and too foreÂ�grounded a poÂ�siÂ�tion for the Â�film’s stanÂ�dards. ApÂ�parÂ�ently with no form, film music acÂ�tuÂ�ally has its own form in the film itÂ�self.23 If film music canÂ�not be said to have forms sensu Â�stricto, it Â�surely can be said to use strucÂ�tuÂ�ral techÂ�niques and forÂ�mal stratÂ�eÂ�gies, the most Â�widely used being theme and variÂ�aÂ�tions, leitÂ�moÂ�tiv, Â�so-called Â�Mickey-Mousing, and diÂ�alogue underÂ�scorÂ�ing. The theme and variÂ�aÂ�tions techÂ�nique is borÂ�rowed from art music—it conÂ�sists in preÂ�sentÂ�ing a theme, which will be later reÂ�prised and transÂ�formed in terms of Â�rhythm, harÂ�mony, meÂ�lodic shape, inÂ�struÂ�menÂ�taÂ�tion, and so forth.24 While theme and variÂ�aÂ�tions can be found in many Â�styles of film music, two other techÂ�niques are charÂ�acÂ�terÂ�isÂ�tic of the clasÂ�siÂ�cal HolÂ�lyÂ�wood style: leitÂ�moÂ�tiv and Â�Mickey-Mousing. LeitÂ�moÂ�tiv—Â�coined for RichÂ�ard Â�Wagner’s Â�Wort-Ton-Dramas—is the asÂ�soÂ�ciÂ�aÂ�tion and idenÂ�tifiÂ�caÂ�tion of each charÂ�acÂ�ter, sitÂ�uÂ�aÂ�tion, or idea with a muÂ�siÂ�cal motif, which is reÂ�prised and deÂ�velÂ�oped narÂ�raÂ�tively throughÂ�out the work. ProbÂ�ably also beÂ�cause of the foundÂ�ing Â�fathers’ faÂ�milÂ�iarÂ�ity with WagÂ�nerÂ�ian music, the leitÂ� moÂ�tiv was Â�largely Â�adopted in HolÂ�lyÂ�wood. It is a very good fit for film narÂ�raÂ�tion, beÂ�cause it is an efÂ�fiÂ�cient aid to memÂ�orÂ�ize and recÂ�ogÂ�nize charÂ�acÂ�ters and sitÂ�uÂ�aÂ�tions, it reÂ�inÂ�forces the film narÂ�raÂ�tive Â�through a parÂ�allel muÂ�siÂ�cal stoÂ�ryÂ�tellÂ�ing, and gives the overÂ�all score a coat of coÂ�heÂ�sion and forÂ�mal coÂ�herÂ�ence. The other typÂ�iÂ�cal techÂ�nique is Â�Mickey-Mousing. In the Â�American cinÂ�ema, it seems to have been inÂ�herÂ�ited from the muÂ�siÂ�cal acÂ�comÂ�paÂ�niÂ�ment used in vaudeÂ� ville, where the Â�actors’ antics Â� and tumÂ�bles used to be Â�stressed and puncÂ�tuÂ�ated by snare drum rolls and cymÂ�bal Â�clashes.25 MuÂ�siÂ�cally, Â�Mickey-Mousing is comÂ� pletely inÂ�forÂ�mal and deÂ�signed to adÂ�here Â�tightly to the visÂ�uÂ�als, and can be deÂ�fined as a tight seÂ�ries of exÂ�plicit Â�synch-points. An exÂ�plicit Â�synch-point is that moÂ�ment where a muÂ�siÂ�cal gesÂ�ture and a visÂ�ual acÂ�tion unÂ�doubtÂ�edly match, the comÂ�poser havÂ�ing deÂ�libÂ�erÂ�ately comÂ�posed with that preÂ�cise Â�synch-point in mind. A typÂ�iÂ�cal exÂ�amÂ�ple is a deÂ�scendÂ�ing moveÂ�ment in the visÂ�uÂ�als mirÂ�rored by a deÂ�scendÂ�ing gesÂ�ture in the music, like someÂ�one fallÂ�ing down the Â�stairs acÂ�comÂ�paÂ�nied by a rapÂ�idly deÂ�scendÂ�ing viÂ�oÂ�lins scale. As the term itÂ�self sugÂ�gests, Â�Mickey-Mousing deÂ�rives from carÂ�toons, where this techÂ�nique is Â�strongly Â�present: think of Scott Â�Bradley’s Â�scores for MGM’s Tom and Jerry short films, in which the Â�mouse’s furÂ�tive footÂ�steps are inÂ�diÂ�vidÂ�uÂ�ally mirÂ�rored by Â�plucks of pizÂ�ziÂ�cato Â�strings.26 In other Â�film-music Â�styles, Â�Mickey-Mousing is used for ocÂ�caÂ�sional comic efÂ�fects, for exÂ�amÂ�ple in ItalÂ�ian film music. In What ScounÂ�drels Men Are! (Gli uoÂ�mini, che masÂ�calÂ�zoni!, Mario CamÂ�eÂ�rini, 1932, music by CeÂ�sare AnÂ�drea Bixio) we see a monÂ�tage showÂ�ing unÂ�emÂ�ployed Bruno/VitÂ�toÂ�rio De Sica checkÂ�ing his mailÂ�box daily and slamÂ�ming the door each time in growÂ�ing frusÂ�traÂ�tion, as he finds that his job apÂ�pliÂ�caÂ�tion conÂ�tinÂ�ues to go unÂ�anÂ�swered. Music acÂ�comÂ�paÂ�nies each

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slam with a sharp chord, markÂ�ing Â�Bruno’s reÂ�peated disÂ�apÂ�pointÂ�ment. Â�Herein, the term “Mickey-Mousing” is used each time the music Â�closely duÂ�pliÂ�cates the visÂ�ual acÂ�tion, not just as a techÂ�nique for carÂ�toons or slapÂ�stick comÂ�eÂ�dies. The term is used this way by pracÂ�tiÂ�tionÂ�ers too, and in clasÂ�siÂ�cal HolÂ�lyÂ�wood music Â�Mickey-Mousing is emÂ�ployed, in a more or less Â�marked way, for draÂ�matic efÂ�fect as well, not Â�merely for comic epiÂ�sodes.27 Â�Steiner was the unÂ�disÂ�puted chamÂ�pion of draÂ�matic Â�Mickey-Mousing. For him, film music had to “fit like a glove”28 and his point is Â�clearly demÂ�onÂ�strated in the score he comÂ�posed for The InÂ�former ( John Ford, 1935). Even Â�Korngold’s music, which is less adÂ�herÂ�ent to visÂ�uÂ�als, Â�presents epiÂ�sodes of Mickey-Mousing: Â� in The Sea Hawk, Alan Â�Hale’s charÂ�acÂ�ter stuns the Â�prison guard with a bang on the head, which is stressed Â� by music. In The AdÂ�venÂ�tures of Robin Hood (William KeighÂ�ley, MiÂ�chael CurÂ�tiz, 1938) the vilÂ�lain Sir Guy/Basil RathÂ�bone is Â�stabbed to death by Robin and falls down the Â�stairs acÂ�comÂ�paÂ�nied by a deÂ�scendÂ�ing muÂ�siÂ�cal gesÂ�ture. TypÂ�iÂ�cal of the Â�Mickey-Mousing techÂ�nique is the Â�stinger, that is, a sforÂ�zando chord that draÂ�matÂ�iÂ�cally underÂ�lines a cruÂ�cial event, often a narÂ�raÂ�tive twist as seen in CasÂ�aÂ�blanca (MiÂ�chael CurÂ�tiz, 1942), when Ilsa/InÂ�grid BergÂ�man sudÂ�denly Â�points a gun at Rick/HumÂ�phrey BoÂ�gart. The prefÂ�erÂ�ence of the clasÂ�siÂ�cal HolÂ�lyÂ�wood style for the leitÂ�moÂ�tiv and Â�MickeyMousing techÂ�niques can be exÂ�plained by the Â�strong penÂ�chant for stoÂ�ryÂ�tellÂ�ing, which tends to have all forÂ�mal deÂ�vices inÂ�visÂ�ible/inÂ�audÂ�ible and moÂ�tiÂ�vated comÂ�poÂ� siÂ�tionÂ�ally so that they do not disÂ�tract from the narÂ�raÂ�tive. ConÂ�sider the poetÂ�ics of muÂ�siÂ�cal reÂ�alÂ�ism of the early years of sound cinÂ�ema: it reÂ�veals a conÂ�cern that the presÂ�ence of music, not moÂ�tiÂ�vated reÂ�alisÂ�tiÂ�cally by showÂ�ing a dieÂ�getic Â�on-screen Â�source, could inÂ�deed draw the Â�viewer’s atÂ�tenÂ�tion to the music Â�rather than to the narÂ�raÂ�tive. SimÂ�iÂ�larly, the tight adÂ�herÂ�ence of Â�non-diegetic music to the visÂ�uÂ�als can be exÂ�plained by the atÂ�tempt to moÂ�tiÂ�vate its Â�source. These days, the Â�MickeyMousing techÂ�nique is obÂ�soÂ�lete and atÂ�tracts the Â�viewer’s atÂ�tenÂ�tion to the strucÂ�tuÂ�ral asÂ�pects of music Â�rather than makÂ�ing the music transÂ�parÂ�ent. Yet, folÂ�lowÂ�ing the aforeÂ�menÂ�tioned “Congruence-Associationist” theÂ�ory, it can be Â�argued that in the early days when Â�non-diegetic music was susÂ�pected of not being transÂ�parÂ�ent and moÂ�tiÂ�vated Â�enough, Â�Steiner had this idea: if music Â�seemed to emÂ�aÂ�nate from the Â�actors’ moveÂ�ments, maybe viewÂ�ers would not be disÂ�tracted by askÂ�ing themÂ� selves where that music came from.29 The same can be said of leitÂ�moÂ�tivs. A leitÂ�moÂ�tiv is so tied to the charÂ�acÂ�ter that the music apÂ�pearÂ�ance is simÂ�ply moÂ�tiÂ�vated by the Â�character’s arÂ�riÂ�val. AnÂ�other techÂ�nique that someÂ�times Â�showed a simÂ�iÂ�larly tight corÂ�reÂ�sponÂ�dence Â�between the music and what hapÂ�pened Â�on-screen was diÂ�alogue underÂ�scorÂ�ing, that is, music acÂ�comÂ�paÂ�nyÂ�ing a diÂ�alogue scene. VirÂ�tuÂ�ally all diÂ�alogue—esÂ�peÂ�cially

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roÂ�manÂ�tic ones—had a muÂ�siÂ�cal backÂ�ing in clasÂ�siÂ�cal HolÂ�lyÂ�wood. HowÂ�ever, one needs to disÂ�tinÂ�guish the case in which some music was Â�merely Â�placed in the backÂ�ground to fill the siÂ�lence—wallÂ�paÂ�per music—from that in which diÂ�alogue underÂ�scorÂ�ing was modÂ�eled Â�around the Â�actor’s lines. In the first inÂ�stance, music acted as a Â�sound-coloring layer for the Â�actors’ lines; for an exÂ�treme exÂ�amÂ�ple emÂ�ployÂ�ing stock music just as a Â�sound-filler, see Glen or Â�Glenda (EdÂ�ward D. Wood Jr, 1953). In the best, and rarer, cases, the comÂ�poser would take into conÂ�sidÂ�erÂ�aÂ� tion the pitch of the Â�actors’ Â�voices, their timÂ�bre, the conÂ�tent of the sinÂ�gle lines, and the Â�pauses in the diÂ�alogue, and he would write the music acÂ�cordÂ�ingly. He would write above or below the Â�actors’ Â�pitches so that music would not interÂ�fere with the freÂ�quenÂ�cies of their Â�voices; he would make sure that the orÂ�chesÂ�tral timÂ�bres Â�blended harÂ�moÂ�niÂ�ously with those of the acÂ�tors; he would meanÂ�ingÂ�fully introÂ�duce a muÂ�siÂ�cal cell of an alÂ�ready preÂ�sented leitÂ�moÂ�tiv to reÂ�inÂ�force one parÂ� ticÂ�uÂ�lar line; and he would calÂ�cuÂ�late when the diÂ�alogue Â�paused, so that music could soar in those moÂ�ments and reÂ�treat in the backÂ�ground as the diÂ�alogue reÂ�sumed. For an exÂ�amÂ�ple by the masÂ�ter of such techÂ�nique, KornÂ�gold, lisÂ�ten to Robin and Â�Marian’s diÂ�alogue Â�scenes in The AdÂ�venÂ�tures of Robin Hood. MuÂ�siÂ�cal Means The score comÂ�posed with all such aforeÂ�menÂ�tioned techÂ�niques had to be Â�brought to life, perÂ�formed Â�through some muÂ�siÂ�cal means. The clasÂ�siÂ�cal HolÂ�lyÂ�wood stanÂ�dard was the Â�richly orÂ�chesÂ�trated sound of the Â�late-nineteenth-century symÂ�phony orÂ�chesÂ�tra. HowÂ�ever, while Â�Wagner’s, RichÂ�ard Â�Strauss’s, and Â�Mahler’s orÂ�chesÂ�tras had a hunÂ�dred or more Â�players, stuÂ�dio orÂ�chesÂ�tras were asÂ�semÂ�bled for reÂ�cordÂ�ing, not for live perÂ�forÂ�mance, and conÂ�sisted of a maxÂ�iÂ�mum of sixty Â�players.30 The symÂ�phony orÂ�chesÂ�tra was the charÂ�acÂ�terÂ�isÂ�tiÂ�cal muÂ�siÂ�cal means for the enÂ�tire peÂ�riod of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. The first reaÂ�son is hisÂ� torÂ�iÂ�cal. In the NickÂ�elÂ�oÂ�deÂ�ons of the siÂ�lent peÂ�riod, proÂ�jecÂ�tions were acÂ�comÂ�paÂ�nied by a piÂ�aÂ�nist or a Â�couple of inÂ�struÂ�menÂ�talÂ�ists. Â�Larger theÂ�aÂ�ters had a chamÂ�ber orÂ�chesÂ�tra made up of a dozen Â�players. Only the luxÂ�uÂ�riÂ�ous picÂ�ture palÂ�aces had a full symÂ�phony orÂ�chesÂ�tra, and the most amÂ�biÂ�tious and imÂ�porÂ�tant film proÂ�ducÂ� tions, such as The Birth of a NaÂ�tion (D. W. GrifÂ�fith, 1915), used to tour along with a large symÂ�phony orÂ�chesÂ�tra.31 Thus, the sound of the symÂ�phony orÂ�chesÂ�tra began to be idenÂ�tified with qualÂ�ity screenÂ�ings and Â�first-class moÂ�tion picÂ�tures. When introÂ�ducÂ�ing synÂ�chronÂ�ized sound, HolÂ�lyÂ�wood kept up with this asÂ�soÂ�ciÂ�aÂ�tion and also enÂ�larged the Â�string secÂ�tion. As a matÂ�ter of fact, these inÂ�struÂ�ments, Â�mostly for timÂ�bre reaÂ�sons, are those that betÂ�ter blend with diÂ�alogue withÂ�out maskÂ�ing efÂ�fects, but the preÂ�domÂ�iÂ�nance of the Â�string secÂ�tion is again an afterÂ�math

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of the siÂ�lent peÂ�riod. A large Â�string secÂ�tion was inÂ�deed typÂ�iÂ�cal of the symÂ�phony orÂ�chesÂ�tras of Â�first-class theÂ�aÂ�ters and disÂ�tinÂ�guished them from the Â�smaller “salon orÂ�chesÂ�tras.”32 And so this was the reaÂ�sonÂ�ing: the symÂ�phony orÂ�chesÂ�tra meant presÂ�tige; a large Â�string secÂ�tion meant a symÂ�phony orÂ�chesÂ�tra; hence, a large presÂ�ence of Â�strings meant presÂ�tige. The prefÂ�erÂ�ence of the symÂ�phony orÂ�chesÂ�tra as the muÂ�siÂ�cal means for film music can also be exÂ�plained in narÂ�raÂ�tive terms: it is the richÂ�est enÂ�semÂ�ble as to inÂ�struÂ�menÂ�tal timÂ�bres and is caÂ�pable of so many color comÂ�biÂ�naÂ�tions and hues as to make it comÂ�pletely verÂ�saÂ�tile in meetÂ�ing a wide array of narÂ�raÂ�tive deÂ�mands.33 FiÂ�nally, the use of such muÂ�siÂ�cal means until the end of the 1950s was also due to union agreeÂ�ments statÂ�ing that each stuÂ�dio had to mainÂ�tain an Â�in-house orÂ�chesÂ�tra. As Â�things were, the stuÂ�dios, folÂ�lowÂ�ing a criÂ�terÂ�ion of efÂ�fiÂ�ciency, obÂ�viÂ�ously Â�tended to utiÂ�lize the tools alÂ�ready at their disÂ�poÂ�sal. SpeakÂ�ing of muÂ�siÂ�cal means, a few words must be said about orÂ�chesÂ�traÂ�tors. In genÂ�eral, “to orÂ�chesÂ�trate” means exÂ�pandÂ�ing a piece of music—for exÂ�amÂ�ple, one writÂ�ten in a conÂ�densed form on four Â�staves—to a Â�multiple-stave full score so that it is suitÂ�able for being Â�played by a symÂ�phony orÂ�chesÂ�tra, genÂ�erÂ�ally withÂ� out makÂ�ing adÂ�diÂ�tions of harÂ�monic or contraÂ�punÂ�tal naÂ�ture. An “arÂ�rangeÂ�ment,” on the other hand, means orÂ�chesÂ�traÂ�tion plus Â�heavier interÂ�venÂ�tions on the origÂ�iÂ�nal comÂ�poÂ�siÂ�tion, such as reÂ�writÂ�ings, inÂ�teÂ�graÂ�tions, and cuts. OrÂ�chesÂ�traÂ�tion is a cruÂ�cial step in creatÂ�ing the overÂ�all color and sound of the piece by careÂ�fully balÂ�ancÂ�ing the varÂ�iÂ�ous timÂ�bres of the orÂ�chesÂ�tra. It afÂ�fects Â�greatly how a piece of music will fiÂ�nally sound and is not a meÂ�chanÂ�iÂ�cal opÂ�erÂ�aÂ�tion but an esÂ�senÂ�tial part of the art of comÂ�poÂ�siÂ�tion—an art itÂ�self, as MauÂ�rice Â�Ravel’s BoÂ�lero shows. In the HolÂ�lyÂ�wood music deÂ�partÂ�ments, it was not only cusÂ�toÂ�mary but even Â�stated by union rules that the comÂ�poser had to comÂ�pose and then hand the music to someÂ�one else to orÂ�chesÂ�trate it.34 A Â�biased view soon Â�spread in less Â�factory-like film inÂ�dusÂ�tries such as those in EuÂ�rope, where the comÂ�poser was in Â�charge of the enÂ�tire proÂ�cess: the orÂ�chesÂ�traÂ�tors were Â�deemed to be the real auÂ�thors beÂ�hind Â�Hollywood’s symÂ�phonic Â�scores.35 OrÂ�chesÂ�traÂ�tors were Â�thought to be ghostÂ�writÂ�ers who would mend the eleÂ�menÂ�tary Â�sketches of HolÂ�lyÂ�wood comÂ�posÂ�ers, who themÂ�selves were conÂ�sidÂ�ered amÂ�aÂ�teurÂ�ish pracÂ�tiÂ�tionÂ�ers inÂ�caÂ�pable of Â�really writÂ�ing for orÂ�chesÂ�tra. Of Â�course, there were and are also cases where the orÂ�chesÂ�traÂ�tor is inÂ�deed the ghostÂ�writer beÂ�hind the final reÂ�sult and the one who gives muÂ�siÂ�cal shape to the amÂ�aÂ�teurÂ�ish efÂ�forts of some Â�would-be comÂ�poser. A faÂ�mous exÂ�amÂ�ple is Â�Charles ChaÂ�plin. CredÂ�ited as comÂ�poser of the Â�scores for his films, he acÂ�tuÂ�ally Â�mostly whisÂ�tled the tunes, which were then arÂ�ranged for orÂ�chesÂ�tra by a numÂ�ber of colÂ�labÂ�oÂ�raÂ�tors, among them David RakÂ�sin, who arÂ�ranged Â�Chaplin’s melÂ�oÂ�dies for ModÂ�ern Times (1936).36 HowÂ�ever, inÂ�acÂ�cuÂ�rate genÂ�erÂ�alÂ�izaÂ�tion Â�should be Â�avoided.

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The use of orÂ�chesÂ�traÂ�tors in HolÂ�lyÂ�wood was Â�mainly due to time conÂ�straints. To meet “punÂ�ishÂ�ing proÂ�ducÂ�tion schedÂ�ules”37 and allow the Â�already-pressed comÂ�poser to focus enÂ�tirely on the key opÂ�erÂ�aÂ�tion of creatÂ�ing the leitÂ�moÂ�tivs and comÂ�posÂ�ing the Â�tight-timed sinÂ�gle cues to acÂ�comÂ�pany the Â�scenes, all other techÂ� niÂ�cal and Â�less-creative steps were asÂ�signed to colÂ�labÂ�oÂ�raÂ�tors, Â�called “orÂ�chesÂ�traÂ� tors.” The Â�orchestrator’s task was to Â�transcribe the conÂ�densed Â�composer’s Â�sketches, a sort of shortÂ�hand score, to a deÂ�tailed full score withÂ�out addÂ�ing anyÂ�thing subÂ�stanÂ�tial. These are Â�Steiner’s words about his work for Gone with the Wind : We were scorÂ�ing all night all the time .€.€. we used to start at 8:00 at night and finÂ�ish at 7:00 in the mornÂ�ing with the orÂ�chesÂ�tra .€.€. beÂ�cause in the dayÂ�time I had to write. You say .€.€. when did I sleep? .€.€. I slept four or five hours, then a docÂ�tor [would] come in about noon to give me a BenzeÂ�drine inÂ�jecÂ�tion so I Â�didn’t fall over. interviewer: Did you arÂ�range Gone with the Wind also? steiner: ArÂ�range? No one arÂ�ranges my music. interviewer: I had come Â�across other inÂ�forÂ�maÂ�tion that said there were other arÂ�rangÂ�ers workÂ�ing on it with you. steiner: Well, cerÂ�tainly. But it’s all from me. NoÂ�body arÂ�ranges anyÂ� thing from me. They just orÂ�chesÂ�trate what I write down. interviewer: I had the inÂ�forÂ�maÂ�tion that—Let’s see .€.€. steiner: There were five of them. iinterviewer: Hugo FriedÂ�hofer, Â�Adolph DeutsÂ�ch, MorÂ�ris Dupak, BerÂ�nard Kahn, Heinz RoemÂ�held and RegÂ�iÂ�nald BasÂ�sett. steiner: Hmm .€.€. I don’t reÂ�memÂ�ber him. Why sure, you got to have orÂ�chesÂ�traÂ�tors. How are you going to write all that? [laughs] You Â�couldn’t do it. It’s done from score. You see, I write six lines, or eight lines. The origÂ�iÂ�nal. They take it off and put it in score. It’s no great trick .€.€. 38

MoreÂ�over, the comÂ�posÂ�ers usuÂ�ally wrote their Â�sketches in a shortÂ�hand, often messy handÂ�writÂ�ing, which would have been unÂ�inÂ�telÂ�liÂ�gible for a conÂ�ducÂ�tor to lead the orÂ�chesÂ�tra from or for a copyÂ�ist to exÂ�tract the inÂ�diÂ�vidÂ�ual parts.39 The orÂ�chesÂ�traÂ�tor would Â�transcribe Â�clearly and exÂ�pand the Â�sketches, amendÂ�ing the posÂ�sible erÂ�rors that could have ocÂ�curred in the hurry, such as a note not Â�sharped or flatÂ�ted. Each comÂ�poser had his Â�trusted colÂ�labÂ�oÂ�raÂ�tors, who were faÂ�milÂ�iar with his idiom and idioÂ�synÂ�craÂ�sies, and knew how to read the Â�composer’s shortÂ�hand and what kind of muÂ�siÂ�cal efÂ�fects he Â�wanted.

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HowÂ�ever, in art music, using an orÂ�chesÂ�traÂ�tor was and still is seen as a grave sin typÂ�iÂ�cal of a hack, a sympÂ�tom of poor Â�skills and arÂ�tisÂ�tic inÂ�comÂ�peÂ�tence. PerÂ�haps inÂ�fluÂ�enced by these prejÂ�uÂ�dices, some film comÂ�posÂ�ers like BerÂ�nard HerrÂ�mann, Ennio MorÂ�riÂ�cone, Â�George DelÂ�eÂ�rue, and more reÂ�cently HoÂ�ward Shore preÂ�fer to do all the work themÂ�selves, a Â�choice that can be the reÂ�sult of an unÂ�conÂ�venÂ�tional temÂ�perÂ�aÂ�ment, a lack of trust in colÂ�labÂ�oÂ�raÂ�tors, the deÂ�sire to stand out, or a moral “catÂ�eÂ�gorÂ�iÂ�cal imÂ�perÂ�aÂ�tive” for an arÂ�tisÂ�tic inÂ�tegÂ�rity that would othÂ�erÂ�wise be threatÂ�ened. With an Â�art-composer atÂ�tiÂ�tude, Ennio MorÂ�riÂ�cone Â�strongly and vexÂ�edly reÂ�jects the idea of using an orÂ�chesÂ�traÂ�tor: “Q: ‘Have you ever had any colÂ�labÂ�oÂ�raÂ�tors?’ A: ‘Never, it is an abÂ�soÂ�lute moral prinÂ�ciÂ�ple. .€.€. No, abÂ�soÂ�lutely no colÂ�labÂ�oÂ�raÂ�tion at all. I like comÂ�posÂ�ing, it’s my job, the only thing I can do. I canÂ�not Â�charge othÂ�ers with doing someÂ�thing that I feel Â�deeply mine.’ ”40 MorÂ�riÂ� cone even Â�stated: “To comÂ�pose and to orÂ�chesÂ�trate are parts of a sinÂ�gle moÂ�ment. Â�Whoever Â�writes music for films withÂ�out orÂ�chesÂ�tratÂ�ing each segÂ�ment is nothÂ�ing but a diÂ�letÂ�tante.”41 This is an exÂ�cesÂ�sively broad genÂ�erÂ�alÂ�izaÂ�tion, and a very reÂ�curÂ�rent one. Even comÂ�posÂ�ers like CopÂ�land, KornÂ�gold, and Rózsa, who skillÂ�fully orÂ�chesÂ�trated their own Â�art-music comÂ�poÂ�siÂ�tions, used orÂ�chesÂ�traÂ�tors when workÂ�ing in HolÂ�lyÂ�wood.42 On the negÂ�aÂ�tive myth of orÂ�chesÂ�traÂ�tors, PrenÂ�derÂ�gast Â�writes: The myth is simÂ�ply that BerÂ�nard HerrÂ�mann is the only major film comÂ�poser in HolÂ�lyÂ�wood who does his own orÂ�chesÂ�traÂ�tions. .€.€. This asÂ�serÂ�tion has found its way into the Â�film-music Â�aficionado’s lore and seems to owe its exÂ�isÂ�tence to two Â�things: (1) An igÂ�norÂ�ance of the real reÂ�laÂ�tionÂ�ship Â�between the comÂ�poser and the orÂ�chesÂ�traÂ�tor in HolÂ�lyÂ�wood, and (2) a blind faith in the word of BerÂ�nard HerrÂ�mann on this subÂ�ject who is in no small part reÂ�sponÂ�sible for the propÂ�aÂ�gaÂ�tion of the myth. There are nuÂ�merÂ�ous comÂ�posÂ�ers in HolÂ�lyÂ�wood whose Â�sketches are so comÂ�plete and so deÂ�tailed that the orÂ�chesÂ�traÂ�tor Â�really beÂ�comes, in efÂ�fect, an inÂ�telÂ�liÂ�gent copyÂ�ist. Nor is this pracÂ�tice of orÂ�chesÂ�tratÂ�ing from Â�highly deÂ�tailed Â�sketches reÂ�stricted to the Â�film-music world. ProÂ�kofÂ�iev, with the Â�ironic exÂ�cepÂ�tion of his score to the film AlÂ�exÂ�anÂ�der NevÂ�sky, had all of his Â�scores orÂ�chesÂ�trated from deÂ�tailed Â�sketches. As VicÂ�tor SerÂ�off Â�points out, “ProÂ�kofÂ�iev deÂ�vised a Â�system that perÂ�mitÂ�ted him not to lose time on the long trip Â�across the counÂ�try. BeÂ�cause the viÂ�braÂ�tion of the train made it imÂ�posÂ�sible to write the orÂ�chesÂ�tral score, he did all his preÂ�parÂ�aÂ�tory work by markÂ�ing in his piano score which of the inÂ�struÂ�ments was to play this or that melÂ�ody or pasÂ�sage. .€.€. He was Â�pleased with havÂ�ing perÂ�fected this Â�method, for it alÂ�lowed him to turn over the piano score to a caÂ�pable

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musiÂ�cian who could then easÂ�ily Â�transcribe it into the orÂ�chesÂ�tral score.”43

FuncÂ�tions What is the typÂ�iÂ�cal forÂ�mal funcÂ�tion fulÂ�filled by the clasÂ�sic HolÂ�lyÂ�wood style? ClauÂ�dia GorbÂ�man sees Max Â�Steiner as the epitÂ�ome of the clasÂ�siÂ�cal style and ilÂ�lusÂ�trates his style in these terms: “So while ilÂ�lusÂ�traÂ�tion to the miÂ�nutÂ�est deÂ�tail was a hallÂ�mark of Â�Steiner’s style in parÂ�ticÂ�uÂ�lar, our overÂ�all model of Â�classical-era film music also must inÂ�clude the genÂ�eral tenÂ�dency toÂ�ward muÂ�siÂ�cal ilÂ�lusÂ�traÂ�tion.”44 Peter LarÂ�sen Â�writes that “[t]he conÂ�tinÂ�uÂ�ous acÂ�comÂ�paÂ�niÂ�ment in King Kong .€.€. Â�points forÂ�wards toÂ�wards what was going to be one of the charÂ�acÂ�terÂ�isÂ�tics of Â�Steiner and the other comÂ�posÂ�ers of the Â�Golden Age: the exact synÂ�chronÂ�izaÂ�tion of music and imÂ�ages.45 SimÂ�iÂ�larly, MerÂ�vyn Cooke adds, “One of two prinÂ�ciÂ�pal types of nonÂ�dieÂ�getic scorÂ�ing in the Â�Golden Age [was] the graphÂ�iÂ�cally ilÂ�lusÂ�traÂ�tive music popÂ�uÂ�larly known as Â�mickey-mousing, or ‘catchÂ�ing the acÂ�tion.’ ”46 Fred KarÂ�lin and RayÂ�burn Â�Wright exÂ�plain: “If you proÂ�vide a muÂ�siÂ�cal acÂ�cent for a speÂ�cific moÂ�ment in the drama, you are hitÂ�ting the acÂ�tion. .€.€. AlÂ�most all film music from the thirÂ�ties, forÂ�ties, and fifÂ�ties was conÂ�ceived this way.”47 For Kathryn KalÂ�iÂ�nak the funÂ�daÂ�menÂ�tal charÂ�acÂ�terÂ�isÂ�tic of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music is the “muÂ�siÂ�cal ilÂ�lusÂ�traÂ�tion of narÂ�raÂ�tive conÂ�tent, esÂ�peÂ�cially the diÂ�rect synÂ�chronÂ�izaÂ�tion Â�between music and narÂ�raÂ�tive acÂ�tion.”48 And so, there is a genÂ�eral agreeÂ�ment that the most peÂ�cuÂ�liar charÂ�acÂ�terÂ�isÂ�tic of the clasÂ�siÂ�cal style was the tight synÂ�chronÂ�izaÂ�tion of music and image Â�achieved Â�through Â�Mickey-Mousing, which is a techÂ�nique, not a funcÂ�tion. So, what is the funcÂ�tion that Â�Mickey-Mousing fulÂ�filled? The clasÂ�siÂ�cal HolÂ�lyÂ�wood style has been Â�called “exÂ�cesÂ�sively obÂ�viÂ�ous”49 since narÂ�raÂ�tive inÂ�forÂ�maÂ�tion Â�tended to be overÂ�stated in case viewÂ�ers might fail to noÂ�tice someÂ� thing imÂ�porÂ�tant. ClasÂ�siÂ�cal narÂ�raÂ�tion used music, among other deÂ�vices, to help the Â�viewer underÂ�stand and interÂ�pret corÂ�rectly and as efÂ�fortÂ�lessly as posÂ�sible the plot preÂ�sented in the film so that he could menÂ�tally conÂ�struct from it the chronÂ�oÂ� logÂ�iÂ�cally and cauÂ�sally orÂ�dered story.50 In order to have a corÂ�rect menÂ�tal conÂ�strucÂ�tion of a cerÂ�tain world, a necÂ�esÂ�sary preÂ�reqÂ�uiÂ�site is to gain a corÂ�rect and as comÂ�plete as posÂ�sible perÂ�cepÂ�tion of that world. Music Â�helped this perÂ�cepÂ�tion: it pinÂ�pointed the imÂ�porÂ�tant inÂ�forÂ�maÂ�tion and Â�guided the Â�viewers’ atÂ�tenÂ�tion, not only Â�through Â�Mickey-Mousing but also Â�through leitÂ�moÂ�tiv. What Â�Michel Chion says about sound in genÂ�eral can be apÂ�plied to music as well: If the sound cinÂ�ema often has comÂ�plex and fleetÂ�ing moveÂ�ments isÂ�suÂ�ing from the heart of a frame and teemÂ�ing with charÂ�acÂ�ters and the other

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visÂ�ual deÂ�tails, this is beÂ�cause the sound superÂ�imÂ�posed on the image is caÂ�pable of diÂ�rectÂ�ing our atÂ�tenÂ�tion to a parÂ�ticÂ�uÂ�lar visÂ�ual traÂ�jecÂ�tory. .€.€. [Mickey-Mousing] .€.€. has been critÂ�iÂ�cized for being reÂ�dunÂ�dant, but it has an obÂ�viÂ�ous funcÂ�tion noneÂ�theÂ�less. Try watchÂ�ing a Tex Avery carÂ�toon withÂ�out the sound, esÂ�peÂ�cially withÂ�out the muÂ�siÂ�cal part. SiÂ�lent, the visÂ�ual figÂ�ures tend to teleÂ�scope, they do not imÂ�press themÂ�selves well in the mind, they go by too fast. Owing to the eye’s relÂ�aÂ�tive inÂ�erÂ�tia and laÂ�ziÂ�ness comÂ�pared to the ear’s agilÂ�ity in idenÂ�tifyÂ�ing movÂ�ing figÂ�ures, sound helps to imÂ�print rapid visÂ�ual senÂ�saÂ�tions into memÂ�ory. InÂ�deed, it plays a more imÂ�porÂ�tant role in its caÂ�pacÂ�ity of aidÂ�ing the apÂ�preÂ�henÂ�sion of visÂ�ual moveÂ�ments than in foÂ�cusÂ�ing on its own subÂ�stance and aural denÂ�sity.51

The Â�Mickey-Mousing techÂ�nique thus priÂ�marÂ�ily fulÂ�fills a spaÂ�tial perÂ�cepÂ�tive funcÂ�tion. It makes viewÂ�ers noÂ�tice what narÂ�raÂ�tion wants them to noÂ�tice by pointÂ�ing their atÂ�tenÂ�tion to a given acÂ�tion or visÂ�ual deÂ�tail Â�within the Â�framed space. For exÂ�amÂ�ple, in CasÂ�aÂ�blanca when Â�French CapÂ�tain ReÂ�nault fiÂ�nally sides with the Â�antiNazi cause and Â�throws a botÂ�tle of Vichy water in the trash can, Â�Steiner marks the fall of the botÂ�tle with a synÂ�chronÂ�ized low chord to point our atÂ�tenÂ�tion to the Â�highly symÂ�bolic meanÂ�ing of this acÂ�tion. To sumÂ�marÂ�ize the Â�four-point styÂ�lisÂ�tic defÂ�iÂ�niÂ�tion that has been arÂ�ticÂ�uÂ�lated so far, the clasÂ�siÂ�cal HolÂ�lyÂ�wood style is charÂ�acÂ�terÂ�ized by the adopÂ�tion of the Â�lateromantic diÂ�alect (lanÂ�guage); the use of leitÂ�moÂ�tiv and Â�Mickey-Mousing (techÂ�niques); the use of the symÂ�phony orÂ�chesÂ�tra (muÂ�siÂ�cal means); and alÂ�though it also perÂ�formed other forÂ�mal funcÂ�tions typÂ�iÂ�cal of film music—such as the Â�macro-emotive funcÂ�tion, the Â�micro-emotive funcÂ�tion, the temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion, and the cogÂ�niÂ�tive funcÂ�tion—its idenÂ�tifyÂ�ing one was the spaÂ�tial perÂ�cepÂ�tive funcÂ�tion.

Portrait of John Williams (ca. 1977). Photograph by Samantha Winslow Williams. Courtesy BSO Archives/John Williams.

John Williams on the recording stage (ca. 1978). Photograph by Samantha Winslow Williams. Courtesy BSO Archives/John Williams.

Top: John Williams at the piano (ca. 1978). Photograph by Samantha Winslow Williams. Courtesy BSO Archives/John Williams. Bottom : John Williams at work in his studio (ca. 1990). Photographer unknown. Courtesy BSO Archives/John Williams.

Top : John Williams on the recording stage for Jaws (1975). Photographer unknown. Courtesy of John Williams/Universal Pictures. Bottom: John Williams on the recording stage for Star Wars: Episode I—The Phantom Menace (1999). Photograph by Jonathan Player. Courtesy Jonathan Player.

Top : John Williams in conversation with Zubin Mehta, with Steven Spielberg at his side (ca. 1978, probably at a Star Wars concert at the Hollywood Bowl in Los Angeles). Photographer unknown. Courtesy BSO Archives/John Williams. Bottom : John Williams with Leonard Bernstein on the stage at Boston’s Symphony Hall (Harvard Night, 1989). Photographer unknown. Courtesy BSO Archives.

John Williams with George Lucas, Grammy Awards in 1999. Featureflash / Shutterstock.com.

Official Portrait of John Williams (1997). Photograph by Bachrach. Courtesy BSO Archives/Bachrach.

Top and bottom : John Williams rehearsing the New York Philharmonic Orchestra (2007). Photographs by Vincent Hardy. Courtesy Vincent Hardy.

Left, top, and bottom: John Williams conducting the New York Philharmonic Orchestra to film in a “multimedia concert piece” (2007). The conductor’s monitor can be seen above, on which a specially marked version of the video runs, alerting to the forthcoming synch points to be caught by the orchestra. Photographs by Vincent Hardy. Courtesy Vincent Hardy.

John Williams at the AFI Achievement Award Gala, 2005. Featureflash / Shutterstock.com.

Author Emilio Audissino with Maestro John Williams, 2 June 2012. Photograph by Christine Dehil. From the author’s collection.

Part II

John �W illia ms and the C las�si�ca l H ol�ly�wood Music S ty le

“SteÂ�ven, for this film, you need a betÂ�ter comÂ�poser than I am.” “You’re right, John. But Â�they’re all dead.” John Â�Williams and SteÂ�ven SpielÂ�berg disÂ�cussÂ�ing the music for Â�Schindler’s List

3 The “ModÂ�ern” HolÂ�lyÂ�wood Mus ic Style T h e Co n Â�text o f Â�Wil l ia ms ’s Re s Â�to Â�ra Â�t i o n

T

he Â�change in contracÂ�tual arÂ�rangeÂ�ments Â�between musiÂ�cians and stuÂ�dios in 1958 can be seen as the end bounÂ�dary of the clasÂ�siÂ�cal style. Film music underÂ�went such Â�changes in terms of lanÂ�guage, techÂ�niques, muÂ�siÂ�cal means, and funcÂ�tions that the new style blosÂ�somÂ�ing in the 1960s can be Â�called “modÂ�ern style.”1 CinÂ�ema and Film Music in the 1960s In the 1960s, EuÂ�roÂ�pean cinÂ�ema reÂ�gained poÂ�siÂ�tions over HolÂ�lyÂ�wood on the interÂ�naÂ�tional scene. The Â�up-to-date filmÂ�makÂ�ers of the time—the auÂ�teurs—were all from EuÂ�rope. In modÂ�ern art cinÂ�ema, style and Â�themes beÂ�came more imÂ�porÂ� tant than narÂ�raÂ�tive. ConÂ�sider MiÂ�chelÂ�anÂ�gelo Â�Antonioni’s idle moÂ�ments and temps mort, in which the acÂ�tion slackÂ�ens and narÂ�raÂ�tive cauÂ�salÂ�ity is weakÂ�ened, or FeÂ�derÂ�ico Â�Fellini’s “exÂ�cesÂ�sive” and conÂ�spicÂ�uÂ�ously idioÂ�synÂ�cratic style, or Alain Â�Resnais’s narÂ�raÂ�tive amÂ�biÂ�guÂ�ity, or IngÂ�mar Â�Bergman’s “imÂ�porÂ�tant topÂ�ics.” SpeÂ�cific sorts of reÂ�alÂ�ism moÂ�tiÂ�vate a loosÂ�enÂ�ing of cause and efÂ�fect, an epiÂ�sodic conÂ�strucÂ�tion of the syuÂ�zhet [ plot], and an enÂ�hanceÂ�ment of the 57

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Â� film’s symÂ�bolic diÂ�menÂ�sion Â�through an emÂ�phaÂ�sis on the flucÂ�tuÂ�aÂ�tions of charÂ�acÂ�ter psycholÂ�ogy. .€.€. In the name of verÂ�iÂ�siÂ�milÂ�iÂ�tude, the tight cauÂ�salÂ�ity of clasÂ�siÂ�cal HolÂ�lyÂ�wood conÂ�strucÂ�tion is reÂ�placed by a more tenÂ�uÂ�ous linkÂ�ing of Â�events. .€.€. The art Â�film’s theÂ�matic crux, its atÂ�tempt to proÂ�nounce judgÂ�ments upon modÂ�ern life and la conÂ�diÂ�tion huÂ�maine, deÂ�pends upon its forÂ�mal orÂ�ganÂ�izaÂ�tion. UnÂ�like most clasÂ�siÂ�cal films, the art film is apt to be quite reÂ�stricted in its range of [narÂ�raÂ�tive] knowlÂ�edge. Such reÂ�stricÂ�tion may enÂ�hance idenÂ�tifiÂ�caÂ�tion (charÂ�acÂ�ter knowlÂ�edge Â�matches ours), but it may also make the narÂ�raÂ�tion less reÂ�liÂ�able. .€.€. The narÂ�row focus is comÂ�pleÂ�mented by psychoÂ�logÂ�iÂ�cal depth; Â�art-film narÂ�raÂ� tion is more subÂ�jecÂ�tive more often than is clasÂ�siÂ�cal narÂ�raÂ�tion. .€.€. To “obÂ�jecÂ�tive” and “subÂ�jecÂ�tive” verÂ�iÂ�siÂ�milÂ�iÂ�tude we may add a third broad Â�schema, that of overt narÂ�raÂ�tional “comÂ�menÂ�tary.” .€.€. StyÂ�lisÂ�tic deÂ�vices that gain promÂ�iÂ�nence with reÂ�spect to clasÂ�siÂ�cal norms—an unÂ�usual angle, a Â�stressed bit of Â�cutting, a strikÂ�ing camÂ�era moveÂ�ment, an unÂ� reÂ�alisÂ�tic shift in lightÂ�ing or setÂ�ting, a disÂ�juncÂ�tion on the sound track, or any other Â�break-down of obÂ�jecÂ�tive reÂ�alÂ�ism which is not moÂ�tiÂ�vated as subÂ�jecÂ�tivÂ�ity—can be taken as the Â�narration’s comÂ�menÂ�tary.2

Now cinÂ�ema was no Â�longer interÂ�ested in the exÂ�teÂ�rior deÂ�velÂ�opÂ�ment of acÂ�tions Â� linked in a Â�straight line, Â�oriented toÂ�ward a final resÂ�oÂ�luÂ�tion and folÂ�lowÂ�ing tight cause/efÂ�fect reÂ�laÂ�tionÂ�ships, but it was foÂ�cused on the visÂ�ual repÂ�reÂ�senÂ�taÂ�tion of the Â�characters’ inÂ�wardÂ�ness. RusÂ�sell Lack Â�states: [ M ]usic beÂ�comes esÂ�peÂ�cially imÂ�porÂ�tant since charÂ�acÂ�ters come inÂ�creasÂ� ingly to reÂ�semÂ�ble feelÂ�ings Â�rather than havÂ�ing fully Â�sketched-out biogÂ� raÂ�phies. FeelÂ�ings Â�rather than charÂ�acÂ�ters are transÂ�formed deÂ�pendÂ�ing on what type of cinÂ�eÂ�matic time they inÂ�habit. This is someÂ�thing like a psycholÂ�ogy of pure feelÂ�ings as opÂ�posed to one Â�rooted in charÂ�acÂ�ters or inÂ�diÂ�vidÂ�uÂ�als. AcÂ�cordÂ�ingly, music acts cruÂ�cially as a navÂ�iÂ�gaÂ�tor of feelÂ�ing disÂ�posÂ�sessed from bodÂ�ies, from biogÂ�raÂ�phies. .€.€. Music in the modÂ�ern cinÂ�ema Â�freely moves Â�between the dieÂ�getic Â�source that is reÂ�vealed in the image and the Â�non-diegetic music whose source Â� is never reÂ�vealed and vice versa. It comes more and more to symÂ�bolÂ�ize the subÂ�lime in the most imagÂ�iÂ�naÂ�tive exÂ�amÂ�ples of its use.3

Many emergÂ�ing EuÂ�roÂ�pean auÂ�thors of the peÂ�riod were wary of using music, such as MiÂ�chelÂ�anÂ�gelo AnÂ�tonÂ�iÂ�oni or RobÂ�ert BresÂ�son: “How many films are Â�patched up by music! Films are Â�flooded with music. This preÂ�vents us from

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seeÂ�ing that there is nothÂ�ing in those imÂ�ages.”4 Some were even Â�openly hosÂ�tile; Eric RohÂ�mer says that “With few exÂ�cepÂ�tions, I reÂ�ject the Â�so-called film music, that is music that is not acÂ�tuÂ�ally loÂ�cated in the space and time of the film. .€.€. Music is Â�cinema’s falsÂ�est Â�friend, as it deÂ�prives film time of its peÂ�cuÂ�liar exÂ�cluÂ�sivÂ�ity and obÂ�jecÂ�tivÂ�ity.”5 The new auÂ�teur cinÂ�ema no Â�longer Â�needed music to susÂ�tain the narÂ�raÂ�tion step by step, as it now deÂ�libÂ�erÂ�ately Â�sought nonÂ�linÂ�ear and amÂ�bigÂ�uÂ�ous forms. “When Alain ReÂ�snais hired Fusco to work for HiÂ�roÂ�shima, mon amour (1959), the comÂ�poser imÂ�meÂ�diÂ�ately deÂ�cided that he would not work out fixed Â�themes for the charÂ�acÂ�ters [i.e., leitÂ�moÂ�tivs], would not systemÂ�atÂ�iÂ�cally emÂ�phaÂ�size the imÂ�ages, and would elude synÂ�chroÂ�nism and careÂ�fully avoid any refÂ�erÂ�ences to the JapÂ�aÂ�nese loÂ�cale.”6 ComÂ�mentÂ�ing on Â�Georges Â�Delerue’s music for the film Love on the Run (L’Amour en fuite, Â�François TrufÂ�faut, 1979), RusÂ�sell Lack reÂ�marks, “The most notÂ�able difÂ�ferÂ� ence from the HolÂ�lyÂ�wood traÂ�diÂ�tion of roÂ�manÂ�tiÂ�cism is that orÂ�chesÂ�tral flourÂ�ishes are not genÂ�erÂ�ally used to track moveÂ�ment but Â�rather to set a scene.”7 The Style of ModÂ�ern Film Music If we exÂ�amÂ�ine the works of Ennio MorÂ�riÂ�cone (1928–), John Barry (1933–2011), and Henry ManÂ�cini (1924–94), three of the most sucÂ�cessÂ�ful repÂ�reÂ�senÂ�taÂ�tives of this new style, it is patÂ�ent that the Â�classical-style “spaÂ�tial perÂ�cepÂ�tive funcÂ�tion” (the case in which music diÂ�rects the Â�viewer’s atÂ�tenÂ�tion to a parÂ�ticÂ�uÂ�lar eleÂ�ment inÂ�side the framÂ�ing) holds a miÂ�norÂ�ity poÂ�siÂ�tion in the new style. ConÂ�seÂ�quently, the Â�Mickey-Mousing and leitÂ�moÂ�tiv techÂ�niques beÂ�came obÂ�soÂ�lete. ModÂ�ern style faÂ�vored the emÂ�oÂ�tive funcÂ�tion (addÂ�ing or reÂ�inÂ�forcÂ�ing the emoÂ�tional tone of a scene) or the cogÂ�niÂ�tive funcÂ�tion (clarÂ�ifyÂ�ing or imÂ�plyÂ�ing the conÂ�noÂ�taÂ�tions and imÂ�plicit meanÂ�ings). The only kind of perÂ�cepÂ�tive funcÂ�tion reÂ�tained is the temÂ�poÂ�ral one: changÂ�ing the perÂ�cepÂ�tion of the visÂ�ual Â�rhythm, or temÂ�poÂ�rally linkÂ�ing Â�through a muÂ�siÂ�cal conÂ�tinÂ�uum Â�events that might othÂ�erÂ�wise seem disÂ�conÂ�nected. In the 1960s, HolÂ�lyÂ�wood cinÂ�ema was weakÂ�ened by a seÂ�vere criÂ�sis, and as it was Â�strongly inÂ�fluÂ�enced by NouÂ�velle Vague (the “New Wave”) and the EuÂ�roÂ�pean auÂ�teur cinÂ�ema, so it was also inÂ�fluÂ�enced by the EuÂ�roÂ�pean music style. ComÂ�pared to the clasÂ�siÂ�cal HolÂ�lyÂ�wood traÂ�diÂ�tion, EuÂ�roÂ�pean style had alÂ�ways been charÂ�acÂ� terÂ�ized by a lower adÂ�herÂ�ence Â�between music and visÂ�uÂ�als and a minor use of leitÂ�moÂ�tiv.8 Also, the EuÂ�roÂ�pean style disÂ�tinctly faÂ�vored the techÂ�nique of the Â�closed muÂ�siÂ�cal numÂ�ber. InÂ�stead of a conÂ�tinÂ�uÂ�ous Â�stream of music based on interÂ�woven leitÂ�moÂ�tivs, the score was strucÂ�tured Â�through a seÂ�ries of isoÂ�lated set Â�pieces Â�closed in themÂ�selves. This is more simÂ�iÂ�lar to the ItalÂ�ian and Â�French opÂ�eras, conÂ�stiÂ�tuted by muÂ�siÂ�cally Â�self-sufficient arias Â�clearly sepÂ�arÂ�ated by reÂ�citÂ�aÂ�tivi, Â�rather than to the

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conÂ�tinÂ�uÂ�ous muÂ�siÂ�cal Â�stream of Â�Wagner’s Â�Wort-Ton-Drama, which had such a great inÂ�fluÂ�ence on HolÂ�lyÂ�wood music. This modÂ�ern styÂ�lisÂ�tic feaÂ�ture can be found in the works of Nino Rota, for inÂ�stance: “AnÂ�other funcÂ�tion of nonÂ�dieÂ�getic film music is to bind the inÂ�ciÂ�dents of a film toÂ�gether in a comÂ�mon amÂ�biÂ�ance. The theÂ�matic, inÂ�struÂ�menÂ�tal, and styÂ�lisÂ�tic conÂ�tiÂ�nuÂ�ities typÂ�iÂ�cal of film Â�scores help to Â�create a conÂ�sisÂ�tency of tone or feelÂ�ing Â�across the span of a film, esÂ�peÂ�cially where the Â�events preÂ�sented are not very Â�tightly conÂ�nected in a draÂ�matic sense. Thus this, Â�rather than any narÂ�raÂ�tive task, seems to be the main funcÂ�tion of Â�Rota’s score for Â�Fellini’s AmarÂ�cord.”9 Â�Rota’s score for The GodÂ�father (FranÂ�cis Ford CopÂ�pola, 1972) shows that his techÂ�nique is not akin to the HolÂ�lyÂ�wood style but Â�rather based on Â�closed muÂ�siÂ�cal numÂ�bers and litÂ�tle adÂ�herÂ�ence to the visÂ�ual acÂ�tion. In the 1960s, this style Â�spread interÂ�naÂ�tionÂ�ally beÂ�cause of the worldÂ�wide sucÂ�cess of EuÂ�roÂ�pean films; Â�Rota’s music had a vast difÂ�fuÂ�sion and visÂ�ibilÂ�ity Â�thanks to his colÂ�labÂ�oÂ�raÂ�tion with FelÂ�lini. The techÂ�nique of the Â�closed muÂ�siÂ�cal numÂ�ber was also used by Ennio MorÂ�riÂ�cone and disÂ�semiÂ�nated Â�through the enorÂ�mous sucÂ�cess of his Â�scores for SerÂ�gio Â�Leone’s “Spaghetti-Westerns.”10 MorÂ�riÂ�cone is cerÂ�tainly one of the leadÂ�ing repÂ�reÂ�senÂ�taÂ�tives of the new style, and he is Â�equally far from both ItalÂ�ian and HolÂ�lyÂ�wood clasÂ�siÂ�cism. He Â�openly reÂ�jects the clasÂ�siÂ�cal style: “The Â�screen reÂ�flects a flat image that, perÂ�haps, withÂ�out music would reÂ�main flat. Music gives it a sense of verÂ�tiÂ�cal depth and horÂ�iÂ�zonÂ�tal dyÂ�naÂ�mism, which can only be posÂ�sible if music is surÂ�rounded by siÂ�lence. This is necÂ�esÂ�sary beÂ�cause our hearÂ�ing, and thereÂ�fore our brain, canÂ�not lisÂ�ten and underÂ�stand more Â�sounds of a difÂ�ferÂ�ent naÂ�ture siÂ�mulÂ�taÂ�neÂ�ously. We will never underÂ�stand four peoÂ�ple speakÂ�ing at the same time. It is abÂ�soÂ�lutely necÂ�esÂ�sary, if the diÂ�recÂ�tor wants to conÂ�sider music in the right way, to isoÂ�late music and give the auÂ�diÂ�ence the time to lisÂ�ten to it in the best way.”11 MorÂ�riÂ�cone not only reÂ�jects the diÂ�alogue underÂ�scorÂ�ing techÂ�nique but also all the clasÂ�sical techÂ�niques, such as Â�Mickey-Mousing and leitÂ�moÂ�tiv, that do not give music a cenÂ�tral perÂ�cepÂ�tual poÂ�siÂ�tion. In SerÂ�gio Â�Leone’s films, music Â�emerges in Â�closed muÂ�siÂ�cal numÂ�bers when there is no diÂ�alogue—simÂ�iÂ�lar to ItalÂ�ian opera: “I think that music Â�should be Â�present when the acÂ�tion stops and crysÂ�talÂ�lizes; as in muÂ�siÂ�cal theÂ�aÂ�ter we can find the reÂ�citÂ�aÂ�tivo and the aria, music in cinÂ�ema Â�should be Â�placed in corÂ�reÂ�sponÂ� dence with the aria, when the acÂ�tion stops and there are Â�thoughts and introÂ�specÂ� tion, not when the acÂ�tion has its own narÂ�raÂ�tive dyÂ�namics.”12 As to the adÂ�herÂ�ence to visÂ�uÂ�als, MorÂ�riÂ�cone catÂ�eÂ�gorÂ�iÂ�cally reÂ�jects synÂ�chroÂ�nism: “Music must folÂ�low its own disÂ�course and have its own unity; enÂ�courÂ�agÂ�ing synÂ�chroÂ�nism means givÂ�ing up all this.” 13 In genÂ�eral, what MorÂ�riÂ�cone reÂ�jects is the inÂ�audÂ�ibilÂ�ity of film music, which we have seen as being one of the corÂ�nerÂ�stones of the clasÂ�siÂ�cal

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HolÂ�lyÂ�wood style, and the conÂ�seÂ�quent backÂ�ground music: “In fact, Â�Morricone’s music can best be deÂ�scribed as foreÂ�ground music.”14 UnÂ�like the clasÂ�siÂ�cal HolÂ�lyÂ�wood style that unÂ�doubtÂ�edly inÂ�fluÂ�enced the pracÂ�tice of comÂ�poÂ�siÂ�tion for film in genÂ�eral but was apÂ�plied in its full form only in HolÂ�lyÂ�wood, modÂ�ern style was an interÂ�naÂ�tional style, its feaÂ�tures being Â�present in films from difÂ�ferÂ�ent naÂ�tions. Low adÂ�herÂ�ence to acÂ�tion and Â�closed muÂ�siÂ�cal numÂ�bers can be found in the Â�scores by the Â�French comÂ�posÂ�ers FranÂ�cis Lai and Â�Michel LeÂ�grand, the ArÂ�genÂ�tinÂ�ian Lalo SchiÂ�frin, the BritÂ�ish John Barry, and the Â�American Henry ManÂ�cini. ConÂ�sider the acÂ�tion seÂ�quences in many James Bond films. John Â�Barry’s music gives pace and susÂ�pense but comÂ�pared to the clasÂ�sic adÂ�venÂ�ture films it folÂ�lows a freer muÂ�siÂ�cal deÂ�velÂ�opÂ�ment, one not Â�tightly synÂ�chronÂ�ized with the visÂ�uÂ�als. The difÂ�ferÂ�ence is reÂ�markÂ�able if we comÂ�pare Monty Â�Norman’s score for the first James Bond film, Dr. No (TerÂ�ence Young, 1962), with those comÂ�posed by Barry for the folÂ�lowÂ�ing films of the seÂ�ries. In the Dr. No scene where Bond Â�squashes the taÂ�ranÂ�tula that his enÂ�eÂ�mies had hidÂ�den in his bed, NorÂ�man uses many puncÂ�tuÂ�aÂ�tional stingÂ�ers and a kind of Â�Mickey-Mousing to acÂ�cenÂ�tuÂ�ate each time Bond hits the spiÂ�der. NorÂ�man seems to still be folÂ�lowÂ�ing traÂ�diÂ�tional techÂ� niques. Other ocÂ�curÂ�rences of such exÂ�plicit synÂ�chroÂ�nism are not found in the folÂ�lowÂ�ing Barry Â�scores, when the modÂ�ern style was alÂ�ready well esÂ�tabÂ�lished. As to the muÂ�siÂ�cal means, the symÂ�phony orÂ�chesÂ�tra was no Â�longer the stanÂ�dard in modÂ�ern style. HowÂ�ever, it was still used in some blockÂ�bustÂ�ers or presÂ�tige films such as The Lion in WinÂ�ter (AnÂ�thony HarÂ�vey, 1968, music by John Barry); Â�Ryan’s DaughÂ�ter (David Lean, 1970, music by MauÂ�rice Jarre); Tom Jones (Tony RichÂ�ardÂ�son, 1963, music by John AdÂ�diÂ�son); and The GodÂ�father (FranÂ�cis Ford CopÂ�pola, 1972, music by Nino Rota). The Â�choice now Â�ranged from jazz comÂ�bos to big bands to small chamÂ�ber enÂ�semÂ�bles (To Kill a MockÂ�ingÂ�bird, RobÂ�ert MulÂ�liÂ�gan, 1962, music by Elmer BernÂ�stein) or even solo imÂ�provÂ�isaÂ�tion on the visÂ�uÂ�als (Miles Â�Davis’s music for AsÂ�cenÂ�seur pour Â�l’échafaud, Louis Malle, 1957).15 As to the lanÂ�guage, modÂ�ern style inÂ�cluded a wide vaÂ�riety, rangÂ�ing from jazz to Â�funk-soul, Â�rhythm ’n’ blues, rock, and “easy-listening” pop. It was open to any other lanÂ�guages that were eiÂ�ther Â�trendy or exÂ�periÂ�menÂ�tal, inÂ�cludÂ� ing diÂ�alects of Â�twentieth-century art music such as atoÂ�nalÂ�ity, modÂ�alÂ�ism, and doÂ�decÂ�aÂ�phonÂ�ism—for exÂ�amÂ�ple LeÂ�oÂ�nard Â�Rosenman’s atoÂ�nal score for FanÂ�tasÂ�tic VoyÂ�age (RichÂ�ard FleisÂ�cher, 1966) or David Â�Shire’s Â�twelve-tone score for The TakÂ�ing of PelÂ�ham 123 ( JoÂ�seph SarÂ�gent, 1974). These linÂ�guisÂ�tic inÂ�noÂ�vaÂ�tions were due not only to aesÂ�thetic or reÂ�alisÂ�tic reaÂ�sons but also to an unÂ�precÂ�eÂ�dented pheÂ�nomÂ�eÂ�non: the inÂ�creasÂ�ing comÂ�merÂ�cial imÂ�porÂ�tance of film music in the 1960s. The adopÂ�tion of conÂ�temÂ�poÂ�rary and popÂ�uÂ�lar diÂ�alects in film music was an efÂ�fecÂ�tive way to

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atÂ�tract young auÂ�diÂ�ences, which were now the basis of cinÂ�ema atÂ�tenÂ�dance. Film music had to upÂ�date acÂ�cordÂ�ing to the Â�tastes of the new auÂ�diÂ�ence, which were cerÂ�tainly not in line with the symÂ�phonic Â�late-romanticism of the clasÂ�siÂ�cal style.16 One of the reaÂ�sons for this linÂ�guisÂ�tic reÂ�newal, then—and cerÂ�tainly not the least imÂ�porÂ�tant—was marÂ�ket orÂ�ienÂ�taÂ�tion. The most obÂ�viÂ�ous conÂ�seÂ�quence was the growÂ�ing imÂ�porÂ�tance of pop songs as core eleÂ�ments of the music track. ModÂ�ern Style and the EcoÂ�nomic MoÂ�tiÂ�vaÂ�tion The reÂ�laÂ�tion Â�between cinÂ�ema and songs is as old as cinÂ�ema itÂ�self. The main reaÂ�son is to Â�achieve the maxÂ�iÂ�mum ecoÂ�nomic benÂ�eÂ�fit by havÂ�ing the film and the music inÂ�dusÂ�tries supÂ�portÂ�ing each other. As early as the nickÂ�elÂ�oÂ�deon peÂ�riod, the fad of ilÂ�lusÂ�trated songs, a kind of “pre-karaoke,” had been Â�launched and was diÂ� rectly fiÂ�nanced by music pubÂ�lishÂ�ing Â�houses.17 Music comÂ�posed to acÂ�comÂ�pany such siÂ�lent films as The Birth of a NaÂ�tion (David Wark GrifÂ�fith, 1915, music by JoÂ�seph Carl Breil) and What Price Glory (Raoul Walsh, 1926, music by Erno Rapée) was imÂ�meÂ�diÂ�ately Â�adapted into songs and sold sucÂ�cessÂ�fully.18 In the early sound films the presÂ�ence of music was eiÂ�ther Â�sparse and dieÂ�getic in the talkÂ�ies, or asÂ�semÂ�bled in a Â�string of muÂ�siÂ�cal numÂ�bers in the Â�all-singing muÂ�siÂ�cal reÂ�vues. In eiÂ�ther case, popÂ�uÂ�lar songs had the Â�lion’s share, and film stuÂ�dios eiÂ�ther Â�merged with music pubÂ�lishÂ�ing comÂ�paÂ�nies or Â�started their own subÂ�sidÂ�iÂ�arÂ�ies in order to gain fully from the profÂ�itÂ�able song craze.19 With the end of this trend and the emerÂ�gence of the clasÂ�siÂ�cal music style, songs conÂ�tinÂ�ued to be feaÂ�tured in films, since their ecoÂ�nomic poÂ�tenÂ�tial was still very imÂ�porÂ�tant. Â�All-symphonic Â�filmmusic alÂ�bums were rare and the marÂ�ket for Â�film-music Â�records was alÂ�most exÂ� cluÂ�sively conÂ�cerned with songs, which were conÂ�seÂ�quently inÂ�cluded in the Â�films’ sound track to proÂ�mote the sale of the Â�records.20 In the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema, the “ecoÂ�nomic moÂ�tiÂ�vaÂ�tion” for the presÂ�ence of a song in a film was careÂ�fully Â�masked with a reÂ�alisÂ�tic moÂ�tiÂ�vaÂ�tion: the song apÂ�peared at dieÂ�getic level as a live perÂ�forÂ�mance or as a broadÂ�cast comÂ�ing from some Â�on-screen visÂ�ible radio. The Â�proper locus to showÂ�case a saleÂ�able song was the dieÂ�getic muÂ�siÂ�cal numÂ�ber by the feÂ�male lead—a strikÂ�ing exÂ�amÂ�ple of Laura Â�Mulvey’s “female-spectacle”21—often acÂ�comÂ�paÂ�nied by some bankÂ�able musiÂ�cian. Such inÂ�stances can be found both in comÂ�eÂ�dies such as Ball of Fire (Howard Hawks, 1941), feaÂ�turÂ�ing BarÂ�bara StanÂ�wyck singÂ�ing “Drum BooÂ�gie” acÂ�comÂ�paÂ�nied by drumÂ�mer Gene Krupa, and in draÂ�mas like To Have and Have Not (Howard Hawks, 1944), where LaÂ�uren BaÂ�call sings a Â�couple of songs by Hoagy CarÂ�miÂ�chael, with the comÂ�poser himÂ�self playÂ�ing the piano. In

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the Â�classical-style inÂ�visÂ�ible narÂ�raÂ�tion, songs used at Â�non-diegetic level were out of place beÂ�cause they were too noÂ�ticeÂ�able. First of all, lyrÂ�ics could disÂ�tract from the narÂ�raÂ�tive conÂ�text or interÂ�fere with diÂ�alogue. MoreÂ�over, faÂ�mous songs could evoke asÂ�soÂ�ciÂ�aÂ�tions and conÂ�noÂ�taÂ�tions that were Â�likely to disÂ�conÂ�nect the Â�viewer from the Â�film’s narÂ�raÂ�tive world. Also, a song is in itÂ�self less “inÂ�audÂ�ible” and less conÂ�cealÂ�able than inÂ�struÂ�menÂ�tal music: the strucÂ�ture of a song is rigid and canÂ�not be bent and Â�adapted to visÂ�uÂ�als, as is the case with orÂ�chesÂ�tral music.22 The use of a song at dieÂ�getic level—Â�through the presÂ�enÂ�taÂ�tion of a muÂ�siÂ�cal numÂ�ber—put the narÂ�raÂ�tive to a temÂ�poÂ�rary stop, but it did not disÂ�rupt the narÂ�raÂ�tion inÂ�visÂ�ibilÂ�ity beÂ�cause it was moÂ�tiÂ�vated reÂ�alisÂ�tiÂ�cally. In this way, it was posÂ�sible to elÂ�eÂ�gantly mask the acÂ�tual moÂ�tiÂ�vaÂ�tion, which was to Â�prompt viewÂ�ers to go and buy Â�tie-in Â�records or sheet music when leavÂ�ing the theÂ�aÂ�ter. The balÂ�ance Â�between reÂ�alisÂ�tiÂ�cally moÂ�tiÂ�vated dieÂ�getic songs and comÂ�poÂ�siÂ� tionÂ�ally moÂ�tiÂ�vated non-diegetic Â� orÂ�chesÂ�tral music broke down in the 1960s, when an exÂ�trinÂ�sic ecoÂ�nomic moÂ�tiÂ�vaÂ�tion beÂ�came Â�mostly evÂ�iÂ�dent and preÂ�vailed over inÂ�trinÂ�sic aesÂ�thetic and forÂ�mal moÂ�tiÂ�vaÂ�tions. The first reaÂ�son was techÂ�noÂ�logÂ�iÂ�cal. The introÂ�ducÂ�tion and rapid difÂ�fuÂ�sion of the 33 1/3 rpm Â�long-playing disc Â�caused the blosÂ�somÂ�ing of a masÂ�sive Â�record inÂ�dusÂ�try.23 Â�Whereas preÂ�viÂ�ous 78 rpm discs could conÂ�tain just three to five minÂ�utes of music, the stanÂ�dard Â�length of one song, the new forÂ�mat could store up to forty minÂ�utes, meanÂ�ing that just one song was not Â�enough to make a disc. AnÂ�other reaÂ�son was soÂ�ciÂ�ologÂ�iÂ�cal. In the 1950s, film proÂ�ducÂ�ers had disÂ�covÂ�ered the poÂ�tenÂ�tial of the teen auÂ�diÂ�ence and the imÂ�porÂ�tance of comÂ�plyÂ�ing with its muÂ�siÂ�cal Â�tastes, esÂ�peÂ�cially after the huge sucÂ�cess of such films as BlackÂ�board JunÂ�gle (Richard Â�Brooks, 1955), which feaÂ�tured rock ’n’ roll music by Bill Haley and His ComÂ�ets, and whose LP album sold specÂ�tacÂ�uÂ� larly.24 Most imÂ�porÂ�tant, the deÂ�mise of the clasÂ�siÂ�cal stuÂ�dio Â�system in the 1960s Â�caused a radÂ�iÂ�cal Â�change in proÂ�ducÂ�tion pracÂ�tice. Â�Whereas in the old days the deÂ�ciÂ�sive profÂ�its were the total net revÂ�eÂ�nue of the stuÂ�dio, the sum of all the film proÂ�jects, now—in the “package-unit Â�system”—the deÂ�ciÂ�sive profÂ�its were those of the sinÂ�gle films.25 In the new Â�highly comÂ�petÂ�iÂ�tive marÂ�ket the conÂ�seÂ�quence was that each film had to be an ecoÂ�nomic sucÂ�cess. To seÂ�cure such a sucÂ�cess, a good soÂ�luÂ�tion was to team up with the burÂ�geonÂ�ing Â�record inÂ�dusÂ�try, balÂ�ancÂ�ing a weak Â�box-office perÂ�forÂ�mance with the poÂ�tenÂ�tially betÂ�ter sales of the Â�film’s LP album. ConÂ�trolÂ�ling both the film and Â�record inÂ�dusÂ�tries and apÂ�plyÂ�ing a careÂ�fully deÂ�vised, synÂ�erÂ�gisÂ�tic Â�cross-promotion not only adÂ�verÂ�tised the film via the presÂ�ence of the song on the radio and in Â�record Â�stores, but also proÂ�moted the song by havÂ�ing it showÂ�cased in the film. In the 1960s every major stuÂ�dio beÂ�came an imÂ�porÂ�tant shareÂ�holder in some exÂ�istÂ�ing Â�record comÂ�pany or Â�created its own subÂ�sidÂ�iÂ�ary in order to colÂ�lect profÂ�its from both marÂ�kets. All these facÂ�tors led to a new pop

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song craze and Â�prompted the rise of the modÂ�ern style, of which the use of ecÂ�oÂ� nomÂ�iÂ�cally moÂ�tiÂ�vated pop songs is a cenÂ�tral feaÂ�ture. If we comÂ�pare the clasÂ�siÂ�cal style with the modÂ�ern style as to the way songs were inÂ�serted in films, the difÂ�ferÂ�ence can be seen in the move from the dieÂ�getic to the Â�non-diegetic level, that is, the “interÂ�poÂ�lated songs” pheÂ�nomÂ�eÂ�non.26 From the 1960s, pop songs were Â�placed at Â�non-diegetic level and took over some of the forÂ�mal funcÂ�tions preÂ�viÂ�ously perÂ�formed by orÂ�chesÂ�tral music, such as linkÂ�ing toÂ�gether the segÂ�ments of a monÂ�tage seÂ�quence or clarÂ�ifyÂ�ing the emoÂ�tional mood of a scene. The film credÂ�ited with havÂ�ing esÂ�tabÂ�lished this trend—Â�thanks to its big sucÂ�cess both in theÂ�aÂ�ters and in Â�record Â�stores—is A Man and a Woman (Un homme et une femme, Â�Claude LeÂ�louch, 1966, music by FranÂ�cis Lai).27 Again, the probÂ�lem is that songs used at Â�non-diegetic level are less flexÂ�ible than orÂ�chesÂ�tral music and risk apÂ�pearÂ�ing as being arÂ�biÂ�trarÂ�ily inÂ�serted into the film for an Â�overtly ecoÂ�nomic moÂ�tiÂ�vaÂ�tion. SomeÂ�times songs are inÂ�deed theÂ�matÂ�iÂ�cally conÂ�gruÂ�ent, narÂ�raÂ�tively funcÂ�tional, clevÂ�erly Â�placed, and can funcÂ�tion as efÂ�fecÂ�tively as an orÂ�chesÂ�tral score. The Â�American GrafÂ�fiti music track, for exÂ�amÂ�ple, is made up of early 1960s songs, with each scene supÂ�ported by a difÂ�ferÂ�ent song—havÂ�ing a forÂ�mally conÂ�sisÂ�tent comÂ�poÂ�siÂ�tional moÂ�tiÂ�vaÂ�tion and being funcÂ�tional to the nosÂ�talÂ�gic mood of the film. The music is also moÂ�tiÂ�vated reÂ�alisÂ�tiÂ�cally, not just beÂ�cause of the time setÂ�ting of the story but also beÂ�cause of the conÂ�stant presÂ�ence of car Â�radios in the Â�pro-filmic space. This reÂ�sults in a subÂ�tly amÂ�bigÂ�uÂ�ous play Â�between dieÂ�getic and Â�non-diegetic levÂ�els: Are the songs broadÂ�cast by the radio sets or are they Â�non-diegetic? Can the charÂ�acÂ�ters acÂ�tuÂ�ally hear the songs or, beÂ�cause the songs are outÂ�side the narÂ�raÂ�tive world, can they be heard only by the viewÂ�ers?28 Other exÂ�amÂ�ples of songs inÂ�cluded in a film for ecoÂ�nomic reaÂ�sons and yet well inÂ�teÂ�grated into the narÂ�raÂ�tive can be found in John Barry’s Â� works for the James Bond seÂ�ries, startÂ�ing with GoldÂ�finÂ�ger (Guy HamÂ�ilÂ�ton, 1964). The theme song (“GoldÂ�finÂ�ger”) is showÂ�cased in a dedÂ�iÂ�cated spot outÂ�side the narÂ�raÂ�tive, in a title seÂ�quence conÂ�structed like a “proto-video clip.”29 The lyrÂ�ics tie in with the Â�film’s narÂ�raÂ�tive and Â�themes, and its muÂ�siÂ�cal theme is reÂ�curÂ�rently preÂ�sented in inÂ�struÂ�menÂ�tal verÂ�sions Â�within the narÂ�raÂ�tive, thus fulÂ�fillÂ�ing forÂ�mal funcÂ�tions simÂ�iÂ�lar to those once fulÂ�filled by leitÂ�moÂ�tivs in the clasÂ�siÂ�cal style.30 NoneÂ�theÂ�less, a Â�poorly moÂ�tiÂ�vated orÂ�chesÂ�tral interÂ�venÂ�tion is still less inÂ� conÂ�gruÂ�ous and obÂ�truÂ�sive than a Â�poorly moÂ�tiÂ�vated song. The minor flexÂ�ibilÂ�ity of songs reÂ�sulted in deÂ�batÂ�able cases of inÂ�conÂ�gruÂ�ity and misÂ�placeÂ�ment. StickÂ�ing to the James Bond franÂ�chise, conÂ�sider Never Say Never Again (Irvin KershÂ�ner, 1983, music by Â�Michel LeÂ�grand). Its music tried to repÂ�liÂ�cate the sucÂ�cessÂ�ful comÂ�merÂ�cial forÂ�mula of the seÂ�ries—a new song as the main theme of each film, preÂ�sented in

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the Â�non-diegetic openÂ�ing tiÂ�tles seÂ�quence—withÂ�out being as conÂ�gruÂ�ent and funcÂ�tional as Â�Barry’s Â�scores. The title song (“Never Say Never Again”) is an Â�easy-listening, lightÂ�weight Â�piano-bar style tune, which would sound perÂ�fect as a muÂ�siÂ�cal wallÂ�paÂ�per at a cockÂ�tail party. InÂ�stead of being Â�placed in its own space outÂ�side the narÂ�raÂ�tive, the song flows under the acÂ�tion proÂ�logue over which the openÂ�ing credÂ�its are superÂ�imÂ�posed. In this seÂ�quence, Bond, here on a Â�hostagerelease misÂ�sion, has to sneak into a South Â�American esÂ�tate surÂ�rounded by menÂ�acÂ�ing armed men. The song is Â�hardly conÂ�sisÂ�tent with what we are seeÂ�ing and it cerÂ�tainly does not supÂ�port the narÂ�raÂ�tion: its Â�easy-listening, reÂ�laxed mood works Â�against the susÂ�pense. It seems difÂ�fiÂ�cult to conÂ�sider this case as a deÂ�libÂ�erÂ�ate use of “anemÂ�paÂ�thetÂ�iÂ�cal” music31—that is, the music is “inÂ�difÂ�ferÂ�ent” to the drama that unÂ�folds in the visÂ�uÂ�als—or a kind of KuÂ�brick asynÂ�chroÂ�nism beÂ�cause no other styÂ�lisÂ�tic eleÂ�ments seem to inÂ�diÂ�cate such narÂ�raÂ�tional inÂ�tent. AnÂ�other exÂ�amÂ�ple is The GradÂ�uÂ�ate (Mike NichÂ�ols, 1967), in which Paul Simon and Art Â�Garfunkel’s songs have litÂ�tle or nothÂ�ing to do with what hapÂ�pens in the visÂ�uÂ�als. Even the lyrÂ�ics of the only song exÂ�pressly writÂ�ten for the film (“Mrs. RobÂ�inÂ�son”) have nothÂ�ing to do with the Mrs. RobÂ�inÂ�son porÂ�trayed in the film, as if the Â�singer/songÂ�writer duo was inÂ�volved simÂ�ply for a muÂ�tual comÂ�merÂ�cial benÂ�eÂ�fit and withÂ�out even knowÂ�ing what the film was about.32 A textÂ�book exÂ�amÂ�ple is the Â�bicycle-ride seÂ�quence in Butch CasÂ�sidy (George Roy Hill, 1969).33 In this case, not only do the lyrÂ�ics have nothÂ�ing to do with the film seÂ�quence, but the music style is also inÂ�conÂ�sisÂ�tent with that of the rest of the score. “RainÂ�drops Keep Â�Fallin’ on My Head” just seems to have been forceÂ�fully inÂ�serted with the sole purÂ�pose of proÂ�motÂ�ing Â�Burt Bacharach’s song. This type of unÂ�abashÂ�edly proÂ�moÂ� tional seÂ�quence is brilÂ�liantly Â�spoofed by Â�Zucker-Abrahams-Zucker in The Naked Gun: From the Files of PoÂ�lice Squad (1988). We see a monÂ�tage showÂ�ing Lt. Frank DreÂ�bin and his new fiÂ�anÂ�cée, Jane, inÂ�volved in a seÂ�ries of cliÂ�chéd roÂ�manÂ�tic acÂ�tivÂ�iÂ� ties, acÂ�comÂ�paÂ�nied by a merry song. At the end of the seÂ�quence, as in a MTV video, the Â�song’s title, auÂ�thors, album name, and Â�record comÂ�pany—“Herman’s HerÂ�mits, ‘I’m Into SomeÂ�thing Good,’ The Naked Gun SoundÂ�track, Â�Wheelo Â�Records Inc.”—apÂ�pear Â�on-screen, hiÂ�larÂ�iÂ�ously barÂ�ing the ecoÂ�nomic moÂ�tiÂ�vaÂ� tion of the presÂ�ence of songs in such seÂ�quences. The ulÂ�tiÂ�mate reÂ�sult of this Â�market-oriented apÂ�proach was the pheÂ�nomÂ�eÂ�non of the comÂ�piÂ�laÂ�tion score, a Â�filmmusic track built out of repÂ�erÂ�toire pop songs inÂ�stead of origÂ�iÂ�nal inÂ�struÂ�menÂ�tal music in symÂ�phonic, jazz, pop, or rock diÂ�alect. 34 This techÂ�nique was Â�largely Â�adopted by the inÂ�dusÂ�try after the sucÂ�cess of The GradÂ�uÂ�ate and apÂ�plied with sucÂ� cessÂ�ful reÂ�sults in such films as Easy Rider (DenÂ�nis HopÂ�per, 1969); Mean Â�Streets (MarÂ�tin ScorÂ�sese, 1973); and The Last PicÂ�ture Show (Peter BogÂ�danÂ�oÂ�vich, 1971). In

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these cases, the risk that more atÂ�tenÂ�tion is paid to the comÂ�merÂ�cial alÂ�lure of a song Â�rather than to its acÂ�tual funcÂ�tionÂ�alÂ�ity and conÂ�sisÂ�tency with the film is at its highÂ�est. Henry ManÂ�cini, the most inÂ�fluenÂ�tial Â�modern-style HolÂ�lyÂ�wood comÂ�poser, was perÂ�haps the deftÂ�est “tuÂ�nesÂ�mith” of the peÂ�riod, balÂ�ancÂ�ing the Â�old-school sense of drama with a knack for stayÂ�ing in tune with or even shapÂ�ing himÂ�self the curÂ�rent muÂ�siÂ�cal Â�trends. He had a repÂ�uÂ�taÂ�tion for comÂ�posÂ�ing very sucÂ�cessÂ�ful songs, which found their right spot both in the films and in the Â�record Â�stores, and for havÂ�ing a keen underÂ�standÂ�ing of how to put toÂ�gether a sucÂ�cessÂ�ful album.35 TypÂ�iÂ�cally, “Mancini’s Â�scores Â�emerge as colÂ�lecÂ�tions of Â�themes with one or two being more promÂ�iÂ�nent than the rest. More imÂ�porÂ�tantly .€.€. his Â�themes .€.€. reÂ�tain the shape and forÂ�mal charÂ�acÂ�ter of inÂ�diÂ�vidÂ�ual muÂ�siÂ�cal numÂ�bers, and they typÂ�iÂ�cally funcÂ�tion with a comÂ�parÂ�able measÂ�ure of muÂ�siÂ�cal autonÂ�omy. Like the songs of a muÂ�siÂ�cal, Â�Mancini’s Â�themes disÂ�play a masÂ�tery of song strucÂ�tures, a plethÂ�ora of muÂ�siÂ�cal hooks, and a surÂ�feit of memÂ�orÂ�able melÂ�oÂ�dies. In their orÂ�ienÂ�taÂ�tion toÂ�ward tunes, Â�Mancini’s multiÂ�theme Â�scores Â�proved emÂ�iÂ�nently Â�suited to the forÂ�mat of pop album.”36 The Â�closed muÂ�siÂ�cal numÂ�ber techÂ�nique is Â�clearly more funcÂ�tional than the conÂ�tinÂ�uÂ�ous leitÂ�moÂ�tivic flow of the clasÂ�sic style if the aim is to have the film score also exÂ�ploited in a marÂ�ketÂ�able Â�easy-listening album. Many ManÂ�cini Â�scores, while workÂ�ing efÂ�fiÂ�ciently in the films, seem to be also comÂ�posed with the very album in mind, as they are typÂ�iÂ�cally made up of a Â�string of inÂ�deÂ�penÂ�dent and Â�well-defined muÂ�siÂ�cal numÂ�bers. Think of the party seÂ�quences in The Party (Blake EdÂ�wards, 1968), a slapÂ�stick comÂ�edy that once would have Â�widely feaÂ�tured the Â�Mickey-MousÂ�ing techÂ�nique. On the Â�contrary, the music track is a colÂ�lecÂ�tion of cockÂ�tail and dance Â�pieces, Â�mainly dieÂ�getic.37 The DeÂ�mise of the ClasÂ�siÂ�cal Music Style The modÂ�ern style and its inÂ�noÂ�vaÂ�tions did not oust the clasÂ�siÂ�cal style overÂ�night. After 1958 and Â�through the first half of the 1960s the last Â�traces of the clasÂ�siÂ�cal style can still be heard in films like The MagÂ�nifÂ�iÂ�cent Seven ( John Â�Sturges, 1960, music by Elmer BernÂ�stein); SparÂ�taÂ�cus (StanÂ�ley KuÂ�brick, 1960, music by Alex North); The Alamo ( John Wayne, 1960, music by DiÂ�miÂ�tri TiomÂ�kin); King of Kings (NichÂ�oÂ�las Ray, 1961, music by Â�Miklós Rózsa); El Cid (AnÂ�thony Mann, 1961, music by Â�Miklós Rózsa); The Guns of NavÂ�aÂ�rone ( J. Lee ThompÂ�son, 1961, music by DiÂ�miÂ�tri TiomÂ�kin); Taras Bulba ( J. Lee ThompÂ�son, 1962, music by Franz WaxÂ�man); and How the West Was Won ( John Ford–Henry HathÂ�away–Â�George

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MarÂ�shall, 1962, music by AlÂ�fred NewÂ�man).38 The styÂ�lisÂ�tic Â�change beÂ�came well esÂ�tabÂ�lished and Â�strongly evÂ�iÂ�dent in the secÂ�ond half of the 1960s. The landÂ�mark event was perÂ�haps the inÂ�faÂ�mous sackÂ�ing of BerÂ�nard HerrÂ�mann by AlÂ�fred HitchÂ�cock, after UniÂ�verÂ�sal Â�pressed the diÂ�recÂ�tor to inÂ�clude an Â�easy-listening song in Torn CurÂ�tain (1966).39 HerrÂ�mann, who had comÂ�posed the Â�scores for eight of Â�Hitchcock’s films, inÂ�cludÂ�ing some of his Â�biggest hits, was noÂ�toÂ�riÂ�ously Â�against the use of songs in films.40 HowÂ�ever, he had acÂ�cepted the pracÂ�tice in a preÂ�viÂ�ous HitchÂ�cock film, The Man Who Knew Too Much (1956), the song being “Que Sera, Sera” by Ray Evans and Jay LiÂ�vingÂ�ston. Ten years later, HerrÂ�mann reÂ�fused to folÂ�low HitchÂ�cock along the pop path, and one of the most fruitÂ�ful partÂ�nerÂ�ships in film music Â�abruptly came to an end. The comÂ� parÂ�iÂ�son of these two epiÂ�sodes Â�clearly shows how Â�modern-style placeÂ�ment of songs in films radÂ�iÂ�cally difÂ�fered from the clasÂ�siÂ�cal style. The 1956 film had an orÂ�chesÂ�tral score that Â�served the film in the clasÂ�siÂ�cal way. The marÂ�ketÂ�able dieÂ�getic song feaÂ�tured in the film was moÂ�tiÂ�vated not only reÂ�alisÂ�tiÂ�cally—Doris Day’s charÂ�acÂ�ter is a Â�singer and thereÂ�fore it is highly Â� plauÂ�sible that she Â�should sing— but also comÂ�poÂ�siÂ�tionÂ�ally beÂ�cause the song is the narÂ�raÂ�tive deÂ�vice that alÂ�lows the kidÂ�napped boy to be resÂ�cued. The presÂ�ence of the song was not arÂ�biÂ�trary, and its ecoÂ�nomic moÂ�tiÂ�vaÂ�tion was clevÂ�erly hidÂ�den. Using Â�Herrmann’s words, it was not “a Â�pre-meditated atÂ�tempt at song plugÂ�ging.”41 On the Â�contrary, in Torn CurÂ�tain, a tense and often crude porÂ�trayal of East GerÂ�many under the Â�Stasi’s yoke, there was no moÂ�tiÂ�vaÂ�tion at all to inÂ�clude a song, exÂ�cept that of sellÂ�ing Â�tiein LPs. HitchÂ�cock reÂ�placed the unÂ�coopÂ�erÂ�aÂ�tive HerrÂ�mann with John AdÂ�diÂ�son, who Â�agreed to comÂ�pose a singÂ�able love theme, which was Â�adapted into the song “Green Years” by John AdÂ�diÂ�son, Ray Evans, and Jay LiÂ�vingÂ�ston. EvenÂ�tuÂ�ally, HitchÂ�cock himÂ�self reÂ�alÂ�ized how the song would have been nonÂ�senÂ�siÂ�cal in the film and deÂ�cided not to use it and relÂ�eÂ�gate it to the LP album.42 ManÂ�cini, Barry, and Â�Morricone’s growÂ�ing repÂ�uÂ�taÂ�tion and the outÂ�standÂ�ing sucÂ�cess in theÂ�aÂ�ter Â�box-offices and in Â�record Â�stores of films like A Hard Day’s Night (RichÂ�ard Â�Lester, 1964, music of the BeatÂ�les), A Man and a Woman, and The GradÂ�uÂ�ate led to the prevÂ�aÂ�lence of the modÂ�ern style, pop Â�idioms, and songs throughÂ�out the 1965–77 years. The young Â�conservatory-trained symÂ�phonic comÂ�posÂ�ers acÂ�tive in those years, like Jerry GoldÂ�smith, for one, were a disÂ�comÂ� forted miÂ�norÂ�ity: “Well, many of us comÂ�posÂ�ers are upset about this, beÂ�cause we get reÂ�quests from proÂ�ducÂ�ers that we’ve got to write a hit song. It’s a real pain, beÂ�cause they forÂ�get what we’re Â�really supÂ�posed to be doing. It’s a comÂ�pletely comÂ�merÂ�cial deÂ�vice to try to proÂ�mote the film. .€.€. It has nothÂ�ing to do with anyÂ� thing draÂ�matic in the picÂ�ture, and this is a great anÂ�noyÂ�ance to us all, but it’s one of the synÂ�dromes of the busiÂ�ness, and there isn’t very much we can do about

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it.”43 Even Henry ManÂ�cini was well aware of the exÂ�cesÂ�sively comÂ�merÂ�cial imÂ�porÂ�tance given to songs, to the detÂ�riÂ�ment of narÂ�raÂ�tion: “The minÂ�ute you put a song over the tiÂ�tles or in any part of the picÂ�ture, Â�you’re unÂ�conÂ�sciously tryÂ�ing to play on the Â�viewer’s pockÂ�etÂ�book—Â�you’re tryÂ�ing to get him to lisÂ�ten, to go out and buy. Often these songs don’t Â�really make the acÂ�tion progÂ�ress or make any kind of comÂ�ment.”44 SymÂ�phonic orÂ�chesÂ�tral film music did not disÂ�apÂ�pear enÂ�tirely in the Â�modernstyle years, but it defÂ�iÂ�nitely beÂ�came less comÂ�mon, apÂ�pearÂ�ing in such films as The Lion in WinÂ�ter (AnÂ�thony HarÂ�vey, 1968, music by John Barry); Â�Planet of the Apes (FrankÂ�lin J. SchaffÂ�ner, 1968, music by Jerry GoldÂ�smith); The ReÂ�ivÂ�ers (Mark RyÂ�dell, 1969, music by John Â�Williams); PatÂ�ton (FrankÂ�lin J. SchaffÂ�ner, 1970, music by Jerry GoldÂ�smith); Â�Ryan’s DaughÂ�ter (David Lean, 1970, music by MauÂ�rice Jarre); The Wind and the Lion ( John MilÂ�ius, 1975, music by Jerry GoldÂ�smith); The Omen (RichÂ�ard DonÂ�ner, 1976, music by Jerry GoldÂ�smith); and BerÂ�nard Â�Herrmann’s final conÂ�triÂ�buÂ�tions for SisÂ�ters (Brian De Palma, 1973); ObÂ�sesÂ�sion (Brian De Palma, 1976); and Taxi Â�Driver (MarÂ�tin ScorÂ�sese, 1976)—the only HerrÂ�mann score in the jazz diÂ�alect. What beÂ�came marÂ�giÂ�nal was the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style. In parÂ�ticÂ�uÂ�lar, the Â�old-style spaÂ�tial perÂ�cepÂ�tive funcÂ�tion surÂ�vived Â�mostly in an exÂ�agÂ�gerÂ�ated farÂ�ciÂ�cal form in some comÂ�eÂ�dies such as That Touch of Mink (DelÂ�bert Mann, 1962, music by Â�George DunÂ�ing); Send Me No FlowÂ�ers (NorÂ�man JeÂ�wiÂ�son, 1964, music by Frank De Vol); and The Glass BotÂ�tom Boat (Frank TashÂ�lin, 1966, music by Frank De Vol) or in the manÂ�nerÂ�ist thunÂ�derÂ� ous stingÂ�ers of some horÂ�ror/Â�thriller Â�B-movies such as The TerÂ�ror (Roger CorÂ�man, 1963, music by RoÂ�nald Stein); Â�Strait-Jacket (William CasÂ�tle, 1964, music by Van AlÂ�exÂ�anÂ�der); and The ObÂ�long Box (GorÂ�don HessÂ�ler, 1969, music by Harry RobÂ�ertÂ�son). Not until Star Wars did there apÂ�pear patÂ�ent signs that the old style could still have someÂ�thing to say.

4 Star Wars An Opp � o �s i�tio n a l S c o re

A

fter his not very conÂ�vincÂ�ing debut with the OrÂ�wellÂ�ian Â�Sci-Fi film THX 1138 (1971), the emergÂ�ing film diÂ�recÂ�tor Â�George Lucas hit the box ofÂ�fice with Â�American GrafÂ�fiti (1973) and beÂ�came powÂ�erÂ�ful Â�enough to carry on with a big proÂ�ject that he had been conÂ�temÂ�platÂ�ing for sevÂ�eral years: The Star Wars.1 The idea was to make a film that Â�blended Â�sci-fi with myÂ�tholÂ�ogy, techÂ�nolÂ�ogy with Â�fairy-tale magic, comÂ�ics with epics, fuÂ�ture with past: “A long time ago, in a galÂ�axy far, far away .€.€.” The main modÂ�els were the Flash GorÂ�don and Buck RogÂ�ers seÂ�riÂ�als, the adÂ�venÂ�ture films and Â�B-movies proÂ�duced by MonoÂ�gram, ReÂ�pubÂ�lic, and other minor proÂ�ducÂ�tion comÂ�paÂ�nies—the Â�so-called Â�poverty-row stuÂ�dios. Other modÂ�els were The HidÂ�den ForÂ�tress (Kakushi-toride no Â�san-akunin, Akira KuÂ�roÂ� sawa, 1958) and The SearchÂ�ers ( John Ford, 1956).2 Â�Besides films, the inÂ�fluÂ�ence of CarÂ�los Â�Castaneda’s anthroÂ�poÂ�logÂ�iÂ�cal and philÂ�oÂ�sophÂ�iÂ�cal theÂ�oÂ�ries and of JoÂ�seph Â�Campbell’s studÂ�ies on the myÂ�thoÂ�logÂ�iÂ�cal archeÂ�types were also semiÂ�nal.3 Â�Lucas’s proÂ�ject was abanÂ�doned by Â�United ArtÂ�ists and then reÂ�jected by UniÂ�verÂ�sal, to fiÂ�nally be taken over by 20th CenÂ�tury Fox, which, alÂ�though skepÂ� tiÂ�cally, acÂ�cepted to fiÂ�nance the Â�pre-production.4 ProÂ�ducÂ�ers exÂ�peÂ�riÂ�enced some difÂ�fiÂ�culty in underÂ�standÂ�ing and enÂ�viÂ�sionÂ�ing Â�Lucas’s idea beÂ�cause of the conÂ�fusÂ�ing naÂ�ture and conÂ�stantly changÂ�ing strucÂ�ture of the screenÂ�play.5 Most imÂ�porÂ�tant, the main doubt about the comÂ�merÂ�cial reÂ�sult of the proÂ�ject was that the Â�sci-fi genre was out of fashÂ�ion in 1970s cinÂ�ema. ReÂ�cent exÂ�cepÂ�tions had been 2001: A

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Space OdysÂ�sey (StanÂ�ley KuÂ�brick, 1968) and Â�Planet of the Apes (FrankÂ�lin J. SchaffÂ�ner, 1968). As Â�Lucas’s colÂ�labÂ�oÂ�raÂ�tor Â�Charles LipÂ�pinÂ�cott reÂ�calls: “Kubrick’s 2001 Â�didn’t break even until late 1975—and that was the most sucÂ�cessÂ�ful Â�sciencefiction film of all time. .€.€. You had to be crazy to make a Â�science-fiction film when we Â�wanted to.”6 MoreÂ�over, 2001 and Â�Planet of the Apes were very difÂ�ferÂ�ent films from Â�Lucas’s proÂ�ject. They were adult Â�sci-fi, dysÂ�toÂ�pian tales with philÂ�oÂ� sophÂ�iÂ�cal subÂ�texts, while The Star Wars Â�seemed to be a kind of exÂ�penÂ�sive Â�B-movie for kids. In 1975, in the midst of laÂ�boÂ�riÂ�ous Â�pre-production first steps, screenÂ�play reÂ�writÂ�ing, and budÂ�get disÂ�cusÂ�sions, the time came to deÂ�cide what kind of music the film would reÂ�quire. The Â�Sci-Fi Genre and Music TraÂ�diÂ�tionÂ�ally, music for the Â�sci-fi genre would use a lanÂ�guage inÂ�spired by Â�twentieth-century muÂ�siÂ�cal modÂ�ernÂ�ism—atÂ�oÂ�nalÂ�ism, Â�twelve-tone techÂ�nique, alÂ�eaÂ�toric music, and so forth—or would use elecÂ�tronic inÂ�struÂ�ments, timÂ�bres, or even muÂ�sique Â�concrète to proÂ�vide the muÂ�siÂ�cal equivÂ�aÂ�lent of fuÂ�turÂ�isÂ�tic or Â�hypertechnological Â�worlds.7 BerÂ�nard HerrÂ�mann emÂ�ployed a modÂ�ernÂ�ist diÂ�alect for The Day the Earth Stood Still (RobÂ�ert Wise, 1951), and also used the thereÂ�min, thus proÂ�ducÂ�ing a shift in idenÂ�tifiÂ�caÂ�tion for that Â�instrument’s tremÂ�uÂ�lous timÂ�bre from the psyÂ�chotic 1940s thrillÂ�ers to the Â�sci-fi genre. In Â�Planet of the Apes, Jerry GoldÂ� smith used a traÂ�diÂ�tional orÂ�chesÂ�tra but Â�adopted the atoÂ�nal diÂ�alect, avant-garde Â� inÂ�struÂ�menÂ�tal techÂ�niques (key-taps on clarÂ�iÂ�nets or horns Â�played withÂ�out mouthÂ� pieces), and exÂ�periÂ�menÂ�tal timÂ�bres (a ram’s horn and metal Â�mixing-bowls of difÂ�ferÂ�ent sizes used as perÂ�cusÂ�sion) to proÂ�duce the muÂ�siÂ�cal comÂ�pleÂ�ment of the halÂ�luÂ�cinÂ�aÂ�tory Â�topsy-turvy world preÂ�sented in the film.8 In ForÂ�bidÂ�den Â�Planet (Fred M. WilÂ�cox, 1956) there is no music but Â�rather “elecÂ�tronic toÂ�nalÂ�ities” by Babe and Louis BarÂ�ron.9 StanÂ�ley KuÂ�brick in 2001 chose to comÂ�bine imÂ�ages of deep space and unÂ�seen Â�worlds with a comÂ�piÂ�laÂ�tion of repÂ�erÂ�toire orÂ�chesÂ�tral Â�pieces— after havÂ�ing Â�rudely reÂ�jected Alex Â�North’s origÂ�iÂ�nal score.10 The seÂ�lecÂ�tion Â�spanned from clasÂ�sic Â�pieces like RichÂ�ard Â�Strauss’s Thus Spoke ZarÂ�aÂ�thusÂ�tra (Also Â�sprach ZarÂ�aÂ�thusÂ�tra, op. 30, 1896) and JoÂ�hann Â�Strauss Jr.’s The Blue DaÂ�nube (An der Â�schönen Â�blauen Donau, op. 314, 1866) to conÂ�temÂ�poÂ�rary art music like Â�György Ligeti’s Â� Lux AeÂ�terna (1966), AtÂ�mosÂ�pheres (1961), ReÂ�quiem (1963–65), and AdÂ�venÂ�tures (1962). KuÂ�brick chose to Â�create a speÂ�cial “asynÂ�chroÂ�nism” with the visÂ�uÂ�als. Music had to serve as an inÂ�telÂ�lecÂ�tual stimÂ�uÂ�lus by pointÂ�ing to exÂ�traÂ�filÂ�mic refÂ�erÂ� ences and creatÂ�ing an interÂ�texÂ�tual diÂ�menÂ�sion, which would acÂ�tively inÂ�volve the Â�viewer in deÂ�ciÂ�pherÂ�ing this enÂ�igÂ�matic film. Yet Â�Kubrick’s Â�choice was also the

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conÂ�seÂ�quence of a lack of trust in film comÂ�posÂ�ers: “HowÂ�ever good our best film comÂ�posÂ�ers may be, they are not a BeeÂ�thoÂ�ven, a MoÂ�zart or a Â�Brahms. Why use music which is less good when there is such a multiÂ�tude of great orÂ�chesÂ�tral music from the past and from our own time?”11 Lucas reÂ�jected the modÂ�ernÂ�ist and elecÂ�tronic opÂ�tions and chose Â�Kubrick’s apÂ�proach. He wrote the Â�script while lisÂ�tenÂ�ing to the Â�late-romantic symÂ�phonic repÂ�erÂ�toire of Â�William WalÂ�ton, RichÂ�ard WagÂ�ner, GusÂ�tav Holst, RichÂ�ard Â�Strauss, Â�Antonín Dvoˇrák, and MauÂ�rice Ravel along with the film music of Erich WolfÂ� gang KornÂ�gold and Miklós Â� Rózsa.12 He reÂ�solved that the film Â�should have an exÂ�tenÂ�sive muÂ�siÂ�cal coverÂ�age and, acÂ�cordÂ�ing to varÂ�iÂ�ous Â�sources, Â�planned to have the music track made of preÂ�exÂ�istÂ�ing symÂ�phonic seÂ�lecÂ�tions, or at least to use preÂ� exÂ�istÂ�ing Â�themes arÂ�ranged as leitÂ�moÂ�tivs for the film.13 While ponÂ�derÂ�ing over such muÂ�siÂ�cal deÂ�ciÂ�sions, Lucas hapÂ�pened to have a very fruitÂ�ful conÂ�verÂ�saÂ�tion: “I had known SteÂ�ven SpielÂ�berg for a long time up to this point and, you know, we were talkÂ�ing about the film .€.€. and I said, ‘I want a clasÂ�siÂ�cal score, I want the KornÂ�gold kind of feel about this thing, it’s an old fashÂ�ion kinda movie and I want that kind of grand soundÂ�track they used to have on moÂ�vies.’ And he said, ‘The guy you gotta talk to is John Â�Williams. He made Jaws, I love him, he is the greatÂ�est comÂ�poser who ever lived. You gotta talk to him!’”14 In April 1975 Â�George Lucas had his first meetÂ�ing with comÂ�poser John Â�Williams:15 Â�Williams reÂ�marked, “I Â�looked at the movie and I liked it—I had no idea at the time it was going to be a trilÂ�ogy—and I thought Â� the film would give me the opÂ�porÂ�tuÂ�nity to write an Â�old-fashioned swashÂ�buckÂ�ling symÂ�phonic score, so Â�that’s what I did.”16 ReÂ�portÂ�edly, Â�Williams—Â�contrary to his own habit—Â� agreed to read the Â�script,17 and he was reÂ�sponÂ�sible for conÂ�vincÂ�ing Lucas not to use repÂ�erÂ�toire music but an origÂ�iÂ�nal score inÂ�stead: “2001 and sevÂ�eral other films have utiÂ�lized this techÂ�nique very well. But what I think this techÂ�nique Â�doesn’t do is take a piece of meÂ�lodic maÂ�teÂ�rial, deÂ�velop it and reÂ�late it to a charÂ�acÂ�ter all the way Â�through the film. For inÂ�stance if you took a theme from one of the seÂ�lecÂ� tions of Â�Holst’s The PlanÂ�ets and Â�played it at the beÂ�ginÂ�ning of the film, it Â�wouldn’t necÂ�esÂ�sarÂ�ily fit in the midÂ�dle or at the end. On the other hand, I did not want to hear a piece of Dvoˇrák here, a piece of TchaiÂ�kovÂ�sky there, and a piece of Holst in anÂ�other place. For forÂ�mal reaÂ�sons, I felt that the film Â�wanted theÂ�matic unity.”18 FindÂ�ing the MuÂ�siÂ�cal SoÂ�luÂ�tion Which music lanÂ�guage could be suitÂ�able for a film like that? The modÂ�ernÂ�ist hypothÂ�eÂ�sis had Â�clearly been reÂ�jected, and Lucas, Â�through his own temp track,

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Â�showed Â�Williams that his prefÂ�erÂ�ence was for the Â�late-romantic diÂ�alect, that of clasÂ�siÂ�cal HolÂ�lyÂ�wood.19 Star Wars is in fact more a “super-genre” than a Â�sci-fi film. Only a few eleÂ�ments of the Â�sci-fi genre, such as roÂ�bots, laser weapÂ�ons, and spaceÂ�ships, are Â�present. Star Wars is Â�rather a mixÂ�ture of eleÂ�ments from WestÂ�ern, fanÂ�tasy, and swashÂ�buckÂ�ler films and inÂ�stead of being simÂ�iÂ�lar to the Â�sci-fi films of its day, it was Â�closer to the WarÂ�ner Bros. adÂ�venÂ�ture films diÂ�rected by MiÂ�chael CurÂ�tiz, feaÂ�turÂ�ing Errol Â�Flynn’s prowÂ�ess and Erich WolfÂ�gang Â�Korngold’s opÂ�uÂ�lent music. InÂ�deed, KornÂ�gold himÂ�self was Â�Williams’s main model, as he reÂ�marked, “[A] warm theatÂ�riÂ�cal opÂ�erÂ�atic alÂ�most kind of packÂ�age. The kind of thing that KornÂ�gold in fact did so beauÂ�tiÂ�fully. He Â�brought the Â�Vienna Opera House to the Â�American West. And in an odd way, in a simÂ�iÂ�lar way, it Â�worked, I think.”20 Â�Williams exÂ�plains Â�Lucas’s Â�choice to have very traÂ�diÂ�tional music comÂ�bined with a fuÂ�turÂ�isÂ�tic setÂ�ting: “The music for the film is very Â�non-futuristic. The films themÂ�selves Â�showed us charÂ�acÂ�ters we Â�hadn’t seen beÂ�fore and planÂ�ets unÂ�imagÂ�ined and so on, but the music was—this is acÂ�tuÂ�ally Â�George Â�Lucas’s conÂ�cepÂ�tion and a very good one—emoÂ�tionÂ�ally faÂ�milÂ�iar. It was not music that might deÂ�scribe terra inÂ�cogÂ�nita but the opÂ�poÂ�site of that, music that would put us in touch with very faÂ�milÂ�iar and reÂ�memÂ�bered emoÂ�tions, which for me as a musiÂ�cian transÂ�lated into the use of a Â�nineteenth-century opÂ�erÂ�atic idiom, if you like, WagÂ�ner and this sort of thing. These sorts of inÂ�fluÂ�ences would put us in touch with reÂ�memÂ�bered theatÂ�riÂ�cal exÂ�peÂ�riÂ�ences as well—all westÂ�ern exÂ�peÂ�riÂ�ences to be sure.”21 This Â�choice was not uniÂ�verÂ�sally underÂ�stood: some critÂ�ics would label the score as “corny roÂ�manÂ�tiÂ�cism”22 and wonÂ�der why, since the film was set in the fuÂ�ture, Â�avant-garde music had not been used inÂ�stead.23 This comÂ�plaint is Â�rather superÂ�fiÂ�cial: it canÂ�not be simÂ�ply said that since it feaÂ�tures spaceÂ�ships and roÂ�bots, Star Wars is thereÂ�fore Â�sci-fi. The film beÂ�gins with “A long time ago, in a galÂ�axy far far away .€.€.” It beÂ�gins as a traÂ�diÂ�tional fairy tale set in a disÂ�tant past: “[ I ]f one is writÂ�ing music for a movie that is supÂ�posed to take place in the fuÂ�ture, then fuÂ�turÂ�isÂ�tic music Â�should theoÂ�retÂ�iÂ�cally suit the ‘set’ betÂ�ter than a score based on music from the late nineÂ�teenth and early twenÂ�tiÂ�eth cenÂ�tuÂ�ries. But Â�Williams hits Â�closer to the mark when he Â�points out that such films tend to cater to the Â�audience’s deÂ�sire for esÂ�capÂ�ism, ‘and in that esÂ�capÂ�ist thing is the whole roÂ�manÂ�tic idea of getÂ�ting away, of being transÂ�ported into anÂ�other kind of atÂ�mosÂ�phere.’”24 Â�Williams proÂ�vided a symÂ�phonic tonal score based on a dozen leitÂ�moÂ�tivs covÂ�erÂ�ing alÂ�most the enÂ�tire film: Â�Luke’s theme, Â�Leia’s theme, the Â�Jawas’s theme, Ben KeÂ�nobi/The Â�Force’s theme, the Â�Empire’s motif, and many more. They all feaÂ�ture exÂ�tenÂ�sive and reÂ�fined Â�Korngold-like diÂ�alogue underÂ�scorÂ�ing—think of the diÂ�alogue Â�between KeÂ�nobi and Luke after they have Â�watched PrinÂ�cess Â�Leia’s

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video mesÂ�sage Â�through R2-D2; Â�old-fashioned heÂ�roic fanÂ�fares, as when Luke resÂ�cues Leia and, with her in his arms, Â�crosses the chasm à la Robin Hood under the storm Â�troopers’ fire; and epiÂ�sodes of deÂ�tailed Â�Mickey-Mousing, for exÂ�amÂ�ple, in the deÂ�tenÂ�tion block amÂ�bush scene. Â�Williams deÂ�signed such Â�clear-cut recÂ�ogÂ�nizÂ�able moÂ�tifs and Â�themes so as to supÂ�port the film narÂ�raÂ�tion in a straightÂ� forÂ�ward way: I think in my mind, and posÂ�sibly also Â�George Â�Lucas’, when I was writÂ�ing the score, I Â�thought it was a Â�children’s film. I Â�thought that it was someÂ� thing that kids would go to on a SatÂ�urÂ�day afterÂ�noon, and that it had a kind of Â�cartoon-like charÂ�acÂ�ter, and the orÂ�chesÂ�tra and the music Â�should someÂ�how be in that genre, whatÂ�ever that is. But I Â�thought, I have to grab the atÂ�tenÂ�tion of the 10Â�-Â�year-olds with this. The emoÂ�tion would have to be large, a sense of good verÂ�sus evil made palÂ�paÂ�ble. SimÂ�ple tunes would be the key, Â�though that was Â�easier said than done. To say Darth Vader to a 10Â�-Â�year-old in clear, memÂ�orÂ�able and imÂ�meÂ�diÂ�ately afÂ�fectÂ�ing terms is a big chalÂ�lenge. And it’s an opÂ�porÂ�tuÂ�nity probÂ�ably that is, maybe sadly, found only in the craft of film scorÂ�ing any more. I mean, where else can you do that?25

For such a promÂ�iÂ�nent score, the serÂ�vices of a Â�first-class symÂ�phony orÂ�chesÂ�tra were reÂ�quired. Since the proÂ�ducÂ�tion took place in EnÂ�gland, the Â�world-famous LonÂ�don SymÂ�phony OrÂ�chesÂ�tra was choÂ�sen. FaÂ�mous for its skillÂ�ful Â�sight-reading and its powÂ�erÂ�ful brass secÂ�tion, the LSO is, in Â�Williams’s words, “a very ‘hot’ orÂ�chesÂ�tra, its deciÂ�bel level is large, and the orÂ�chesÂ�tra looms at the auÂ�diÂ�ence in a very vigÂ�orÂ�ous, athÂ�letic way.”26 MoreÂ�over, the orÂ�chesÂ�tra had a preÂ�stigÂ�ious track Â�record of film colÂ�labÂ�oÂ�raÂ�tions.27 In the years from 1975 to 1976 the Â�choice of a full symÂ�phonic score was defÂ�iÂ�nitely Â�against the tide and a very risky one: if the Â�sci-fi genre was conÂ�sidÂ�ered unÂ�fashÂ�ionÂ�able, even more so was the clasÂ�siÂ�cal music style. The stuÂ�dio Â�feared that the film would have a disÂ�asÂ�trous perÂ�forÂ�mance at the box ofÂ�fice and that, lackÂ�ing an atÂ�tracÂ�tive pop score, such failÂ�ure could not be offÂ�set by the sale of Â�records. In fact, 20th CenÂ�tury Fox Â�Records—beÂ�lievÂ�ing that noÂ�body would buy a symÂ�phonic Â�film-music album—was planÂ�ning not to reÂ�lease any Â�tie-in disc.28 On 5 March 1977, at the Anvil StuÂ�dios in DenÂ�ham (UK), Â�Williams conÂ�ducted Â�eighty-six musiÂ�cians of the LonÂ�don SymÂ�phony in the first reÂ�cordÂ�ing sesÂ�sion of the more than Â�eight-hundred-page score.29 After eight days on the reÂ�cordÂ�ing

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stage, the reÂ�sultÂ�ing Star Wars music track covÂ�ered 88 minÂ�utes of the Â�film’s total 120Â�-Â�minute runÂ�ning time. Such an exÂ�tended muÂ�siÂ�cal coverÂ�age couÂ�pled with such Â�strong leitÂ�moÂ�tivic vaÂ�riety and interÂ�conÂ�necÂ�tion was unÂ�heard of since Â�Steiner and Â�Korngold’s heyÂ�days. The very beÂ�ginÂ�ning of the film is a kind of manÂ�iÂ�festo of the resÂ�toÂ�raÂ�tion of the clasÂ�siÂ�cal HolÂ�lyÂ�wood music traÂ�diÂ�tion. For the 20th CenÂ�tury Fox openÂ�ing logo, the full CinÂ�eÂ�maÂ�scope verÂ�sion of the “20th CenÂ�tury Fox FanÂ�fare” by AlÂ�fred NewÂ�man was reÂ�susÂ�ciÂ�tated after a Â�decade of less than spoÂ�radic use.30 After a brief siÂ�lence, the “STAR WARS” title Â�flashes on the Â�screen in tight synÂ�chroÂ�nism with a starÂ�tling forÂ�tisÂ�simo Â�B-flat-major chord—“MaesÂ�toso sffz” in the score—in the same Â�B-flat-major key as Â�Newman’s fanÂ�fare. This exÂ�ploÂ�sive chord afÂ�firms a conÂ�tiÂ�nuÂ�ity with the past: the deÂ�libÂ�erÂ�ate tonal afÂ�finÂ�ity with Â�Newman’s fanÂ�fare marks the reÂ�covÂ�ery of the traÂ�diÂ�tion and the Â�score’s afÂ�filÂ�iÂ�aÂ�tion with it. MoreÂ�over, the Â�chord’s preÂ�cise synÂ�chroÂ�nism with the visÂ�uÂ�als—the chord being like a Â�stinger—and the fact that the chord is Â�played by a full symÂ�phony orÂ�chesÂ�tra mark the siÂ�mulÂ�taÂ�neÂ�ous reÂ�trieval of two other charÂ�acÂ�terÂ�isÂ�tic Â�traits of the clasÂ�siÂ�cal style: the tight adÂ�herÂ�ence Â�between music and imÂ�ages and the symÂ�phonic sound. InterÂ�estÂ�ingly Â�enough, the first “Main Title” verÂ�sion, Â�rather than beÂ�ginÂ�ning with a burstÂ�ing tonic chord, feaÂ�tured an upÂ�ward cresÂ�cendo leap from the domÂ�iÂ�nant to the tonic. This was soon reÂ�moved, probÂ�ably beÂ�cause as the title apÂ�pears sudÂ�denly from the black, so music Â�should acÂ�cordÂ�ingly apÂ�pear sudÂ�denly from the siÂ�lence—a cresÂ�cendo with a Â�dominant-to-tonic leap would have betÂ�ter Â�suited a fade in.31 The overÂ�whelmÂ�ing chord is folÂ�lowed by a Â�canonstructured fanÂ�fare and fiÂ�nally by the Â�film’s main theme—the Luke SkyÂ�walker leitÂ�moÂ�tiv—folÂ�lowed by a secÂ�onÂ�dary theme Â�played by Â�strings: “Like many of the overÂ�tures to old HolÂ�lyÂ�wood meloÂ�draÂ�mas, the Star Wars overÂ�ture is diÂ�vided into two secÂ�tions, based on a muÂ�siÂ�cal Â�contrast Â�between a ‘hard’ masÂ�cuÂ�line and a ‘soft’ femÂ�iÂ�nine theme.”32 Â�Williams deÂ�scribes his apÂ�proach to the Â�film’s openÂ�ing music: The openÂ�ing of the film was visÂ�uÂ�ally so stunÂ�ning, with that letÂ�terÂ�ing that comes out and the spaceÂ�ships and so on, that it was clear that music had to kind of smack you right in the eye and do someÂ�thing very Â�strong. It’s in my mind a very simÂ�ple, very diÂ�rect tune that jumps an ocÂ�tave in a very draÂ�matic way, and has a tripÂ�let Â�placed in it that has a kind of grab. I tried to conÂ�struct someÂ�thing that again would have this ideaÂ�lisÂ�tic, upÂ�liftÂ�ing but milÂ�iÂ�tary flare to it, and set it in the brass inÂ�struÂ� ments, which I love anyÂ�way, which I used to play as a stuÂ�dent, as a

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youngÂ�ster. And try to get it so it’s set in the most brilÂ�liant regÂ�isÂ�ter of the trumÂ�pets, horns and tromÂ�bones so that we’d have a blazÂ�ingly brilÂ�liant fanÂ�fare at the openÂ�ing of the piece. And Â�contrast that with the secÂ�ond theme that was lyrÂ�iÂ�cal and roÂ�manÂ�tic and adÂ�venÂ�turÂ�ous also. And give it all a kind of cerÂ�eÂ�moÂ�nial .€.€. it’s not a march but very Â�nearly that. So you alÂ�most kind of want to [Williams Â�laughs] [ pat] your feet to it or stand up and saÂ�lute when you hear it—I mean Â�there’s a litÂ�tle bit of that cerÂ�eÂ�moÂ� nial asÂ�pect. More than a litÂ�tle I think.33

In such a film the score Â�should not only supÂ�port the narÂ�raÂ�tion but also have a myÂ�thoÂ�poeic funcÂ�tion by strengthÂ�enÂ�ing those arÂ�cheÂ�typal strucÂ�tures and refÂ�erÂ� ences to the colÂ�lecÂ�tive unÂ�conÂ�scious and mythÂ�iÂ�cal herÂ�iÂ�tage inÂ�spired by JoÂ�seph Â�Campbell’s works.34 AcÂ�cordÂ�ingly, Â�Williams inÂ�jected into the music hints, alÂ�luÂ� sions, and quoÂ�taÂ�tions that could evoke past muÂ�siÂ�cal exÂ�peÂ�riÂ�ences in the lisÂ�tener and conÂ�nect him with a sort of muÂ�siÂ�cal colÂ�lecÂ�tive unÂ�conÂ�scious: “That’s what in perÂ�forÂ�mance one tries to get with orÂ�chesÂ�tras, and we talk about that at orÂ�chesÂ�tral reÂ�hearÂ�sals: that it isn’t only notes, it’s this reachÂ�ing back into past. As creaÂ�tures we don’t know if we have a fuÂ�ture, but we cerÂ�tainly share a great past. We reÂ�memÂ�ber it, in lanÂ�guage and in Â�pre-language, and Â�that’s where music lives— it’s to this area in our souls that it can speak.”35 This viÂ�sion exÂ�plains Â�Williams’s fondÂ�ness for brass inÂ�struÂ�ments, like the trumÂ�pets and the horns: “When I’ve tried to anÂ�aÂ�lyze my lifeÂ�long love of the Â�French horn, I’ve had to conÂ�clude that it’s Â�mainly beÂ�cause of the Â�horn’s caÂ�pacÂ�ity to stir memÂ�oÂ�ries of anÂ�tiqÂ�uity. The very sound of the Â�French horn conÂ�jures imÂ�ages Â�stored in the colÂ�lecÂ�tive Â�psyche. It’s an inÂ�struÂ�ment that inÂ�vites us to ‘dream backÂ�ward to the anÂ�cient time.’ ”36 The memÂ�oÂ�ries of anÂ�tiqÂ�uity are also Â�evoked by tone interÂ�vals, Â�namely the perÂ�fect fifth, an idioÂ�matic trait of Â�Williams’s that can also be found, for exÂ�amÂ�ple, in SuperÂ�man: The Movie (RichÂ�ard DonÂ�ner, 1978) and E.T. the Â�Extra-Terrestrial (SteÂ�ven SpielÂ�berg, 1982): “The interÂ�val of the perÂ�fect fifth also ratÂ�tles our memÂ�oÂ�ries of anÂ�tiqÂ�uity,”37 and “The interÂ�val of the muÂ�siÂ�cal fifth we use to celÂ�eÂ�brate has been with us thouÂ�sands of years.”38 Some scholÂ�ars critÂ�iÂ�cize Â�Williams’s music in genÂ�eral—and Star Wars in parÂ�ticÂ�uÂ�lar—for being alÂ�legÂ�edly too deÂ�rivÂ�aÂ�tive and based on “stealÂ�ing” from the great comÂ�posÂ�ers of the past.39 The “Main Title,” for exÂ�amÂ�ple, is not only simÂ�iÂ�lar in Â�spirit to many of Â�Korngold’s Â�themes like CapÂ�tain Blood (MiÂ�chael CurÂ�tiz, 1935); The AdÂ�venÂ�tures of Robin Hood (MiÂ�chael Â�Curtiz-William KeighÂ�ley, 1938); and The Sea Hawk, but it is also alÂ�most a diÂ�rect quote of the main theme of Kings Row (Sam Wood, 1942).

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Top stave : Transcription of Erich Wolfgang Korngold, “Main Title,” from the Kings Row film score (© 1942 ASCAP), published by Warner Olive Music LLC, administered by Universal Music (ear transcription from the film’s soundtrack) [Used in compliance with the U.S. Copyright Act, Section 107]. Bottom stave : Transcription of John Williams, “Main Title” (mm. 3–10), from Star Wars: Suite for Orchestra (© 1977 BMI), published by Bantha Music and Warner-Tamerlane Publishing Corp., administered by Warner-Tamerlane Publishing Corp., printed by Hal Leonard, “John Williams Signature Edition,” 044900057 [ Used in compliance with the U.S. Copyright Act, Section 107].

The disÂ�soÂ�nant orÂ�chesÂ�tral Â�chords that can be heard right after the openÂ�ing tiÂ�tles—durÂ�ing the atÂ�tack by the ImÂ�peÂ�rial ship—are simÂ�iÂ�lar to those of “Mars, the Â�Bringer of War” from the suite The PlanÂ�ets (1916) by GusÂ�tav Holst.

Top staves : Transcription of Gustav Holst, “Mars, the Bringer of War” (movement 7, mm. 1–7), from The Planets (1921, public domain), originally published by Goodwin & Tabb Ltd., reprinted by Dover Publications, Inc., 1996. Bottom staves : Transcription of John Williams, “Main Title” (mm. 84–88), from Star Wars: Suite for Orchestra (© 1977 BMI), published by Bantha Music and WarnerTamerlane Publishing Corp., administered by Warner-Tamerlane Publishing Corp., printed by Hal Leonard, “John Williams Signature Edition,” 044900057 [ Used in compliance with the U.S. Copyright Act, Section 107].

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The deÂ�rivÂ�aÂ�tive naÂ�ture and the muÂ�siÂ�cal quoÂ�taÂ�tions are anÂ�other Â�method that Â� Williams uses to evoke in the Â�viewer/Â�listener’s mind some muÂ�siÂ�cal memÂ�oÂ�ries of a Â�shared past: “[A] lot of these refÂ�erÂ�ences are deÂ�libÂ�erÂ�ate. Â�They’re an atÂ�tempt to evoke a reÂ�sponse in the auÂ�diÂ�ence where we want to Â�elicit a cerÂ�tain kind of reÂ�acÂ�tion. AnÂ�other thing is that, whenÂ�ever one is inÂ�volved in writÂ�ing inÂ�ciÂ�denÂ�tal music—where you have speÂ�cific backÂ�grounds, speÂ�cific peÂ�riÂ�ods, cerÂ�tain kinds of charÂ�acÂ�ters and so on—the work is bound to be deÂ�rivÂ�aÂ�tive in a cerÂ�tain sense. The deÂ�gree to which you can exÂ�periÂ�ment, as you can in a conÂ�cert work, is very limÂ�ited. Â�You’re fulÂ�fillÂ�ing more of a role of a deÂ�signer, in the same way that a set deÂ�signer would do a deÂ�sign for a peÂ�riod opera.”40 SymÂ�phonic Music Rocks! Lucas and many othÂ�ers Â�feared that the film would be a Â�box-office failÂ�ure. On the Â�contrary, Star Wars Â�opened on 25 May 1977 and met a rapÂ�idly growÂ�ing auÂ�diÂ�ence. Â�Thanks to Â�word-of-mouth adÂ�verÂ�tisÂ�ing, it soon won huge sucÂ�cess, even surÂ�passÂ�ing the Â�highest-grossing film to date, Jaws (SteÂ�ven SpielÂ�berg, 1975). UnÂ�exÂ�pectÂ�edly, the music was a reÂ�soundÂ�ing hit too: in Â�mid-July, the douÂ�ble LP feaÂ�turÂ�ing Â�seventy-four minÂ�utes of Â�straight symÂ�phonic music and no songs at all had alÂ�ready sold 650,000 copÂ�ies and grossed Â� $9 milÂ�lion.41 It would evenÂ�tuÂ�ally sell more than 4 milÂ�lion copÂ�ies, beÂ�comÂ�ing the Â�best-selling symÂ�phonic album of all time.42 Lucas acÂ�knowlÂ�edged the Â�music’s cenÂ�tral conÂ�triÂ�buÂ�tion to the Â�film’s sucÂ�cess to such an exÂ�tent that he Â�awarded the comÂ�poser an extra bonus: a 1 perÂ�cent share of the Â�film’s profÂ�its.43 MeanÂ�while, Â�Williams won his third AcadÂ�emy Award, one Â�Golden Globe, and three Â�Grammy Â�Awards, and also reÂ�ceived a Â�Grammy nomÂ�iÂ�naÂ�tion for “Best Album of the Year,” unÂ�precÂ�eÂ�dented for an album of symÂ�phonic film music.44 Â�Williams reÂ�esÂ�tabÂ�lished the symÂ�phony orÂ�chesÂ�tra as a muÂ�siÂ�cal means for film music and as a styÂ�lisÂ�tic deÂ�vice for film narÂ�raÂ�tion. And too, Â�Williams’s orÂ�chesÂ�tra was a grand symÂ�phony orÂ�chesÂ�tra. AcÂ�cordÂ�ing to LiÂ�oÂ�nel NewÂ�man, “[H]e has Â�taught us to use full orÂ�chesÂ�tra; in the old days, 50–60 men on a picÂ�ture was conÂ�sidÂ�ered a large orÂ�chesÂ�tra—now, beÂ�cause of him, you can’t think of a big movie withÂ�out thinkÂ�ing of using a full symÂ�phony orÂ�chesÂ�tra.”45 Â�Williams’s introÂ� ducÂ�tion of the big, full symÂ�phony orÂ�chesÂ�tra was also made posÂ�sible by techÂ�niÂ�cal inÂ�noÂ�vaÂ�tions in sound reÂ�cordÂ�ing, Â�namely the Dolby Â�Stereo proÂ�cess, which made it feaÂ�sible to have a level of sound fiÂ�delÂ�ity and clarÂ�ity preÂ�viÂ�ously imÂ�posÂ�sible.46 A sign of the new favor reÂ�gained by the symÂ�phonic sound after the Â�film’s reÂ�lease was that the LonÂ�don SymÂ�phony reÂ�sumed a Â�steady inÂ�volveÂ�ment in film proÂ�jects. DurÂ�ing the 1960s and 1970s, when the modÂ�ern style had Â�ousted

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the symÂ�phonic sound, the LonÂ�don SymÂ�phony had exÂ�ited the film marÂ�ket, with the exÂ�cepÂ�tion of the TchaiÂ�kovÂ�sky bioÂ�pic The Music Lover (Ken RusÂ�sell, 1970, music by André PreÂ�vin). Â�Thanks to Star Wars, the LonÂ�don SymÂ�phony not only reÂ�turned to work in films but also beÂ�came Â�sought after. In the folÂ�lowÂ�ing years, Â�Williams himÂ�self Â�worked with the LSO on varÂ�iÂ�ous proÂ�jects: SuperÂ�man: The Movie; DraÂ�cula ( John BadÂ�ham, 1979); RaidÂ�ers of the Lost Ark (SteÂ�ven SpielÂ�berg, 1981); MonÂ�sigÂ�nor (Frank Perry, 1982); and five adÂ�diÂ�tional films of the Star Wars saga. Â�Williams conÂ�tinÂ�ued to comÂ�pose music for the folÂ�lowÂ�ing Star Wars films and exÂ�panded the Â�saga’s muÂ�siÂ�cal catÂ�aÂ�logue over a peÂ�riod spanÂ�ning Â�twenty-eight years. Most notÂ�ably, for The EmÂ�pire Â�Strikes Back (Irvin KershÂ�ner, 1980) he enÂ� larged the orÂ�chesÂ�tral setÂ�ting to inÂ�clude up to 129 musiÂ�cians and syntheÂ�sizer Â�touches for the magic tree scene.47 Three new memÂ�orÂ�able leitÂ�moÂ�tivs are preÂ� sented: a seÂ�rene theme for the sage Jedi masÂ�ter Yoda, a threatÂ�enÂ�ingly imÂ�posÂ�ing milÂ�iÂ�taÂ�risÂ�tic march for Darth Vader, and an exÂ�panÂ�sive love theme for Han Solo and PrinÂ�cess Leia. Among the outÂ�standÂ�ing muÂ�siÂ�cal epiÂ�sodes are the batÂ�tle of Hoth seÂ�quence, whose orÂ�chesÂ�traÂ�tion Â�called for five picÂ�coÂ�los, five oboes, an Â�eight-percussion batÂ�tery, two grand piÂ�aÂ�nos, and three harps;48 and the balÂ�letic acÂ�comÂ�paÂ�niÂ�ment to the MilÂ�lenÂ�nium FalÂ�con crossÂ�ing the asÂ�terÂ�oid field. ReÂ�turn of the Jedi (RichÂ�ard MarÂ�quand, 1983) saw the introÂ�ducÂ�tion of a maÂ�levÂ�oÂ�lent motif for the evil EmÂ�peror, perÂ�formed in dark timÂ�bre by a wordÂ�less male Â�chorus; a brisk Â�Prokofiev-like march for the Â�teddy-bear-like inÂ�habÂ�iÂ�tants of Â�planet Endor, the Ewoks; a slimy tuba leitÂ�moÂ�tiv for the space mobÂ�ster Jabba the Hutt; and a warm and lyrÂ�iÂ�cal theme for the Luke and Leia sibÂ�ling reÂ�laÂ�tionÂ�ship. MemÂ�orÂ�able muÂ�siÂ�cal seÂ�quences are the maÂ�jesÂ�tic arÂ�riÂ�val of the EmÂ�peror on board; the Â�highly kiÂ�netic, and again Â�ballet-like, batÂ�tle of Endor; and the cliÂ�matic duel Â�between the EmÂ�peror and Luke, with Darth Vader evenÂ�tuÂ�ally sidÂ�ing with Luke, reÂ�sultÂ�ing in an unÂ�exÂ�pectÂ�edly poigÂ�nant renÂ�diÂ�tion of Darth Â�Vader’s theme as the archÂ�vilÂ�lain gives his life to save Luke. In the secÂ�ond trilÂ�ogy, there are fewer new leitÂ�moÂ�tivs per epiÂ�sode. The first trilÂ�ogy (1977–83) tells the story of a jourÂ�ney from tyrÂ�anny to freeÂ�dom, but the secÂ�ond one (1999–2005) is a preÂ�quel and conÂ�cerns the Â�events that had Â�caused that tyrÂ�anny, thus being a jourÂ�ney from freeÂ�dom to tyrÂ�anny. ConÂ�seÂ�quently, the music for the first trilÂ�ogy is more Â�buoyant, opÂ�tiÂ�misÂ�tic, hopeÂ�ful in tone, while in the secÂ�ond trilÂ�ogy the music beÂ�comes more somÂ�ber, Â�doom-laden, desÂ�perÂ�ate as the plot proÂ�gresses and Â�things get worse. For Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace (1999) Â�Williams comÂ�posed “Duel of the Fates,” a CarÂ�mina BuÂ�rana–like reÂ�lentÂ�less piece for Â�chorus and orÂ�chesÂ�tra, which alÂ�terÂ�nates drivÂ�ing osÂ�tiÂ�nato writÂ�ing with arÂ�restÂ�ing a capÂ�pella choÂ�ral salÂ�vos:

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This choÂ�ral piece .€.€. is a reÂ�sult of my thinkÂ�ing that someÂ�thing riÂ�tuÂ�aÂ�lisÂ�tic and/or pagan and Â�antique might be very efÂ�fecÂ�tive. I Â�thought that the introÂ�ducÂ�tion of a Â�chorus at a cerÂ�tain point in the film might just be the right thing to use. And, to take that idea of simÂ�plicÂ�ity a bit furÂ�ther, I Â�thought that I Â�needed some kind of a text in order to do this. .€.€. One of my faÂ�vorÂ�ite books is RobÂ�ert Â�Graves’ White GodÂ�dess, which is baÂ�siÂ�cally a hisÂ�tory of Â�poetry, but also has a lot to do with CelÂ�tic folkÂ�lore. .€.€. I reÂ�memÂ�bered the great CelÂ�tic epic poem The BatÂ�tle of the Trees. .€.€. There is a Â�stanza in that poem .€.€. which is Â�roughly, “Under the Â�tongue root a fight most dread / While anÂ�other rages beÂ�hind the head.” And for no conÂ�scious senÂ�sible reaÂ�son, the idea of a fight, someÂ�thing ragÂ�ing and imÂ�aÂ�gined in the head more than anyÂ�where Â�seemed to be a good mysÂ�tiÂ�cal crypÂ�tic piece of busiÂ�ness. I colÂ�labÂ�oÂ�rated with some Â�friends at HarÂ�vard UniÂ�verÂ�sity, first askÂ�ing them to transÂ�late it into CelÂ�tic, then into Greek, and fiÂ�nally into SanÂ�skrit, just lookÂ�ing for good choÂ�ral Â�sounds and good vowÂ�els. The reaÂ�son we like to sing in ItalÂ�ian is beÂ�cause it does not have conÂ�soÂ�nant word endÂ�ings, like our EnÂ�glish, which is so hard to sing. CelÂ�tic does not work eiÂ�ther for that same reaÂ�son, nor does Greek. But SanÂ�skrit is less Â�well-known and has beauÂ�tiÂ�ful Â�sounds. .€.€. I have reÂ�duced the Â�stanza which was transÂ�lated litÂ�erÂ�ally and used eiÂ�ther sinÂ�gle words or sylÂ�lables or comÂ�biÂ�naÂ�tions of these Â�things, the words “dreaded fight” for exÂ�amÂ�ple, and reÂ�peated them.49

For the litÂ�tle boy AnÂ�aÂ�kin SkyÂ�walker, who is Â�doomed to beÂ�come the archÂ�vilÂ�lain Darth Vader, Â�Williams Â�penned a theme that alÂ�ready Â�presents the “Darth Â�Vader’s Theme” conÂ�cealed Â�within: “It’s the kind of theme you would have for a young boy, very inÂ�noÂ�cent, lyrÂ�iÂ�cal and ideaÂ�lisÂ�tic. But it’s made up of interÂ�vals from Darth Â�Vader’s ‘ImÂ�peÂ�rial March’ .€.€. an arÂ�cheÂ�typÂ�iÂ�cal evil exÂ�presÂ�sion. I made Â�Anakin’s theme out of those interÂ�vals by inÂ�vertÂ�ing them or reÂ�arÂ�rangÂ�ing them rhythÂ�miÂ�cally or acÂ�comÂ�paÂ�nyÂ�ing them harÂ�monÂ�iÂ�cally in a difÂ�ferÂ�ent way. It Â�sounds faÂ�milÂ�iar, very sweet. But if you lisÂ�ten to it careÂ�fully, Â�there’s a hint [of evil].”50 Star Wars: EpiÂ�sode II—AtÂ�tack of The Â�Clones (2002) feaÂ�tures a pasÂ�sionÂ�ate love theme for the ilÂ�leÂ�gitÂ�iÂ�mate, Â�ill-fated roÂ�mance Â�between AnÂ�aÂ�kin and Padme. The theme, “Across the Stars,” reÂ�works the interÂ�vals of “Main Title” (Luke’s leitÂ� moÂ�tiv/theme) to reÂ�mind us that Luke will be the offÂ�spring of AnÂ�aÂ�kin and Â�Padme’s love: “George [Lucas] Â�wanted me to write a real Â�old-fashioned love theme, and that is one of the hardÂ�est Â�things to do—to write someÂ�thing that is meÂ�lodic, acÂ�cessÂ�ible, and diÂ�rect, able to take the lead but also able to be heard as

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an acÂ�comÂ�paÂ�niÂ�ment to diÂ�alogue. There has to be a kind of space Â�around it. In this case, there Â�needed to be a Â�tragic eleÂ�ment in it, too.”51 The cenÂ�tral set piece of Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith (2005) is a fuÂ�riÂ�ous theme for Â�chorus and orÂ�chesÂ�tra, “BatÂ�tle of the HeÂ�roes.” It feaÂ�tures viÂ�oÂ�lent wordÂ�less choÂ�ral Â�bursts and interÂ�weaves “The Force Theme”—asÂ�soÂ�ciated throughÂ�out the saga with the Jedis and the good side of the Force—with an omÂ�iÂ�nous horn motif based on the meÂ�diÂ�eval seÂ�quence Dies Irae. FitÂ�tingly, the piece is showÂ�cased in the final duel Â�between Obi Wan and his pupil AnÂ�aÂ�kin, who has just Â�betrayed the Jedis and Â�passed to the “Dark Side.” The duel reÂ�sults in the transÂ�forÂ�maÂ�tion of AnÂ�aÂ�kin into Darth Vader and will evenÂ�tuÂ�ally mark the deÂ�mise of the Jedis—apocÂ�aÂ�lypÂ�tiÂ�cally Â�enough. MuÂ�siÂ�cally, the Star Wars saga is a Â�unique achieveÂ�ment. Â�Williams exÂ�plains: Well, the Star Wars exÂ�peÂ�riÂ�ence has been, I think, Â�unique in music hisÂ�tory, film music hisÂ�tory. Not beÂ�cause of me, Â�there’s no wavÂ�ing my own flag, but beÂ�cause of this simÂ�ple reaÂ�son. .€.€. I Â�thought that Star Wars was just over and comÂ�pleted when I put the baton down at the end of the first reÂ�cordÂ�ing. And a year or so later, he [Lucas] rang up and said, “I have the next inÂ�stallÂ�ment. And we need the old music from the first film, but we also need new music for new charÂ�acÂ�ters, new sitÂ�uÂ�aÂ�tions.” So a proÂ�cess Â�started, that Â�lasted over, I guess, 20-plus years, of addÂ�ing bits and Â�pieces of maÂ�teÂ�rial to a muÂ�siÂ�cal tapÂ�esÂ�try that Â�started .€.€. to pile up off the Â�floors, quite an exÂ�tenÂ�sive liÂ�brary of music. Each film havÂ�ing over two hours of music. So Â�there’s about 12 to 14 hours, maybe 15 hours of orÂ�chesÂ�tral music comÂ�posed over a peÂ�riod of not 2 years but 20. And that, I think, is a Â�unique opÂ�porÂ�tuÂ�nity for a comÂ�poser, .€.€. to go back over and perÂ�haps imÂ�prove some of the Â�things I’d done. And Â�what’s fasÂ�ciÂ�natÂ�ing is, to me, that maybe some of the newer music isn’t any betÂ�ter or as good as the earÂ�lier ones. Â�That’s one’s own perÂ�sonal inner strugÂ�gle, inner voice. When you write someÂ�thing when Â�you’re 40 years old, you Â�wouldn’t write it the same way when one is 70 and vice versa. One may be betÂ�ter than the other or a difÂ�ferÂ�ent kind of enÂ�ergy or difÂ�ferÂ� ent kind of acuÂ�ity, whatÂ�ever will go with it. So it’s been a fasÂ�ciÂ�natÂ�ing jourÂ�ney, Star Wars.52

DurÂ�ing the years folÂ�lowÂ�ing its first reÂ�lease, the music for Â�Lucas’s Â�space-opera has enÂ�joyed great sucÂ�cess beÂ�yond the Â�screen. In 1994 the Â�scores for the first trilÂ�ogy were reÂ�isÂ�sued as a 4-CD box set conÂ�tainÂ�ing some adÂ�diÂ�tional preÂ�viÂ�ously unÂ� reÂ�leased maÂ�teÂ�rial, which sold more than 150,000 copÂ�ies, quite stagÂ�gerÂ�ing a figÂ�ure

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for a Â�film-music Â�re-release.53 In 1997, on the twenÂ�tiÂ�eth anÂ�niÂ�verÂ�sary of the first Â�film’s screenÂ�ing, BMG isÂ�sued a seÂ�ries of douÂ�ble CDs feaÂ�turÂ�ing the comÂ�plete score of each chapÂ�ter of the trilÂ�ogy. In 2004 the same Â�double-CDs were reÂ�isÂ�sued by Sony ClasÂ�siÂ�cal. Over the years, there have also been huge numÂ�bers of Â�suites and anÂ�tholÂ�oÂ�gies reÂ�corded by varÂ�iÂ�ous orÂ�chesÂ�tras Â�around the world. In 2005 the Â�American Film InÂ�stiÂ�tute chose Star Wars (1977) as the best film score of all time.54 In 1999 “Duel of the Fates,” the Williams piece for Â�chorus and orÂ�chesÂ�tra from Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace (George Lucas, 1999), was reÂ�portÂ�edly the first symÂ�phonic Â�video-clip to be feaÂ�tured on the music chanÂ�nel MTV; exÂ�cerpts from the film are alÂ�terÂ�nated with shots of Â�Williams conÂ�ductÂ�ing the LonÂ�don SymÂ�phony and the LonÂ�don Â�Voices. The presÂ�ence on MTV shows how Â�widely Â�Williams’s music Â�spread, reachÂ�ing unÂ�exÂ�pected tarÂ�gets for symÂ�phonic music. As Â�Williams Â�pointed out, “That’s not a rock band on the sound track, not a FenÂ�der bass or a Â�rhythm secÂ�tion. Yet even the kids liked the sound of it, they felt the need for this kind of comÂ�muÂ�niÂ�caÂ� tion.”55 One of the merÂ�its of the Star Wars score is that it has introÂ�duced many peoÂ�ple to symÂ�phonic music, and thus one of the moÂ�tiÂ�vaÂ�tions for Â�Williams havÂ�ing been Â�awarded an honÂ�orary deÂ�gree by BosÂ�ton UniÂ�verÂ�sity in 1985: In an age when, in both popÂ�uÂ�lar and seÂ�riÂ�ous music, melÂ�ody and harÂ�mony have had their backs to the wall, you have led milÂ�lions to enjoy and apÂ�preÂ�ciate music that would have been recÂ�ogÂ�nized as such by BeeÂ�thoÂ�ven or Â�Brahms. This is no small achieveÂ�ment. We have Â�watched and lisÂ�tened with deÂ�lighted astonÂ�ishÂ�ment as you have enÂ�noÂ�bled anew the art of backÂ�ground music. But your cinÂ�eÂ�matic music is more than backÂ�ground: it takes on an exÂ�isÂ�tence outÂ�side the movie house, sellÂ�ing milÂ�lions of alÂ�bums. Your suite from Star Wars has beÂ�come part of the conÂ�cert repÂ�erÂ�toire. Â�Through your music .€.€. you exÂ�pose chilÂ�dren who have studÂ�ied music neiÂ�ther priÂ�vately nor in Â�school and who hear litÂ�tle but Â�single-note Â�rhythms in popÂ�uÂ�lar music to amÂ�biÂ�tious melÂ�oÂ�dies and to comÂ�plex harÂ�monic and rhythÂ�mic strucÂ�tures on a symÂ�phonic scale. In the traÂ�diÂ�tion of RachÂ�manÂ�iÂ�nov, ProÂ�kofÂ�iev, and KornÂ�gold, you have made orÂ�chesÂ�tral music acÂ�cessÂ�ible to and enÂ�joyÂ�able by the milÂ�lions.56

Â�Williams’s score has been sucÂ�cessÂ�ful in conÂ�cert halls too. On 20 NoÂ�vemÂ�ber 1977 Zubin Mehta conÂ�ducted a Â�thirty-minute-long suite with the Los AnÂ�geles PhilÂ�harÂ�monic in front of 17,500 peoÂ�ple in a Â�sold-out conÂ�cert at the HolÂ�lyÂ�wood Bowl in Los AnÂ�geles.57 This was the first one of the many “Star Wars conÂ�certs” to folÂ�low.58 Â�Williams himÂ�self was later inÂ�vited to conÂ�duct his music by such

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muÂ�siÂ�cal inÂ�stiÂ�tuÂ�tions as the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra (16 FebÂ�ruÂ�ary 1978) and the NaÂ�tional PhilÂ�harÂ�monic (18 OcÂ�toÂ�ber 1980), both at the Royal AlÂ�bert Hall in LonÂ�don. On 1 April 1978 Mehta reÂ�peated the preÂ�viÂ�ous Â�year’s proÂ�gram, addÂ�ing Â�Williams’s suite from Close EnÂ�counÂ�ters of the Third Kind (SteÂ�ven SpielÂ� berg, 1977), and in that same month Â�Williams conÂ�ducted his music in San FranÂ�cisco.59 On 26 March 1978 Â�Williams also apÂ�peared as a guest conÂ�ducÂ�tor on the TV show PreÂ�vin and the PittsÂ�burgh on PBS, in which André PreÂ�vin inÂ�vited him to conÂ�duct the PittsÂ�burgh SymÂ�phony OrÂ�chesÂ�tra in two exÂ�tracts from the Star Wars Suite: “PrinÂ�cess Leia’s Theme” and “The Throne Room and End Title.” David Â�Wessel’s 1983 BosÂ�ton Globe quote gives a betÂ�ter idea of the sucÂ�cess of the Star Wars music in conÂ�cert halls: “On Star Wars, acÂ�cordÂ�ing to his busiÂ�ness manÂ�ager, Â�Williams has made alÂ�most as much money from perÂ�forÂ�mances as he did from Â�record sales. After the film was reÂ�leased, Â�Williams reÂ�worked the score into a 36Â�-Â�minute piece for orÂ�chesÂ�tra. FourÂ�teen sets of sheet music for full orÂ�chesÂ�tra were preÂ�pared and Â�rented to orÂ�chesÂ�tras. EiseÂ�man, then runÂ�ning 20th CenÂ�tury Fox’s music pubÂ�lishÂ�ing house, set a slidÂ�ing scale renÂ�tal fee that ran from $250 a perÂ�forÂ�mance for a 4500-seat auÂ�diÂ�torÂ�ium to $1000 for one with more than 20,000 seats. ‘We had close to 1000 conÂ�certs—maybe more than 1000 conÂ�certs now,’ EiseÂ�man said. ‘Williams got half the money.’”60 This vast exÂ�poÂ�sure and the sucÂ�cess of his music faÂ�vored Â�Williams’s apÂ�pointÂ� ment as Â�conductor-in-residence of the BosÂ�ton Pops OrÂ�chesÂ�tra, a funÂ�daÂ�menÂ�tal step toÂ�ward the crackÂ�ing of the “iron curÂ�tain” that isoÂ�lates film music from art/ abÂ�soÂ�lute music and other types of apÂ�plied music. Star Wars Â�proved that the traÂ�diÂ�tional pracÂ�tice and modÂ�els of HolÂ�lyÂ�wood symÂ�phonic film scorÂ�ing were still feaÂ�sible and could also be sucÂ�cessÂ�ful for the Â�present film inÂ�dusÂ�try; inÂ�deed, they could comÂ�pete with the pop genre not only as a betÂ�ter way to help the narÂ�raÂ�tion but also in terms of revÂ�eÂ�nue from soundÂ� track album sales. Film Music ReÂ�naisÂ�sance(?) After Star Wars, the use of the symÂ�phonic score grew conÂ�sisÂ�tently in imÂ�porÂ�tance in the late 1970s and throughÂ�out the ’80s.61 ScholÂ�ars, Â�film-music hisÂ�toÂ�rians, and exÂ�perts are also more or less unanÂ�iÂ�mous in givÂ�ing Â�Williams’s score Â�credit for launchÂ�ing a sort of “Film Music ReÂ�naisÂ�sance.”62 Â�Williams is typÂ�iÂ�cally humÂ�ble and Â�rather cauÂ�tious in givÂ�ing his score the merit of havÂ�ing Â�single-handedly Â�created such a thing: “Well, I don’t know if it’s fair to say the Star Wars films Â�brought back symÂ�phonic Â�scores per se. We’ve been using symÂ�phony orÂ�chesÂ�tras since even beÂ�fore sound. AnyÂ�one interÂ�ested in film knows that music seems to

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be an inÂ�disÂ�pensÂ�able inÂ�greÂ�diÂ�ent for Â�film-makers. .€.€. I think if the use of symÂ�phony orÂ�chesÂ�tras went out of fad in the ’50s and ’60s for some reaÂ�son it was just that: it was out of fad. SomeÂ�one would have Â�brought it back. It’s too useÂ�ful and too sucÂ�cessÂ�ful not to have it back. I think that after the sucÂ�cess of Star Wars the orÂ�chesÂ�tras enÂ�joyed a very sucÂ�cessÂ�ful peÂ�riod beÂ�cause of that. .€.€. I don’t think we can claim that it was a reÂ�naisÂ�sance Â�really, more than just a Â�change of fad if you’d like. .€.€. A litÂ�tle helpÂ�ing push.”63 Â�Williams perÂ�fectly underÂ�stood what type of music was Â�needed for a film like Star Wars; he posÂ�sesses a deep underÂ�standÂ�ing and a Â�thorough knowlÂ�edge of both the Â�art-music and the HolÂ�lyÂ�wood Â�film-music repÂ�erÂ�toires, and he posÂ�sesses such Â�skills to be able to comÂ�pose exÂ�actly the reÂ�quired type of music. He reÂ�marked, “In the sixÂ�ties and sevenÂ�ties diÂ�recÂ�tors were interÂ�ested in Â�super-realism and a kind of proÂ�leÂ�tarÂ�ian leanÂ�ness, where the cosÂ�metic efÂ�fect of a large symÂ�phony orÂ�chesÂ�tra was just exÂ�actly what was not Â�wanted. But now fanÂ�tasy films have come back into fashÂ�ion, and as a musiÂ�cian I’m very happy about it.”64 HowÂ�ever, Â�Williams’s aforeÂ�menÂ�tioned cauÂ�tion is acute and hisÂ�torÂ�iÂ�cally acÂ�cuÂ�rate. To state that Star Wars reÂ�stored the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style altoÂ�gether is not corÂ�rect, as it is not true to say that since Star Wars the symÂ�phony orÂ�chesÂ�tra has beÂ�come the domÂ�iÂ�nant muÂ�siÂ�cal means in HolÂ�lyÂ�wood cinÂ�ema. Only six Â�months after the reÂ�lease of Star Wars, the Bee Gees disco music used for the music track of SatÂ�urÂ�day Night Fever ( John BadÂ�ham, 1977) was not only a cenÂ�tral facÂ�tor of the box ofÂ�fice sucÂ�cess but also beÂ�came one of the Â�best-selling alÂ�bums in hisÂ�tory.65 SimÂ�iÂ�larly, GiorÂ�gio MorÂ�oder won an Oscar for his elecÂ�tronic pop music for MidÂ�night ExÂ�press (Alan Â�Parker, 1978), deÂ�featÂ�ing both Â�Morricone’s lyrÂ�iÂ�cal symÂ�phonic score for Days of Â�Heaven (TerÂ�rence MaÂ�lick, 1978) and Â�Williams’s rousÂ�ing Â�grand-orchestral score for SuperÂ�man: The Movie. In the folÂ�lowÂ�ing years, new Â�idioms Â�emerged as Â�highly sucÂ�cessÂ�ful in HolÂ�lyÂ� wood. Among them, disco music, New Age imÂ�presÂ�sionÂ�ism, ethÂ�nic inÂ�fluÂ�ences (World Music), miniÂ�malÂ�ism, and the like. In parÂ�ticÂ�uÂ�lar, the 1980s saw the wide Â�spread of syntheÂ�sizÂ�ers and elecÂ�tronic music, preÂ�ferred (also for ecoÂ�nomÂ�iÂ�cal reaÂ�sons) by a numÂ�ber of emergÂ�ing pracÂ�tiÂ�tionÂ�ers, such as VanÂ�geÂ�lis in Blade RunÂ�ner (RidÂ�ley Scott, 1982) and CharÂ�iÂ�ots of Fire (Hugh HudÂ�son, 1981); GiorÂ�gio MorÂ�oder in MidÂ�night ExÂ�press and FlashÂ�dance (Adrian Lyne, 1983); Brad FieÂ�del in The TerÂ�miÂ� naÂ�tor ( James CameÂ�ron, 1984); HarÂ�old Â�Faltermeyer’s “synth-pop” for BevÂ�erly Hills Cop (MarÂ�tin Brest, 1984); the AnÂ�gelo BaÂ�dalÂ�aÂ�menti and David Lynch colÂ� labÂ�oÂ�raÂ�tion, startÂ�ing with Blue VelÂ�vet (1986); and the diÂ�recÂ�tor/musiÂ�cian John CarÂ� penÂ�ter in HalÂ�loÂ�ween (1978). Even the Â�past-generation Â�French comÂ�poser MauÂ�rice Jarre—forÂ�merly faÂ�mous for imÂ�iÂ�tatÂ�ing the lush symÂ�phonic HolÂ�lyÂ�wood music in David Â�Lean’s LawÂ�rence of AraÂ�bia (1962), Dr. ZhiÂ�vago (1965), and Â�Ryan’s DaughÂ�ter

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(1970)—disÂ�carded the symÂ�phony orÂ�chesÂ�tra and opted for the syntheÂ�sizer in The Year of LivÂ�ing DanÂ�gerÂ�ously (Peter Weir, 1982); WitÂ�ness (Peter Weir, 1985); and Fatal AtÂ�tracÂ�tion (Adrian Lyne, 1987). All the exÂ�amÂ�ples above show that the 1980s were as much the Â�decade of Â�Williams’s symÂ�phonic neoÂ�clasÂ�siÂ�cism as the Â�decade of the synÂ�theÂ�sized pop music. The style of film music after 1978 is perÂ�haps best deÂ�fined as “eclecÂ�tiÂ� cism,” which can be charÂ�acÂ�terÂ�ized by a freer, hyÂ�briÂ�dized, and varÂ�ied Â�wide-range minÂ�gling of preÂ�viÂ�ous Â�styles, lanÂ�guages, techÂ�niques, and muÂ�siÂ�cal means.66 Cases of Â�Mickey-Mousing, leitÂ�moÂ�tiv, elecÂ�tronic music, rock, pop, jazz, world music, and symÂ�phonic sound coÂ�exÂ�ist not only in the genÂ�eral parÂ�aÂ�digm but someÂ�times also in the same film. For exÂ�amÂ�ple, the FlashÂ�dance score is in a pop lanÂ�guage and uses elecÂ�tronic means, but clasÂ�siÂ�cal techÂ�niques such as Â�Mickey-Mousing are also emÂ�ployed.67 The conÂ�temÂ�poÂ�rary style, which has also inÂ�tenÂ�sified the interÂ� naÂ�tionÂ�alÂ�ism inÂ�herÂ�ited from the modÂ�ern style, can be said to be not only ecÂ�lecÂ�tic but also cosÂ�moÂ�polÂ�iÂ�tan. NaÂ�tional Â�film-music Â�schools tend to disÂ�apÂ�pear in favor of an interÂ�naÂ�tional style that Â�sounds simÂ�iÂ�lar everyÂ�where. The main conÂ�triÂ�buÂ�tion of Star Wars to the overÂ�all parÂ�aÂ�digm of the ecÂ�lecÂ�tic style is the large orÂ�chesÂ�tra as the sound de riÂ�gueur for blockÂ�buster films, reÂ� gardÂ�less of the lanÂ�guage, which can range from David Â�Arnold’s mimÂ�icry of Â�Williams’s idiom in InÂ�deÂ�penÂ�dence Day (RoÂ�land EmmeÂ�rich, 1996) to Hans Â�Zimmer’s rock music arÂ�ranged for orÂ�chesÂ�tra in The Rock (MiÂ�chael Bay, 1996). MoreÂ�over, Star Wars has proÂ�moted the reÂ�viÂ�val of cerÂ�tain clasÂ�siÂ�cal techÂ�niques like Â�MickeyMousing, Â�mostly used in adÂ�venÂ�ture films and comÂ�eÂ�dies, and leitÂ�moÂ�tiv used, for exÂ�amÂ�ple, by Danny ElfÂ�man in BatÂ�man (Tim BurÂ�ton, 1989) and BatÂ�man ReÂ�turns (Tim BurÂ�ton, 1992), and in the Star Trek seÂ�ries. As to the Â�late-romantic diÂ�alect, even Â�Williams’s Â�intra-opus style beÂ�came more ecÂ�lecÂ�tic in the folÂ�lowÂ�ing chapÂ�ters of the saga, inÂ�cludÂ�ing atoÂ�nal writÂ�ing and Â�electronic-music epiÂ�sodes. Even if there were not Â�really a symÂ�phonic film music reÂ�naisÂ�sance or a reÂ�turn of the clasÂ�siÂ�cal style as such, how can Â�Williams’s work and idiom be deÂ�fined Â�within the post–Star Wars ecÂ�lecÂ�tic parÂ�aÂ�digm? The anÂ�swer is that Â�Williams has Â�founded a “neoÂ�clasÂ�siÂ�cal trend” of which he still conÂ�tinÂ�ues to be the greatÂ�est exÂ�poÂ�nent. The peak of such neoÂ�clasÂ�siÂ�cal trend can be Â�placed Â�between 1975 and 1983, the years in which Â�Williams comÂ�posed the first Star Wars trilÂ�ogy; The Fury (Brian De Palma, 1978); SuperÂ�man: The Movie, Jaws 2 ( JeanÂ�not Â�Szwarc, 1978); DraÂ�cula, 1941 (SteÂ�ven SpielÂ�berg, 1979); RaidÂ�ers of the Lost Ark (1981), and E.T. the Â�Extra-Terrestrial (1981). AlÂ�ready in 1980 Â�Williams had Â�stated, “I don’t exÂ�pect what I have been doing for the last two or three years will last—nothÂ�ing does; alÂ�ready in some stuÂ�dios they are callÂ�ing for more pop music, for more Â�youthoriented pop noise.”68 The year 1983 has been choÂ�sen as the end of the trend:

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in that year the album from the score of ReÂ�turn of the Jedi (RichÂ�ard MarÂ�quand, 1983), the closÂ�ing chapÂ�ter of the first Star Wars trilÂ�ogy, was not reÂ�leased as a Â�double-LP but as a sinÂ�gle LP, unÂ�like the alÂ�bums from the preÂ�viÂ�ous two films, even Â�though more than 130 minÂ�utes of music had been comÂ�posed for the film. And unÂ�like the two preÂ�viÂ�ous alÂ�bums, it had disÂ�apÂ�pointÂ�ing sales.69 That same year also Â�marked the last colÂ�labÂ�oÂ�raÂ�tion Â�between Â�Williams and the LSO, the “ofÂ�fiÂ�cial” and most Â�sought-after orÂ�chesÂ�tra of the neoÂ�clasÂ�siÂ�cal trend. The secÂ�ond and third chapÂ�ters of the InÂ�diÂ�ana Jones trilÂ�ogy, InÂ�diÂ�ana Jones and the TemÂ�ple of Doom (SteÂ�ven SpielÂ�berg, 1984) and InÂ�diÂ�ana Jones and the Last CruÂ�sade (SteÂ�ven SpielÂ� berg, 1989), were reÂ�corded in Los AnÂ�geles with a freeÂ�lance stuÂ�dio orÂ�chesÂ�tra. Â�Williams would not work again with the LSO on a film until 1999, when he reÂ�turned to Abbey Road StuÂ�dios to Â�record Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace. In 1984, for the adÂ�venÂ�ture film RoÂ�mancÂ�ing the Stone (RobÂ�ert ZeÂ�meckis), the emergÂ�ing comÂ�poser Alan SilÂ�vesÂ�tri used elecÂ�tronic means and a modÂ�ern pop diÂ�alect inÂ�stead of folÂ�lowÂ�ing in Â�Williams’s neoÂ�clasÂ�siÂ�cal footÂ�steps. In 1985 Â�Silvestri’s theme for Back to the FuÂ�ture (RobÂ�ert ZeÂ�meckis) Â�sounded more symÂ�phonic rock than neoÂ�clasÂ�siÂ�cal. MoreÂ�over, the songs “The Power of Love” and “Back in Time” by Huey Lewis and the News were the highÂ�lights of both the film and the album. A furÂ�ther proof of the anything-but-hegemonic Â� role of neoÂ�clasÂ�siÂ�cism is the case of LegÂ�end (RidÂ�ley Scott, 1985). The rich symÂ�phonic score comÂ�posed by Jerry GoldÂ�smith was reÂ�moved from the Â�American verÂ�sion and reÂ�placed with TangeÂ�rine Â�Dream’s elecÂ�tronic New Age music.70 The clasÂ�siÂ�cal style did not acÂ�tuÂ�ally rise again. With Star Wars and his subÂ�seÂ� quent works, Â�Williams comÂ�posed neoÂ�clasÂ�siÂ�cal Â�scores in which he reÂ�covÂ�ered many feaÂ�tures of the clasÂ�siÂ�cal style. After years of Â�mostly Â�market-oriented music, his Â�narrative-oriented Â�scores Â�brought back to the genÂ�eral atÂ�tenÂ�tion the imÂ�porÂ� tance and power of music as a deÂ�vice of cinÂ�eÂ�matic art, and the funÂ�daÂ�menÂ�tal help that it can give to film narÂ�raÂ�tion. This also Â�caused a Â�stronger awareÂ�ness and interÂ�est for the reÂ�disÂ�covÂ�ery of Â�Hollywood’s muÂ�siÂ�cal traÂ�diÂ�tion. If Star Wars can be seen as the first clamÂ�orÂ�ous manÂ�iÂ�fesÂ�taÂ�tion of the neoÂ� clasÂ�siÂ�cal trend, the first signs of Â�Williams’s penÂ�chant for neoÂ�clasÂ�siÂ�cism are alÂ�ready visÂ�ible in his first 1960s film works.

5 Williams’s Early Years S p o tÂ�tin g the F irs t Â�Tra c e s o f Neo Â�cl a s Â�s iÂ�cis m

J

ohn Â�Towner Â�Williams was born in New York on 8 FebÂ�ruÂ�ary 1932. His Â�father, John Â�Towner Â�Williams Sr.—known as Â�Johnny Â�Williams—was a perÂ�cusÂ�sionÂ�ist in the CBS Radio OrÂ�chesÂ�tra and a memÂ�ber of the RayÂ�mond Scott QuinÂ�tette.1 Young Â�Williams studÂ�ied music and Â�learned to play the trumÂ�pet, the tromÂ�bone, the basÂ�soon, the cello, and the clarÂ�iÂ�net, and used to folÂ�low his Â�father into the reÂ�cordÂ�ing stuÂ�dios and atÂ�tend the sesÂ�sions.2 He soon deÂ�cided to deÂ�vote himÂ�self priÂ�marÂ�ily to the piano, aimÂ�ing to purÂ�sue a caÂ�reer as a clasÂ�siÂ�cal conÂ�cert piÂ�aÂ�nist. He studÂ�ied priÂ�vately in Los AnÂ�geles with piÂ�aÂ�nist RobÂ�ert Van Eps, who was also an acÂ�tive HolÂ�lyÂ�wood orÂ�chesÂ�traÂ�tor, and this might be conÂ�sidÂ�ered Â�Williams’s first conÂ�tact with the world of film music. Â�Williams soon Â�showed unÂ�comÂ�mon Â�skills for comÂ�poÂ�siÂ�tion and arÂ�rangeÂ�ment. DurÂ�ing his years at the North HolÂ�lyÂ�wood High Â�School, he used to arÂ�range music for the Â�school band, apÂ�plyÂ�ing to popÂ�uÂ�lar melÂ�oÂ�dies the techÂ�niques he had Â�learned from orÂ�chesÂ�traÂ�tion manÂ�uÂ�als. Later, he moved to the Los AnÂ�geles City ColÂ�lege and the UniÂ�verÂ�sity of CalÂ�iÂ�forÂ�nia at Los AnÂ�geles. MeanÂ�while, he was priÂ�vately tuÂ�tored in comÂ�poÂ�siÂ�tion and counterÂ�point by Mario CasÂ�telÂ�nuÂ�ovo TeÂ�desco.3 In 1952 Â�Williams was Â�drafted and durÂ�ing his serÂ�vice in the U.S. Air Force he had the Â�chance to work on his first film score:

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I .€.€. spent two years with the NorthÂ�east Air ComÂ�mand Band in St. Â�John’s, NewÂ�foundÂ�land. This was a wonÂ�derÂ�ful exÂ�peÂ�riÂ�ence, and it Â�seemed I was the only one there who could write arÂ�rangeÂ�ments for that band. I conÂ�ducted some of the reÂ�hearÂ�sals, and the band Â�played sumÂ�mer conÂ�certs in a gaÂ�zebo durÂ�ing which the base comÂ�mander often reÂ�quested his faÂ�vorÂ�ite songs. After the end of World War II, the CaÂ�naÂ�dian governÂ�ment comÂ�misÂ�sioned a GerÂ�man comÂ�pany, North AtÂ�lanÂ�tic Films, to make a docÂ�uÂ�menÂ�tary about the MarÂ�iÂ�time ProvÂ�inces of CanÂ�ada. In 1953 the comÂ�pany was workÂ�ing in St. Â�John’s, and some of these peoÂ�ple atÂ�tended the sumÂ�mer conÂ�certs and heard my band arÂ�rangeÂ�ments. As a reÂ�sult they asked my comÂ�mandÂ�ing ofÂ�fiÂ�cer if I could write music for the film. He not only Â�granted me perÂ�misÂ�sion but alÂ�lowed me to use sevÂ�eral band memÂ�bers. I disÂ�covÂ�ered some folk songs of NewÂ�foundÂ�land in the liÂ�brary and wove these into the score. This was my first atÂ�tempt at film writÂ�ing, and I used only winds.4

An arÂ�tiÂ�cle of the time was deÂ�voted to the young Â�soldier-composer: “With disÂ�charge day comÂ�ing his way in JanÂ�uÂ�ary 1955, Â�Johnny plans to conÂ�tinue his studÂ�ies at UCLA with a goal of writÂ�ing and playÂ�ing for moÂ�tion picÂ�tures. If his adÂ�vanceÂ�ment conÂ�tinÂ�ues to be as rapid as it has been to this point, soon the words ‘Music by Â�Johnny Â�Williams’ will flash on the local Â�screen and tell the reÂ�alÂ�izaÂ�tion of the goal of a forÂ�mer March airÂ�man.”5 After milÂ�iÂ�tary serÂ�vice, apÂ�parÂ�ently not sure Â�whether to opt for a caÂ�reer as a comÂ�poser or as a piÂ�aÂ�nist, Â�Williams mused, “I guess I Â�wanted to play RachÂ� maÂ�ninÂ�off with the New York PhilÂ�harÂ�monic.”6 Â�Williams moved to New York, where he was adÂ�mitÂ�ted to the preÂ�stigÂ�ious JuilÂ�liÂ�ard Â�School in the piano class of RoÂ�sina LhéÂ�vinne, where Van CliÂ�burn was one of Â�Williams’s schoolÂ�mates.7 To earn some money while studÂ�yÂ�ing, he Â�worked as a piÂ�aÂ�nist in jazz enÂ�semÂ�bles. HowÂ�ever, his Â�skills in comÂ�poÂ�siÂ�tion soon Â�proved his strongÂ�est talÂ�ent: “I Â�started to hear some of her [Lhévinne’s] other stuÂ�dents who were even Â�younger than I was playÂ�ing Â�around the buildÂ�ing .€.€. and I Â�thought ‘Well, if Â�that’s what the comÂ�peÂ�tiÂ�tion is, maybe I Â�should be a comÂ�poser.’”8 A SerÂ�enÂ�dipÂ�iÂ�tous Start in HolÂ�lyÂ�wood Back in Los AnÂ�geles in 1956, Â�Williams beÂ�came a Â�father—after marÂ�ryÂ�ing Â�singer/ acÂ�tress BarÂ�bara Ruick—and thus Â�needed a Â�stable job to susÂ�tain his new famÂ�ily. There hapÂ�pened to be a vaÂ�cant piÂ�aÂ�nist chair in the stuÂ�dio orÂ�chesÂ�tra at CoÂ�lumÂ�bia

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PicÂ�tures, and Â�Williams auÂ�diÂ�tioned for the post. He was hired, thus enÂ�terÂ�ing the world of film music as an orÂ�chesÂ�tra memÂ�ber. Â�Williams’s piano playÂ�ing can be heard in Funny Face (StanÂ�ley Donen, 1957, music Â�adapted by Â�Adolph Â�Deutsch); South PaÂ�cific ( Joshua Logan, 1958, muÂ�siÂ�cal diÂ�recÂ�tion by AlÂ�fred NewÂ�man); The Big CounÂ�try (William Wyler, 1958, music by JeÂ�rome MoÂ�ross); Some Like It Hot (Billy Â�Wilder, 1959, music by Â�Adolph Â�Deutsch); City of Fear (IrÂ�ving Â�Lerner, 1959, music by Jerry GoldÂ�smith); BreakÂ�fast at Â�Tiffany’s (Blake EdÂ�wards, 1961, music by Henry ManÂ�cini); West Side Story ( JeÂ�rome RobÂ�bins, RobÂ�ert Wise, 1961, music by LeÂ�oÂ�nard BernÂ�stein); and To Kill a MockÂ�ingÂ�bird (RobÂ�ert MulÂ�liÂ�gan, 1962, music by Elmer BernÂ�stein). PerÂ�haps his most faÂ�mous conÂ�triÂ�buÂ�tion is the piano riff that opens the title music in the TV seÂ�ries Peter Gunn (Blake EdÂ�wards, 1958–61, music by Henry ManÂ�cini). DurÂ�ing this stint as a piÂ�aÂ�nist, in adÂ�diÂ�tion to workÂ�ing for CoÂ�lumÂ�bia PicÂ�tures, he also Â�played for the 20th CenÂ�tury Fox stuÂ�dio from 1958 on. Â�Williams gradÂ�uÂ�ally left the piano bench to underÂ�take the typÂ�iÂ�cal caÂ�reer path in Â�Hollywood’s music deÂ�partÂ�ments: he Â�worked as an orÂ�chesÂ�traÂ�tor on The ApartÂ� ment (Billy Â�Wilder, 1960, music by Â�Adolph Â�Deutsch) and The Guns of NavÂ�aÂ�rone ( J. Lee ThompÂ�son, 1961, music by DiÂ�miÂ�tri TiomÂ�kin) while also workÂ�ing in the Â�record inÂ�dusÂ�try as an arÂ�ranger and conÂ�ducÂ�tor for CoÂ�lumÂ�bia Â�Records, with such singÂ�ers as MaÂ�halia JackÂ�son, Doris Day, and Vic DaÂ�mone. The next step was comÂ�poÂ�siÂ�tion, and the gradÂ�ual shift Â�started in 1958, when he was ofÂ�fered a Â�seven-year Â�contract in the music deÂ�partÂ�ment of the Revue TeleÂ�viÂ�sion StuÂ�dios, later known as UniÂ�verÂ�sal TeleÂ�viÂ�sion StuÂ�dios. He Â�worked on such TV seÂ�ries as M Squad (1958–59), Wagon Train (1958–63); CheckÂ�mate (1960–62); BachÂ�eÂ�lor Â�Father (1959–60); Kraft SusÂ�pense TheÂ�aÂ�ter (1960); Alcoa PreÂ�miere (1961–62); The CriÂ�sis (1963–65); Â�Gilligan’s IsÂ�land (1964–65); and Lost in Space (1965). MeanÂ�while, he also Â�stepped up to the poÂ�dium to conÂ�duct reÂ�cordÂ�ings of his own music, not so much for amÂ�biÂ�tion as for “self-defense” from Â�lesser conÂ�ducÂ�tors.9 TeleÂ�viÂ�sion work in those years was good trainÂ�ing for film comÂ�posÂ�ers. They had to deÂ�liver a Â�steady outÂ�put of music, alÂ�ways workÂ�ing under tight deadÂ�lines, and they had to learn to write fast and deÂ�velop a quick, Â�sure-fire inÂ�stinct for what was suitÂ�able for the narÂ�raÂ�tive needs of a given scene. As a staff comÂ�poser, Â�Williams had to work on Â�thirty-nine Â�one-hour TV shows per year, churnÂ�ing out Â�scores of the most diÂ�verse kinds from comÂ�eÂ�dies to thrillÂ�ers to WestÂ�erns: “The shows I was asÂ�signed to were the hardÂ�est shows, the hour shows, which meant I had to write about 20 to 25 minÂ�utes of music a week, score it and Â�record it. It was a treÂ�menÂ�dous learnÂ�ing opÂ�porÂ�tuÂ�nity for me. What I wrote may not have been good—it probÂ�ably Â�wasn’t good; but the main idea was to get it done, and I got it done.”10 This work rouÂ�tine in teleÂ�viÂ�sion was very simÂ�iÂ�lar to that of the music deÂ�partÂ�ments in the old stuÂ�dios—alÂ�though Â�smaller in proÂ�porÂ�tion. In this

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forÂ�maÂ�tive peÂ�riod, diÂ�vidÂ�ing his time Â�between playÂ�ing piano in stuÂ�dio orÂ�chesÂ� tras and comÂ�posÂ�ing in the Revue StuÂ�dio music deÂ�partÂ�ment, Â�Williams had the opÂ�porÂ�tuÂ�nity of mixÂ�ing with, and learnÂ�ing the Â�tricks of the trade from, some of the masÂ�ters of HolÂ�lyÂ�wood music: AlÂ�fred NewÂ�man, DiÂ�miÂ�tri TiomÂ�kin, Franz WaxÂ�man, and BerÂ�nard HerrÂ�mann—with whom he beÂ�came a close Â�friend. Â�Williams also acÂ�knowlÂ�edges the imÂ�porÂ�tant teachÂ�ings of ConÂ�rad SalÂ�inÂ�ger, one of the top arÂ�rangÂ�ers and orÂ�chesÂ�traÂ�tors in HolÂ�lyÂ�wood, whose inÂ�fluÂ�ence can be heard in Â�Williams’s arÂ�rangeÂ�ment of Cole Â�Porter’s “AnyÂ�thing Goes” that opens InÂ�diÂ�ana Jones and the TemÂ�ple of Doom (SteÂ�ven SpielÂ�berg, 1984): “[ I ] spent a lot of time with ConÂ�rad SalÂ�inÂ�ger. [ I ] Â�learned a treÂ�menÂ�dous Â�amount from him—Â�mostly from lookÂ�ing at his Â�scores. As you know, he prinÂ�ciÂ�pally did muÂ�siÂ�cals; he was the archiÂ�tect of what you might call the ‘MGM Â�sound’—that marÂ�veÂ�lous glow that the orÂ�chesÂ�tra had. And it Â�really came from his writÂ�ing. His Â�scores were Â�highly idioÂ�synÂ�cratic: he’d have the third tromÂ�bone way up in tenor clef, and trumÂ�pets low down doing funny Â�things—as if some ChiÂ�naÂ�man had writÂ�ten the score! And then you’d go on the sound stage the next day and hear the reÂ�sult .€.€. it was like a wonÂ�der. No one quite had his touch. .€.€. [O]f all the orÂ�chesÂ�traÂ�tors .€.€. I think I Â�learned more from ConÂ�rad SalÂ�inÂ�ger than anyÂ�one else, even Â�though I don’t write anyÂ�thing like him.”11 Most of Â�Williams’s caÂ�reer would be spent as a freeÂ�lance comÂ�poser in the Â�post-studio-era “package-unit” Â�system—each film proÂ�ject is a Â�team-up of freeÂ� lance artÂ�ists and techÂ�niÂ�cians asÂ�semÂ�bled and Â�contracted for that sinÂ�gle proÂ�ject, unÂ�like the typÂ�iÂ�cal Â�in-house staff of payÂ�rolled peoÂ�ple that used to work on each film of their stuÂ�dio in the old Â�system. Yet Â�Williams moved his first steps into the busiÂ�ness durÂ�ing the last days of the stuÂ�dio Â�system and Â�in-house music deÂ�partÂ� ments, and he acÂ�quired an exÂ�tenÂ�sive trainÂ�ing in the Â�high-pressure schedÂ�ules of teleÂ�viÂ�sion proÂ�ducÂ�tion. The relÂ�eÂ�vance of this early “imÂ�printÂ�ing” Â�within the old pracÂ�tice was of enorÂ�mous imÂ�porÂ�tance in shapÂ�ing Â�Williams’s neoÂ�clasÂ�siÂ�cal apÂ�proach; it had a conÂ�sidÂ�erÂ�able inÂ�fluÂ�ence on his work habÂ�its, which reÂ�tain a numÂ�ber of Â�old-school charÂ�acÂ�terÂ�isÂ�tics—as we shall see. Johnny Â�Williams, EmergÂ�ing ComÂ�p oser After teleÂ�viÂ�sion, he moved on to cinÂ�ema. His first sigÂ�nifÂ�iÂ�cant colÂ�labÂ�oÂ�raÂ�tions in feaÂ�ture films were with Don SieÂ�gel for the Â�thriller The KillÂ�ers (1964), with Frank SiÂ�naÂ�tra for the war film None But the Brave (1965)—the Â�singer/Â�actor’s only diÂ�recÂ� toÂ�rial Â�credit—and with AnÂ�drew V. McLaÂ�glen for the WestÂ�ern The Rare Breed (1966, starÂ�ring James StewÂ�art and MauÂ�reen Â�O’Hara). After these mulÂ�tiÂ�facÂ�eted

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exÂ�peÂ�riÂ�ences, in the mid-1960s Â�Williams was piÂ�geonÂ�holed as a comÂ�edy comÂ� poser.12 Â�Williams proÂ�vided Â�scores for such films as John GoldÂ�farb, Â�Please Come Home! ( J. Lee ThompÂ�son, 1965); Not with My Wife, You Don’t! (NorÂ�man PanÂ�ama, 1966); PeneÂ�lope (ArÂ�thur Â�Hiller, 1966); How to Steal a MilÂ�lion (William Wyler, 1966); A Guide for the MarÂ�ried Man (Gene Kelly, 1967); and FitzÂ�willy (DelÂ�bert Mann, 1967). Most of them were someÂ�what spicy comÂ�eÂ�dies in the typÂ�iÂ�cal Â�post-Hayscode, Â�liberated-mores style of the 1960s—“Lots of brass Â�chords on cuts to brasÂ�sieres,” Â�Williams reÂ�calls.13 In the next Â�decade Â�Williams was Â�shifted to anÂ�other genre and Â�thanks to his preÂ�viÂ�ous colÂ�labÂ�oÂ�raÂ�tion with proÂ�ducer Irwin Allen for Lost in Space, he beÂ�came the comÂ�poser of Â�choice for “disÂ�asÂ�ter moÂ�vies” like The PoÂ�seiÂ�don AdÂ�venÂ�ture (RoÂ�nald Neame, 1972); EarthÂ�quake (Mark RobÂ�son, 1974); and The TowÂ�erÂ�ing InÂ�ferno ( John GuilÂ�lerÂ�min, 1974). He also Â�worked in EuÂ�rope on Heidi (DelÂ�bert Mann, 1968), Â�co-produced by the FedÂ�eral ReÂ�pubÂ�lic of GerÂ�many and feaÂ�turÂ�ing a RichÂ�ard StrausÂ�sian Eine AlÂ�penÂ�sinÂ�foÂ�nie–like score perÂ�formed by memÂ�bers of the HamÂ�burg Opera; Jane Eyre (DelÂ�bert Mann, 1970) for BritÂ�ish teleÂ�viÂ�sion, showÂ�casÂ�ing a senÂ�siÂ�tive score in the BritÂ�ish Â�idioms of Ralph VauÂ�ghan Â�Williams and FredeÂ�rick DeÂ�lius; and SÂ�tory of a Woman (LeÂ�oÂ�nardo BerÂ�covÂ�ici, 1970), an ItalÂ�ian Â�co-production to which he also conÂ�tribÂ�uted the song “Uno di qua, Â�l’altra di là” sung by OrÂ�nella VaÂ�noni and reÂ�corded in Milan.14 Â�Besides demÂ�onÂ�stratÂ�ing his abilÂ�ity to proÂ�duce funcÂ�tional and Â�well-written Â�scores, Â�Williams was alÂ�ready disÂ�tinÂ�guishÂ�ing himÂ�self from the avÂ�erÂ�age comÂ�posÂ�ers with a numÂ�ber of outÂ�standÂ�ing Â�scores. For The ReÂ�ivÂ�ers (Mark RyÂ�dell, 1969), he Â�adopted Â�Copland’s Â�Americana idiom to paint a lively Â� score imÂ�bued with nosÂ� talÂ�gia, which is the perÂ�fect muÂ�siÂ�cal corÂ�relÂ�aÂ�tive of Â�Faulkner’s eponÂ�yÂ�mous novel set in 1905. For The Long GoodÂ�bye (RobÂ�ert AltÂ�man, 1973), he comÂ�posed a monoÂ� theÂ�matic score à la Laura in which the melÂ�ody of the theme song (lyrÂ�ics by Â�Johnny MerÂ�cer) is skillÂ�fully arÂ�ranged for difÂ�ferÂ�ent inÂ�struÂ�menÂ�taÂ�tions and used at both Â�non-diegetic and dieÂ�getic levÂ�els. And again, for Jane Eyre, Â�Williams wrote a reÂ� fined score that shows his Â�thorough knowlÂ�edge and love for BritÂ�ish music. For The CowÂ�boys (Mark RyÂ�dell, 1972), he proÂ�vided a drivÂ�ing theme for full orÂ�chesÂ�tra in line with the Â�Copland-Moross-Bernstein WestÂ�ern traÂ�diÂ�tion. The most notÂ�able and exÂ�periÂ�menÂ�tal work of the peÂ�riod is ImÂ�ages (RobÂ�ert AltÂ�man, 1972), the story of the Â�psychic douÂ�ble life of a schizoÂ�phrenic woman, a Â�children’s book auÂ�thor, for which Â�Williams comÂ�posed a simÂ�iÂ�larly schizoÂ�phrenic score. A melÂ�anÂ�cholic melÂ�ody for piano and Â�strings acÂ�comÂ�paÂ�nies the Â�woman’s fanÂ�taÂ�sies and the peaceÂ�ful moÂ�ments in which she works on her book. On the other hand, the psyÂ�chotic epiÂ�sodes in which she sees her douÂ�ble self or talks with her dead lover are acÂ�comÂ�paÂ�nied by disÂ�turbÂ�ingly atoÂ�nal and alÂ�eaÂ�toric music, perÂ�formed by the

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perÂ�cusÂ�sionÂ�ist Stomu Â�Yamash’ta on metal and glass sculpÂ�tures by the PaÂ�riÂ�sian artÂ�ists Â�François and BerÂ�nard BasÂ�chet.15 In the first part of his caÂ�reer, Â�Williams Â�ranked among the most Â�gifted and verÂ�saÂ�tile comÂ�posÂ�ers of his genÂ�erÂ�aÂ�tion. In adÂ�diÂ�tion to traÂ�diÂ�tional symÂ�phonic Â�scores for large orÂ�chesÂ�tra—like The Rare Breed or The CowÂ�boys—he comÂ�posed a Â�modern-style reÂ�strained score for The MisÂ�souri Â�Breaks (ArÂ�thur Penn, 1976), Â�scored for guiÂ�tars, banÂ�jos, bass guiÂ�tars, and harÂ�monÂ�iÂ�cas. Â�Besides Â�Copland’s idiom and jazz diÂ�alect used in deÂ�tecÂ�tive stoÂ�ries like CheckÂ�mate, Â�Williams could also hanÂ�dle Â�up-to-date pop diÂ�alects: Â�rhythms and inÂ�flecÂ�tions typÂ�iÂ�cal of the curÂ�rent dance music can be found eiÂ�ther in Â�light-hearted verÂ�sions in comÂ�eÂ�dies like A Guide for the MarÂ�ried Man, or draÂ�matÂ�iÂ�cally arÂ�ranged for orÂ�chesÂ�tra in thrillÂ�ers like TowÂ�erÂ�ing InÂ�ferno and EarthÂ�quake. Â�Williams’s verÂ�saÂ�tilÂ�ity was such that he folÂ�lowed one of the most charÂ�acÂ�terÂ�isÂ�tic pracÂ�tices of modÂ�ern style as well, Â�namely the inÂ�corÂ�poÂ�raÂ�tion of at least one pop song in each film. He wrote songs both for comÂ�eÂ�dies—“A Big BeauÂ�tiÂ�ful Ball” for Not with My Wife, You Don’t! or “Two LovÂ�ers” for How to Steal a MilÂ�lion—and for draÂ�mas—“None But the Brave” for None But the Brave, “Dream Way” for The Man Who Loved Cat DancÂ�ing (RichÂ�ard C. SaÂ�raÂ�fian, 1973), and “Daddy’s Gone Â�A-Hunting” for Â�Daddy’s Gone Â�A-Hunting (Mark RobÂ�son, 1969). In an Â�early-1970s interÂ�view, howÂ�ever, Â�Williams conÂ�fessed feelÂ�ing unÂ�comÂ� fortÂ�able as a songÂ�writer: Well, it has been overÂ�done. God knows, it’s a pracÂ�tice that I’ve been inÂ�volved in on a few ocÂ�caÂ�sions myÂ�self. Not very hapÂ�pily, ever; some peoÂ�ple seem to have a betÂ�ter touch at that than I do. Again, there I have mixed emoÂ�tions. It’s a pracÂ�tice that can be vile and obÂ�noxÂ�ious, and awful—very often. On the other hand, the comÂ�merÂ�cial part of me says someÂ�thing has to do some busiÂ�ness, and the Â�music-selling busiÂ�ness is not altoÂ�gether a bad thing. .€.€. So on the posÂ�iÂ�tive side of it, this busiÂ� ness of title song and popÂ�uÂ�lar sucÂ�cess from film music is both a good thing and a bad thing. It isn’t a great thing for the art of music Â�vis-à-vis film scorÂ�ing. But it does help the sort of genÂ�eral Â�health of the Â�musicpublishing, Â�revenue-creating areas of the music busiÂ�ness—and the music “busiÂ�ness” afÂ�fects us all.16

AlÂ�though verÂ�saÂ�tilÂ�ity was a key feaÂ�ture of the young Â�Williams, some neoÂ� clasÂ�siÂ�cal Â�traits were alÂ�ready scatÂ�tered Â�within his 1960s works. As we have seen, the “spaÂ�tial perÂ�cepÂ�tive funcÂ�tion” beÂ�came obÂ�soÂ�lete after the clasÂ�siÂ�cal peÂ�riod, surÂ�vivÂ�ing spoÂ�radÂ�iÂ�cally as manÂ�nerÂ�ist Â�bursts of Â�Mickey-Mousing in some comÂ�eÂ�dies. At that time, inÂ�stead of emÂ�bracÂ�ing the Â�up-to-date comÂ�edy muÂ�siÂ�cal style à la

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ManÂ�cini, found for exÂ�amÂ�ple in Burt Â�Bacharach’s and Â�Quincy Â�Jones’s Â�scores for CaÂ�sino RoyÂ�ale ( John HuÂ�ston et al., 1967) and CacÂ�tus Â�Flower (Gene Saks, 1969), reÂ�specÂ�tively, Â�Williams-the-emerging-composer opted for the ilÂ�lusÂ�traÂ�tive and Â�not-so-up-to-date muÂ�siÂ�cal apÂ�proach feaÂ�tured in such comÂ�eÂ�dies as GamÂ�bit (RoÂ�nald Neame, 1966, music by MauÂ�rice Jarre) and The Glass BotÂ�tom Boat (Frank TashÂ�lin, 1966, music by Frank De Vol). Â�Besides alÂ�ready showÂ�ing a peÂ�cuÂ�liar interÂ�est in exÂ�plicit Â�synch-points and Â�Mickey-Mousing, Â�Williams also Â�showed a penÂ�chant for the leitÂ�moÂ�tiv techÂ�nique. A close look at his 1960s films shows that he apÂ�plied these clasÂ�siÂ�cal techÂ�niques more exÂ�tenÂ�sively and systemÂ�atÂ�iÂ�cally than most colÂ�leagues. MoreÂ�over, he apÂ�plied them not only to comÂ�eÂ�dies but also to draÂ�mas. A ManÂ�cini/Â�Williams ComÂ�parÂ�iÂ�son This secÂ�tion is a staÂ�tisÂ�tiÂ�cal surÂ�vey of the reÂ�curÂ�rences of the spaÂ�tial perÂ�cepÂ�tive funcÂ�tion in Â�Williams’s most imÂ�porÂ�tant 1960s Â�scores, comÂ�parÂ�ing the numÂ�ber of ocÂ�curÂ�rences in Â�Williams’s Â�scores with those of Â�Hollywood’s most inÂ�fluenÂ�tial comÂ�poser at the time and one of the main repÂ�reÂ�senÂ�taÂ�tives of modÂ�ern style, Henry ManÂ�cini. The surÂ�vey comÂ�pares some ManÂ�cini film Â�scores comÂ�posed in the peÂ�riod from 1962 to 1972 with some coÂ�eval Â�Williams Â�scores, choosÂ�ing five comÂ�eÂ�dies and three draÂ�mas by both comÂ�posÂ�ers. The ManÂ�cini samÂ�ple conÂ�tains: • BreakÂ�fast at Â�Tiffany’s (Blake EdÂ�wards, 1961), a bitÂ�terÂ�sweet comÂ�edy about nosÂ�talÂ�gia and loneÂ�liÂ�ness conÂ�cernÂ�ing the serÂ�enÂ�dipÂ�iÂ�tous meetÂ�ing Â�between an ecÂ�cenÂ�tric and naïve prosÂ�tiÂ�tute (Holly) and a disÂ�couÂ�raged Â�writer (Paul) mainÂ�tained as a Â�toy boy by a rich woman • Man’s FaÂ�vorÂ�ite Sport? (HoÂ�ward Hawks, 1964), a screwÂ�ball comÂ�edy in the Â�spirit of Â�Hawks’s own 1938 BringÂ�ing Up Baby, the story of Roger, a sucÂ�cessÂ� ful auÂ�thor of fishÂ�ing manÂ�uÂ�als who is Â�forced to join a fishÂ�ing tourÂ�naÂ�ment and has to conÂ�ceal the fact that he is Â�merely a theoÂ�rist, havÂ�ing never Â�fished beÂ�fore, while also havÂ�ing to cope with the reÂ�lentÂ�less courtÂ�ship by a trouÂ�bleÂ�makÂ�ing woman (AbÂ�iÂ�gail) • A Shot in the Dark (Blake EdÂ�wards, 1964), a slapÂ�stick comÂ�edy and the secÂ�ond chapÂ�ter of inÂ�specÂ�tor Â�Clouseau’s adÂ�venÂ�tures, in which the inane deÂ�tecÂ�tive falls in love with a Â�blonde homÂ�iÂ�cide susÂ�pect and tries to prove her inÂ�noÂ�cent • The Great Race (Blake EdÂ�wards, 1965), a Â�cartoon-like epic about a car race set in the early twenÂ�tiÂ�eth cenÂ�tury

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• The Party (Blake EdÂ�wards, 1968), a slapÂ�stick Â�humor-filled story of how a HolÂ�lyÂ�wood extra is misÂ�taÂ�kenly inÂ�vited to a Â�big-shot party and ends up unÂ�inÂ�tenÂ�tionÂ�ally deÂ�stroyÂ�ing the Â�host’s manÂ�sion.

The draÂ�mas are: • ArÂ�aÂ�besque (StanÂ�ley Donen, 1966), the story of uniÂ�verÂ�sity proÂ�fesÂ�sor PolÂ�lock getÂ�ting inÂ�volved, along with a charmÂ�ing feÂ�male spy, in the hunt for a mysÂ�terÂ�iÂ�ous code at the risk of his life • Wait Until Dark (TerÂ�ence Young, 1967), a Â�thriller in which a blind woman (Susy) is Â�trapped alone in her apartÂ�ment with three crimÂ�iÂ�nals who want to reÂ�trieve a Â�drug-stuffed doll they beÂ�lieve she is hidÂ�ing someÂ� where in the apartÂ�ment • The Night VisÂ�iÂ�tor (Laslo BeneÂ�dek, 1971), a Â�thriller in which a psychoÂ�path (Salem) esÂ�capes from an asyÂ�lum to take reÂ�venge on those who had him Â�locked up.17

As for the Â�Williams samÂ�ple, the comÂ�eÂ�dies are: • How to Steal a MilÂ�lion (William Wyler, 1966), a soÂ�phisÂ�tiÂ�cated comÂ�edy in which NiÂ�cole, the daughÂ�ter of a Â�forger, orÂ�gaÂ�nizes the theft of a Â�statue her Â�father Â�leased to a muÂ�seum in order to preÂ�vent her Â�father’s forÂ�gerÂ�ies from being disÂ�covÂ�ered • FitzÂ�willy (DelÂ�bert Mann, 1967), in which the ausÂ�tere butÂ�ler FitzÂ�wilÂ�liam coÂ�orÂ�diÂ�nates Â�thefts and cons to mainÂ�tain the high stanÂ�dard of livÂ�ing of his oblivÂ�iÂ�ous Â�old-lady emÂ�ployer in order to conÂ�ceal from her the fact that she is now broke • Not with My Wife, You Don’t! (NorÂ�man PanÂ�ama, 1966), about the jealÂ�ousy of two ex-comrades Â� (Tom and “Tank”) who conÂ�tinue to conÂ�tend for the same woman ( Julie) even though she is now marÂ�ried to Tom • PeneÂ�lope (ArÂ�thur Â�Hiller, 1966), in which the rich klepÂ�toÂ�maÂ�niac PeneÂ�lope reÂ�sorts to psychoÂ�analÂ�yÂ�sis to disÂ�cover the orÂ�iÂ�gin of her thievÂ�ing drive but ends up robÂ�bing her own Â�husband’s bank • A Guide for the MarÂ�ried Man (Gene Kelly, 1967), a farce conÂ�cernÂ�ing a Â�clumsy Â�would-be purÂ�suer of exÂ�traÂ�marÂ�iÂ�tal afÂ�fairs (Paul) who is inÂ�structed by an exÂ�peÂ�riÂ�enced Â�friend on the supÂ�posÂ�edly sucÂ�cessÂ�ful techÂ�niques for cheatÂ�ing on one’s wife.

The dra�mas are:

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• The KillÂ�ers (Don SieÂ�gel, 1964), the story of a penÂ�niÂ�less race car Â�driver ( Johnny) hired by a gang of bank robÂ�bers and then imÂ�pliÂ�cated in the ruthÂ�less purÂ�suit of the lost loot—a reÂ�make of RobÂ�ert Â�Siodmak’s 1946 film • Â�Daddy’s Gone Â�A-Hunting (Mark RobÂ�son, 1969), a Â�thriller about a marÂ�ried woman (Cathy) who is Â�stalked by her psychoÂ�pathic Â�ex-boyfriend (KenÂ�neth) who wants to kill her baby to reÂ�talÂ�iÂ�ate for her past aborÂ�tion of the child he had Â�fathered • ImÂ�ages (RobÂ�ert AltÂ�man, 1972), a tale about the Â�psychic douÂ�ble life of a schizoÂ�phrenic woman.

ComÂ�eÂ�dies outÂ�numÂ�ber draÂ�mas beÂ�cause in the choÂ�sen time peÂ�riod, both Â� Williams and ManÂ�cini Â�worked more in that genre than in draÂ�mas. Each film has been anÂ�aÂ�lyzed by foÂ�cusÂ�ing on the presÂ�ence of the spaÂ�tial perÂ�specÂ�tive funcÂ�tion and of the leitÂ�moÂ�tiv and Â�Mickey-Mousing techÂ�niques, but also takÂ�ing into conÂ�sidÂ�erÂ�aÂ�tion other Â�traits of the clasÂ�siÂ�cal style Â�vis-à-vis the modÂ�ern style. (For Â�brevity’s sake, only the reÂ�sults of the comÂ�parÂ�iÂ�son are given here, comÂ�pleÂ�mented with highÂ�lights from the films as evÂ�iÂ�dence.) First of all, the comÂ�parÂ�iÂ�son conÂ�firms Â�Mancini’s prefÂ�erÂ�ence for the Â�closed muÂ�siÂ�cal numÂ�bers, typÂ�iÂ�cal of modÂ�ern style. The comÂ�eÂ�dies in the samÂ�ple are for the most part diÂ�rected by Blake EdÂ�wards, who used to model his coÂ�meÂ�dic style on Â�Jacques Tati: the Â�viewer has to scan the frame himÂ�self to spot the gags, withÂ�out being Â�closely Â�guided by the film narÂ�raÂ�tion—Tati Â�avoided emÂ�phaÂ�sizÂ�ing the comic acÂ�tions with Â�non-diegetic music. Â�Mickey-Mousing would be too inÂ�truÂ�sive and perÂ�cepÂ�tuÂ�ally “coÂ�erÂ�cive” in this type of comÂ�edy. ConÂ�seÂ�quently, the EdÂ�wards/ManÂ�cini duo chose to acÂ�comÂ�pany the comic scenes Â� Â�mostly with dieÂ�getic music, which flows inÂ�deÂ�penÂ�dently in the backÂ�ground, as can be seen in The Party when BakÂ�shi is clumÂ�sily tryÂ�ing to reÂ�trieve his shoe from the water Â�stream. Apart from the Â�director’s arÂ�tisÂ�tic Â�choice, this is also due to the Â�modernstyle, Â�market-oriented apÂ�proach. All films, exÂ�cept for The Night VisÂ�iÂ�tor, conÂ�tain one or more songs, skillÂ�fully Â�placed in the right spot by ManÂ�cini to adÂ�verÂ�tise them. The Party is a hiÂ�larÂ�iÂ�ous comÂ�edy in itÂ�self, of Â�course, and since the film is about a party, the many dieÂ�getic Â�pieces have a solid reÂ�alisÂ�tic moÂ�tiÂ�vaÂ�tion; but the film is also a Â�clever showÂ�case to proÂ�mote Â�Mancini’s cockÂ�tail music and to adÂ�verÂ�tise the Â�tie-in LP album. The same can be said of BreakÂ�fast at Â�Tiffany’s. In a scene, Paul pays a visit to Holly and they start a conÂ�verÂ�saÂ�tion only after Holly has put on a disc and Â�turned on the turnÂ�table, the melÂ�low Â�light-dance music actÂ�ing as a dieÂ�getic backÂ�ground for their diÂ�alogue. SimÂ�iÂ�larly, the many party Â�scenes are acÂ�comÂ�paÂ�nied by

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fashÂ�ionÂ�able dance music. The main theme—“Moon River” (lyrÂ�ics by Â�Johnny MerÂ�cer)—is preÂ�sented in an inÂ�struÂ�menÂ�tal verÂ�sion durÂ�ing the openÂ�ing credÂ�its, sung by Holly at dieÂ�getic level with guiÂ�tar acÂ�comÂ�paÂ�niÂ�ment, reÂ�prised by the Â�chorus at the end of the film, and it also apÂ�pears as a dieÂ�getic “Cha-cha-cha” durÂ�ing a party scene. The only subÂ�stanÂ�tial ocÂ�curÂ�rence of spaÂ�tial perÂ�cepÂ�tive funcÂ�tion can be found in a short chain of Â�synch-points in the shopÂ�liftÂ�ing seÂ�quence. A Â�stinger by the tromÂ�bones emÂ�phaÂ�sizes the shop Â�assistant’s susÂ�piÂ�cious look folÂ�lowed by an anÂ�swerÂ�ing viÂ�braÂ�phone chord underÂ�linÂ�ing Â�Holly’s look of Â�feigned inÂ�noÂ�cence. Then, an upÂ�ward harp glisÂ�sando culÂ�miÂ�nates on Holly playÂ�ing the toy trumÂ�pet that she was about to steal. Oddly, when the two shopÂ�liftÂ�ers flee and alÂ�most colÂ�lide with a poÂ�liceÂ�man, the music does not mark the event, as we might have exÂ�pected; it keeps up unÂ�inÂ�terÂ�rupted with its exÂ�cited flow acÂ�comÂ�paÂ�nyÂ� ing the Â�couple’s esÂ�cape. A Shot in the Dark opens with a long seÂ�quence in which we see the inÂ�habÂ�iÂ�tants of a luxÂ�uÂ�riÂ�ous manÂ�sion enÂ�gaged in a netÂ�work of nocÂ�turÂ�nal Â�stealthy visÂ�its to their seÂ�cret lovÂ�ers. The seÂ�quence is acÂ�comÂ�paÂ�nied by the song “ShadÂ�ows of Paris” (lyrÂ�ics by RobÂ�ert Wells)—the inÂ�struÂ�menÂ�tal verÂ�sion of which Â�serves as the Â�film’s love theme—and the song flows inÂ�deÂ�penÂ�dently as a Â�closed muÂ�siÂ�cal numÂ�ber, withÂ�out folÂ�lowÂ�ing the visÂ�ual acÂ�tions. DurÂ�ing the folÂ�lowÂ�ing openÂ�ing credÂ�its, the theme asÂ�soÂ�ciated with Â�Clouseau’s inÂ�vesÂ�tiÂ�gaÂ�tion is introÂ�duced—it is a jazzy piece akin to the more faÂ�mous “Pink PanÂ�ther Theme”—and is preÂ�sented again arÂ�ranged for big band as dieÂ�getic music durÂ�ing the nudÂ�ist camp seÂ�quence. Â�Clouseau’s tumÂ�bles are Â�rarely puncÂ�tuÂ�ated by music: when he falls into the founÂ�tain, when he inÂ�adÂ�verÂ�tently sets fire to his rainÂ�coat, or when he jumps out of the winÂ�dow, music Â�places litÂ�tle emÂ�phaÂ�sis on the acÂ�tion. Even the Â�overtly comic Â�fights Â�between ClouÂ�seau and Kato are left withÂ�out music. The only exÂ�plicit synch-points Â� are the striÂ�dent bass Â�chords that mark the apÂ�pearÂ�ance of the mysÂ�terÂ�iÂ�ous Â�black-gloved murÂ�derer and the stingÂ�ers that in the deÂ�noueÂ�ment scene introÂ�duce each Â�close-up of the Â�suspects’ worÂ�ried faces after ClouÂ�seau says, “One of you is a murÂ�derer.” The Great Race is a strikÂ�ing exÂ�amÂ�ple, as ManÂ�cini reÂ�jects Â�Mickey-Mousing in a Â�couple of Â�scenes that would have been a perÂ�fect place for this techÂ�nique. In the sword fight Â�between the Great LesÂ�lie and the Baron, everyÂ�thing harkÂ�ens back to the clasÂ�siÂ�cal duels starÂ�ring Errol Flynn in MiÂ�chael Â�Curtiz’s films: swashÂ� buckÂ�ling cosÂ�tumes, casÂ�tle halls with chanÂ�deÂ�liers and stone walls, even the Â�duelists’ shadÂ�ows cast on the walls—a typÂ�iÂ�cal CurÂ�tiz styÂ�lisÂ�tic trait. ManÂ�cini, in spite of that, did not comÂ�pose a KornÂ�golÂ�dian score by treatÂ�ing the duel like a balÂ�let but opted for a simÂ�ple Â�strings sound pad with slow modÂ�ulaÂ�tions keepÂ�ing the harÂ�mony unÂ�reÂ�solved. In line with modÂ�ern style, he preÂ�ferred the emÂ�oÂ�tive

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funcÂ�tion, that is, creatÂ�ing tenÂ�sion. Even the folÂ�lowÂ�ing Â�custard-pie fight scene—a traÂ�diÂ�tional slapÂ�stick comÂ�edy gag since the days of vaudeÂ�ville, typÂ�iÂ�cally havÂ�ing each comic acÂ�tion acÂ�comÂ�paÂ�nied by a muÂ�siÂ�cal gesÂ�ture18—has no Â�MickeyMousing acÂ�comÂ�paÂ�niÂ�ment, but inÂ�stead a spirÂ�ited polka deÂ�velÂ�ops inÂ�deÂ�penÂ�dently as a Â�closed muÂ�siÂ�cal numÂ�ber throughÂ�out the scene. Who was reÂ�sponÂ�sible for the muÂ�siÂ�cal Â�choices of these three films? The diÂ�recÂ�tor Blake EdÂ�wards or the comÂ�poser Henry ManÂ�cini? It is clear that a comÂ�poser has to meet the Â�director’s deÂ�mands, but a diÂ�recÂ�tor Â�rarely venÂ�tures into deÂ�tailed disÂ�cusÂ�sions on the naÂ�ture of the music to be Â�adopted in each scene; more often, a diÂ�recÂ�tor will hire a Â�trusted comÂ�poser known for being in tune with his ideas on music. ThereÂ�fore, the comÂ�poser is Â�mainly reÂ�sponÂ�sible for a parÂ�ticÂ�uÂ�lar muÂ�siÂ�cal soÂ�luÂ�tion, esÂ�peÂ�cially in the case of Â�well-established colÂ�labÂ�oÂ�raÂ� tions like that Â�between ManÂ�cini and EdÂ�wards.19 InÂ�deed, Â�Mancini’s styÂ�lisÂ�tic Â�choices were the same when he Â�worked for HoÂ�ward Hawks, whose comic style is quite difÂ�ferÂ�ent from Â�Edwards’s.20 In Â�Hawk’s Man’s FaÂ�vorÂ�ite Sport? Â�Roger’s Â�clumsy atÂ�tempt to erect a tent is acÂ�comÂ�paÂ�nied by Â�non-diegetic dance music, as well as the gag of a bear endÂ�ing up ridÂ�ing Â�Roger’s moÂ�torÂ�cyÂ�cle. Most of the diÂ�alogue—like that Â�between Roger and the two girls durÂ�ing the dinÂ�ner on the terÂ�race, or the conÂ�verÂ�saÂ�tion Â�between the two girls in their rooms—are acÂ�comÂ�paÂ�nied by dance music or Â�piano-bar style Muzak, used at dieÂ�getic level. When Â�non-diegetic music acÂ�comÂ�paÂ�nies roÂ�manÂ�tic diÂ�alogue, its style is modÂ�ern, since the traÂ�diÂ�tional Â�strings are reÂ�placed by woodÂ�winds—folÂ�lowÂ�ing the Â�big-band inÂ�fluÂ�ence—as in the final diÂ�alogue in the woods Â�between Roger and AbÂ�iÂ�gail. Only a few comic moÂ�ments are highÂ� lighted by exÂ�plicit Â�synch-points. When Roger Â�catches his first fish, music Â�builds an upÂ�ward harÂ�monic proÂ�gresÂ�sion Â�closed by a sharp chord markÂ�ing the moÂ�ment in which the man has to dive in to reÂ�trieve his fishÂ�ing rod. AnÂ�other case is the scene in which Â�Roger’s girlÂ�friend unÂ�exÂ�pectÂ�edly arÂ�rives and finds him sharÂ�ing the room with two women. When the bedÂ�room door opens reÂ�vealÂ�ing AbÂ�iÂ�gail, the supÂ�posed lover, in paÂ�jaÂ�mas, a snare drumÂ�roll marks the surÂ�prise. Then, a cymÂ�bal clash, a Â�plucked Â�strings note, and a triÂ�anÂ�gle tinÂ�kle reÂ�specÂ�tively underÂ�line the conÂ�seÂ�quent three Â�close-ups on the astonÂ�ished faces. As for draÂ�mas, it can be noted that music, when not comÂ�pletely abÂ�sent, perÂ�forms, again, a Â�purely emÂ�oÂ�tive funcÂ�tion. In Wait Until Dark, for exÂ�amÂ�ple, the scene in which Susy, the blind woman, enÂ�ters her house unÂ�aÂ�ware of the three crimÂ�iÂ�nals waitÂ�ing inÂ�side, takes place withÂ�out music. The first diÂ�alogue Â�between Susy and Mike, one of the crimÂ�iÂ�nals, is acÂ�comÂ�paÂ�nied by a dieÂ�getic pop song comÂ�ing from the Â�on-screen turnÂ�table. FiÂ�nally, the end credÂ�its are acÂ�comÂ�paÂ�nied by the theme song.21 There is only one efÂ�fecÂ�tive epiÂ�sode of spaÂ�tial perÂ�cepÂ�tive

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funcÂ�tion, when Roat, the boss of the gang, threatÂ�ens Susy, then Â�teases and disÂ�orients her by brushÂ�ing her face from difÂ�ferÂ�ent diÂ�recÂ�tions with a silk scarf. ManÂ�cini underÂ�lines each scarf touch with a Â�tam-tam rub, a sound that aptly conÂ�veys Â�Susy’s shivÂ�ers.22 In ArÂ�aÂ�besque, exÂ�plicit Â�synch-points are more freÂ�quent, perÂ�haps beÂ�cause of diÂ�recÂ�tor StanÂ�ley Â�Donen’s backÂ�ground as a choreogÂ�raÂ�pher. Again, the Â�tam-tam rub is used as a Â�stinger to puncÂ�tuÂ�ate difÂ�ferÂ�ent Â�events: the apÂ�pearÂ�ance of BeauÂ� champ the “vilÂ�lain” in ProÂ�fesÂ�sor Â�Pollock’s classÂ�room; Â�Pollock’s image reÂ�flected on the coachÂ�work of the prime Â�minister’s Rolls Royce; the threatÂ�enÂ�ing revÂ�eÂ�laÂ�tion of a gun holÂ�ster under Â�Beauchamp’s Â�jacket; PolÂ�lock being given an inÂ�jecÂ�tion of PenÂ�toÂ�thal. DurÂ�ing the chase seÂ�quence at the zoo, four shots of Â�snakes are puncÂ�tuÂ�ated by four synÂ�chronÂ�ized stingÂ�ers. In one of the Â�comic-relief moÂ�ments of the film, YasÂ�min, the feÂ�male spy, tries to seÂ�duce a GrenÂ�aÂ�dier Guard: we hear a triÂ�anÂ�gle tinÂ�kle when she winks and a flute trill when she Â�blinks her eyes. The Night VisÂ�iÂ�tor score is interÂ�estÂ�ing for the use of an idioÂ�synÂ�cratic enÂ�semÂ�ble: Â�twelve woodÂ�winds, one organ, two piÂ�aÂ�nos and two harpÂ�siÂ�chords, the two couÂ�ples of piÂ�aÂ�nos and harpÂ�siÂ�chords being tuned with a Â�quarter-tone difÂ�ferÂ�ence from one anÂ�other, which Â�creates a dizzy feelÂ�ing.23 The score does not have exÂ�plicit Â�synch-points at all, and its main funcÂ�tion is emÂ�oÂ�tive. As for Â�Williams’s Â�scores, the surÂ�face shows Â�modern-style Â�traits and the inÂ�fluÂ�ence of Â�Mancini’s pracÂ�tices (e.g., the use of a title song on the openÂ�ing tiÂ�tles of PeneÂ�lope, Not with My Wife, You Don’t!, A Guide for the MarÂ�ried Man, and the jazz diÂ�alect and big band sound for crime stoÂ�ries like The KillÂ�ers). Yet, if we look Â�closer, we can imÂ�meÂ�diÂ�ately see that Â�Williams’s idiom is far more clasÂ�siÂ�cal. The use of exÂ�plicit Â�synch-points and spaÂ�tial perÂ�cepÂ�tive funcÂ�tion is defÂ�iÂ�nitely more freÂ�quent, and the orÂ�chesÂ�tral writÂ�ing has a Â�stronger symÂ�phonic strucÂ�ture when comÂ�pared to Â�Mancini’s light/pop music orÂ�chesÂ�tra writÂ�ing. Â�Williams’s writÂ�ing is much more contraÂ�punÂ�tal, as can be seen when comÂ�parÂ�ing the main theme for BreakÂ�fast at Â�Tiffany’s with that for PeneÂ�lope: unÂ�like the forÂ�mer homoÂ�phonic tune, the latÂ�ter feaÂ�tures a Â�canon-like anÂ�swer to the main melÂ�ody by the horns, someÂ�what remÂ�iÂ�nisÂ�cent of Â�Miklós Rózsa. Â�Williams also uses more inÂ�sisÂ�tently some clasÂ�siÂ�cal techÂ�niques such as the leitÂ�moÂ�tiv or theme and variÂ�aÂ�tions. ManÂ�cini seems to be interÂ�ested in variÂ�aÂ�tions Â�mainly beÂ�cause they give muÂ�siÂ�cal vaÂ�riety to the Â�tie-in album: think of the many multiÂ� style verÂ�sions of “Moon River” in BreakÂ�fast at Â�Tiffany’s. On the Â�contrary, Williams Â� seems to be interÂ�ested in variÂ�aÂ�tions Â�mainly in terms of funcÂ�tionÂ�alÂ�ity Â�within the film. For exÂ�amÂ�ple, the title song “A Guide for the MarÂ�ried Man” is sung in the openÂ�ing tiÂ�tles of the film of the same name by The TurÂ�tles in a Â�sunshine-pop style, acÂ�comÂ�paÂ�nyÂ�ing imÂ�ages of voÂ�lupÂ�tuÂ�ous women and colÂ�orÂ�ful graphÂ�ics. Later

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in the film, when Paul fiÂ�nally has to move from fanÂ�tasy (havÂ�ing an adulÂ�terÂ�ous afÂ�fair with a gorÂ�geous woman) to acÂ�tion (fulÂ�fillÂ�ing his deÂ�sire by cheatÂ�ing on his wife), the music comÂ�ically emÂ�phaÂ�sizes the disÂ�crepÂ�ancy Â�between theÂ�ory and pracÂ�tice: the theme of the title song is now preÂ�sented in orÂ�chesÂ�tral form, Â�played clumÂ�sily and wearÂ�ily by muted tromÂ�bones. In diÂ�alogue Â�scenes Â�Williams also shows his prefÂ�erÂ�ence for the clasÂ�siÂ�cal underÂ�scorÂ�ing techÂ�nique. Music makes room for the diÂ�alogue not just by havÂ�ing its volÂ�ume Â�turned down in the sound mix as is the case with Â�Mancini’s dieÂ�getic Â�pieces. Â�Williams makes room for the diÂ�alogue by thinÂ�ning the muÂ�siÂ�cal texÂ�ture and lightÂ�enÂ�ing the inÂ�struÂ�menÂ�taÂ�tion. When the diÂ�alogue Â�pauses, he inÂ�flates the writÂ�ing and Â�shifts the music to the foreÂ�ground preÂ�sentÂ�ing meÂ�lodic cells; as soon as the diÂ�alogue reÂ�sumes, he Â�shifts the music to the backÂ�ground again. In using this Â�composing-around-the-dialogue techÂ�nique, the comÂ�poser is reÂ�quired to preÂ�cisely folÂ�low what is hapÂ�penÂ�ing Â�on-screen when writÂ�ing the piece. Like Â�Mickey-Mousing, this is anÂ�other techÂ�nique that reÂ�quires great atÂ�tenÂ�tion to the adÂ�herÂ�ence of music to visÂ�uÂ�als.24 In an early 1970s interÂ�view, Â�Williams Â�talked about music and diÂ�alogue as KornÂ�gold would do: I think a comÂ�poser Â�should think of the diÂ�alogue as part of the score; he could write it as acÂ�comÂ�paÂ�niÂ�ment for a viÂ�oÂ�lin conÂ�certo Â�rather than comÂ�pose a score to exist on its own. There are a few litÂ�tle tips, for exÂ�amÂ�ple, low Â�strings. .€.€. This isn’t to say that one can’t have high freÂ�quenÂ�cies as well, but I think the Â�choice of texÂ�tures under the diÂ�alogue, the regÂ�isÂ�ter of the speakÂ�ing Â�voices, and also the tempo of the diÂ�alogue— if a man says a line, and Â�there’s a pause, and the woman says the next line after anÂ�other pregÂ�nant pause, it may be posÂ�sible to color the music someÂ�what difÂ�ferÂ�ently.25

The first seÂ�quence of FitzÂ�willy is an exÂ�celÂ�lent exÂ�amÂ�ple of exÂ�tenÂ�sive underÂ� scorÂ�ing. After the main title seÂ�quence in which the main theme is introÂ�duced, the music Â�starts again at the fifth minÂ�ute of the film and acÂ�comÂ�paÂ�nies the proÂ�tagÂ�oÂ�nist on his shopÂ�ping acÂ�tivÂ�iÂ�ties Â�around New York. Music conÂ�tinÂ�ues unÂ�inÂ�terÂ�ruptÂ�edly for the next five minÂ�utes: it acÂ�comÂ�paÂ�nies the car jourÂ�neys with variÂ�aÂ�tions of the main theme in march form; it gets thinÂ�ner in the presÂ�ence of diÂ�alogue, reÂ�peatÂ�ing cells of the main theme durÂ�ing the Â�pauses Â�between lines; it even emÂ�phaÂ�sizes the Â�shifts of place and marks the cloÂ�sures of the subÂ�epiÂ�sodes with harp glisÂ�sanÂ�dos.26 DurÂ�ing the roÂ�manÂ�tic Â�scenes, Â�Williams uses the clasÂ�siÂ�cal Â�strings and not Â�Mancini’s modÂ�ern woodÂ�wind sound; simÂ�iÂ�larly, Â�strings are preÂ�ferred in The KillÂ�ers, How to

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Steal a MilÂ�lion, and PeneÂ�lope. As exÂ�pected, exÂ�plicit Â�synch-points and even exÂ�tenÂ�sive epiÂ�sodes of Â�Mickey-Mousing are conÂ�sidÂ�erÂ�ably more Â�present in the Â�Williams samÂ�ple. Some noteÂ�worthy exÂ�amÂ�ples folÂ�low. In Not with My Wife, You Don’t! the music repÂ�liÂ�cates the moveÂ�ment of butÂ�terÂ� flies flyÂ�ing out of a chocÂ�oÂ�late box; it duÂ�pliÂ�cates the scatÂ�terÂ�ing of some roses in the wind durÂ�ing a fuÂ�neral with a fast woodÂ�wind run; it Â�quotes Â�Mendelssohn’s wedÂ�ding march—as Max Â�Steiner would have done—when we learn of the marÂ�riage Â�between Julie and Tom. In PeneÂ�lope, when the proÂ�tagÂ�oÂ�nist exits Â�through the reÂ�volvÂ�ing doors of BergÂ�dorf GoodÂ�man, the music acÂ�comÂ�paÂ�nies the Â�door’s roÂ�taÂ�tion with a harp glisÂ�sando and introÂ�duces the main theme. When PeneÂ�lope tells her psychoÂ� anÂ�aÂ�lyst that the Â�trauma that Â�caused her klepÂ�toÂ�maÂ�nia was an atÂ�tempt of sexÂ�ual asÂ�sault by a Â�teacher durÂ�ing her colÂ�lege years, we see a flashÂ�back of the event in an Â�overtly comic tone. The scene opens in a classÂ�room and is given an apÂ�proÂ� priÂ�ately Â�poised acÂ�aÂ�demic tone by the aloof sound of the harpÂ�siÂ�chord. Then, sudÂ�denly, the proÂ�fesÂ�sor gets less Â�poised and jumps on the girl. The harpÂ�siÂ�chord gives way to a Â�wildly agÂ�gresÂ�sive brass riff Â�backed by reÂ�lentÂ�less perÂ�cusÂ�sions and puncÂ�tuÂ�ated by “horny” horns rips. Â�Mickey-Mousing underÂ�lines with a downÂ�ward tromÂ�bones glisÂ�sando the fall of a Â�book-stand that reÂ�veals the girl in underÂ�wear—the Â�teacher had alÂ�ready torn her outer Â�clothes off. This moÂ�ment is imÂ�meÂ�diÂ�ately folÂ�lowed by a flute and picÂ�colo trill that comÂ�ically exÂ�agÂ�gerÂ�ates the Â�teacher’s Â�wildly exÂ�cited gaze. PeneÂ�lope—in her underÂ�wear—fiÂ�nally flees the classÂ�room and runs along the lawns of the camÂ�pus acÂ�comÂ�paÂ�nied by her leitÂ�moÂ�tiv. Later, we see PeneÂ�lope steal difÂ�ferÂ�ent items: a rapid harpÂ�siÂ�chord scale duÂ�pliÂ�cates the rapid moveÂ�ment of her hand stealÂ�ing a pair of earÂ�rings; Â�Penelope’s underÂ� waÂ�ter theft of a preÂ�cious Â�brooch used to fasÂ�ten a biÂ�kini top is Â�scored with an upÂ�ward scale that Â�tracks the emerÂ�gence of the loosÂ�ened bra on the surÂ�face of the water, folÂ�lowed by a triÂ�anÂ�gle trill when PeneÂ�lope surÂ�faces holdÂ�ing the loot. In FitzÂ�willy, the seÂ�quence of the ChristÂ�mas theft at GimÂ�bels deÂ�partÂ�ment store Â�closes with FitzÂ�wilÂ�liam—the head of the gang—enÂ�terÂ�ing the bathÂ�room to take off the wig used as a disÂ�guise. From one of the toiÂ�let cuÂ�biÂ�cles, a puzÂ�zled drunkÂ�ard witÂ�nesses the scene. The music underÂ�lines the bafÂ�fled man’s face with a tromÂ�bones glisÂ�sando, then a secÂ�ond glisÂ�sando marks the bout of sickÂ�ness that makes him rush back into the cuÂ�biÂ�cle. The music conÂ�tinÂ�ues in a march arÂ�rangeÂ� ment that folÂ�lows FitzÂ�wilÂ�liam breezÂ�ing into the elÂ�eÂ�vaÂ�tor and showÂ�ing the loot to his partÂ�ners—the diÂ�alogue Â�starts and the music texÂ�ture thins acÂ�cordÂ�ingly. When the diÂ�alogue ends, music soars to beÂ�come a triÂ�umÂ�phal march when FitzÂ�wilÂ�liam exits the elÂ�eÂ�vaÂ�tor and drops the Â�self-addressed parÂ�cel conÂ�tainÂ�ing

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the loot in the Â�store’s outÂ�goÂ�ing mail—the music Â�closes the seÂ�quence and the sucÂ�cessÂ�ful opÂ�erÂ�aÂ�tion with a forte auÂ�thenÂ�tic caÂ�dence in baÂ�roque diÂ�alect right on the Â�cut-in on the adÂ�dress label. In How to Steal a MilÂ�lion, durÂ�ing the heavÂ�ily Â�guarded transÂ�porÂ�taÂ�tion of the supÂ�posÂ�edly priceÂ�less (and acÂ�tuÂ�ally fake) Venus statÂ�uette Â�through the Â�street of Paris, the music acÂ�comÂ�paÂ�nies the acÂ�tion with a solÂ�emn march. When a group of genÂ�darmes defÂ�eÂ�renÂ�tially saÂ�lutes the conÂ�voy, Â�Williams huÂ�morÂ�ously Â�quotes “La MarÂ�seilÂ�laise,” and when we see a group of Â�priests lookÂ�ing on revÂ�erÂ�ently, the solÂ�emn sound of a pipe organ comes in. Later Â�Nicole’s Â�father—the Â�forger—Â� learns that his Venus will be exÂ�amÂ�ined by an inÂ�suÂ�rance asÂ�sesÂ�sor—who will Â�surely disÂ�cover the fraud. The piece of bad news makes his heart skip a beat: a loud Â�pedal-portamento hit by the timÂ�pani gives the idea,27 and it is folÂ�lowed by a downÂ�ward scale that mimÂ�ics NiÂ�cole and her Â�father faintÂ�ing into the Â�chairs. To spare her Â�father the igÂ�noÂ�miny and imÂ�prisÂ�onÂ�ment, NiÂ�cole comes up with the idea of stealÂ�ing the Venus beÂ�fore the asÂ�sesÂ�sor can exÂ�amÂ�ine it and talks Simon into helpÂ�ing her, beÂ�lievÂ�ing that he is a proÂ�fiÂ�cient art thief. In a later scene, a cirÂ�cuÂ�lar muÂ�siÂ�cal cell repÂ�liÂ�cates the round test-flights Â� of a boomeÂ�rang—which will be a key eleÂ�ment in Â�Simon’s inÂ�geÂ�niÂ�ous plan. A Â�bright triÂ�anÂ�gle trill is used three times in the score to draw atÂ�tenÂ�tion to Â�Nicole’s diÂ�amond ring—for exÂ� amÂ�ple when NiÂ�cole is disÂ�guised as a humÂ�ble cleanÂ�ing lady, she sudÂ�denly reÂ�alizes that she has forÂ�gotÂ�ten to reÂ�move the conÂ�spicÂ�uÂ�ously inÂ�conÂ�gruÂ�ous jewel. A tight Â�Mickey-Mousing adÂ�heres to the visÂ�uÂ�als when the capÂ�tain of the muÂ�seum Â�guards deÂ�cides to set off the supÂ�posÂ�edly Â�faulty alarm Â�system: a pomÂ�pous march acÂ�comÂ� paÂ�nies his walk to the conÂ�trol panel; three disÂ�soÂ�nant piano Â�chords emÂ�phaÂ�size the lowÂ�erÂ�ing of the Â�switch and the turnÂ�ing off reÂ�specÂ�tively of the upper and lower photoÂ�cells Â�around the Venus pedÂ�esÂ�tal. FiÂ�nally, a downÂ�ward celÂ�los and contraÂ� basses scale marks the cloÂ�sure of the door of the Â�closet where Simon and NiÂ�cole are hidÂ�ing. After the theft, when NiÂ�cole walks away Â�dressed as a cleanÂ�ing lady, the music folÂ�lows her Â�closely. For exÂ�amÂ�ple, music Â�guides our view Â�within a long shot of the main hall to focus our atÂ�tenÂ�tion on a disÂ�tant acÂ�tion: NiÂ�cole sneakÂ�ily Â�stretches her arm out of a door to get back the brush that she has left beÂ�hind on the Â�ground—a Â�high-pitched picÂ�colo trill being synÂ�chronÂ�ized with the arm’s swift gesÂ�ture and the cloÂ�sure of the door Â�marked by a short celÂ�los and contraÂ� basses pizÂ�ziÂ�cato downÂ�ward scale. Â�Williams comÂ�ments, “There’s a chase in the muÂ�seum and I Â�treated it in a very burÂ�lesque way—sort of slipÂ�ping on baÂ�nana skins folÂ�lowed by a crash from the orÂ�chesÂ�tra, and runÂ�ning semiÂ�quaÂ�vers all over the place .€.€. I Â�thought I’d gone too far but Wyler loved it.”28 Â�Equally rich in Â�Mickey-Mousing epiÂ�sodes is A Guide for the MarÂ�ried Man, where music has a foreÂ�grounded poÂ�siÂ�tion and an exÂ�tenÂ�sive presÂ�ence, Â�partly

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beÂ�cause of the Â�film’s farÂ�ciÂ�cal naÂ�ture, and Â�partly beÂ�cause of diÂ�recÂ�tor Gene Â�Kelly’s dance backÂ�ground.29 The Â�pantomime-like naÂ�ture of the score is evÂ�iÂ�dent from the outÂ�set. The title song Â�starts on the shot of a buxom feÂ�male neighÂ�bor wigÂ�gling her hips, the Â�rhythm of the song synÂ�chronÂ�ized with the Â�woman’s enÂ�ticÂ�ing walkÂ�ing. The film showÂ�cases many inÂ�stances of Â�Mickey-Mousing: the gesÂ�tures of a Â�worker who hooks up the phone and Â�shrugs his shoulÂ�ders—after lying to his wife—is ironÂ�iÂ�cally acÂ�comÂ�paÂ�nied by the xyÂ�loÂ�phone; a stereoÂ�typÂ�iÂ�cal gong hit Â�points out the presÂ�ence of a ChiÂ�nese on the tarÂ�mac of an airÂ�port; an upÂ�ward viÂ�oÂ�lins and harp glisÂ�sando repÂ�liÂ�cates the night Â�breeze comÂ�ing Â�through the winÂ�dow; the Â�Romanoff ’s resÂ�tauÂ�rant scene is pracÂ�tiÂ�cally a siÂ�lent film piece acÂ� comÂ�paÂ�nied by music, which at one point renÂ�ders a Â�woman’s enÂ�raged cries with fuÂ�riÂ�ous sforÂ�zando horns rips. The Â�cartoon-like scene in which an unÂ�faithÂ�ful husÂ� band hastÂ�ily flees forÂ�getÂ�ting his shoes in his Â�mistress’s home also has, again, neiÂ�ther diÂ�alogue nor sound, but only foreÂ�grounded music: exÂ�plicit Â�synch-points Â�stress his jumpÂ�ing off the wall, the surÂ�prise when he reÂ�alizes that he is bareÂ�foot, his slapÂ�ping his foreÂ�head in disÂ�apÂ�pointÂ�ment, and his takÂ�ing off his hat to greet a shoe salesÂ�man when he enÂ�ters his shop. So far we have dealt with comÂ�eÂ�dies, a genre in which the old pracÂ�tice of Â�Mickey-Mousing is more tolÂ�erÂ�ated. HowÂ�ever, the Â�Williams samÂ�ple feaÂ�tures exÂ�plicit Â�synch-points in the draÂ�mas as well. In The KillÂ�ers, roÂ�manÂ�tic music for trumÂ�pet and Â�strings underÂ�scores the diÂ�alogue Â�between race Â�driver Â�Johnny and beauÂ�tiÂ�ful Â�Sheila durÂ�ing their first meetÂ�ing. The full Â�string orÂ�chesÂ�tra that acÂ�comÂ�paÂ�nies the two lovÂ�ers drivÂ�ing away gives way to an Â�ironic epiÂ�sode of stacÂ�cato woodÂ�winds when we see Â�Johnny’s Â�friend left alone on the racÂ�ing track. After a ride in Â�Johnny’s car, Â�Sheila playÂ�fully kicks him, and the score puncÂ�tuÂ�ates the gesÂ�ture with a contraÂ�basses pizÂ�ziÂ�cato. When Â�Sheila hires Â�Johnny as a Â�driver for a priÂ�vate job, woodÂ�winds music underÂ� scores the diÂ�alogue. When Â�Johnny asks about the job and his race opÂ�poÂ�nents, and Â�Sheila anÂ�swers, “The poÂ�lice,” three stacÂ�cato notes of the celÂ�los and contraÂ� basses emÂ�phaÂ�size the reÂ�acÂ�tion shot of Â�Johnny’s astonÂ�ishÂ�ment. In the final act of the film, when the Â�chased Â�Johnny slips into a ditch, the score acÂ�comÂ�paÂ�nies his fall with a downÂ�ward scale. In the Â�thriller Â�Daddy’s Gone Â�A-Hunting, the deÂ�ranged KenÂ�neth Â�stalks Cathy, his forÂ�mer girlÂ�friend, who left him after abortÂ�ing his child. Cathy is now marÂ�ried and is pregÂ�nant again. KenÂ�neth is obÂ�sessed with his lost son and wants to reÂ� talÂ�iÂ�ate; to get even KenÂ�neth deÂ�mands that Cathy have a secÂ�ond aborÂ�tion. She reÂ�fuses and deÂ�cides to give birth to her child. As a conÂ�seÂ�quence, KenÂ�neth Â�schemes to force Cathy to kill her baby. The muÂ�siÂ�cal interÂ�venÂ�tions are limÂ�ited and Â�mostly of an emÂ�oÂ�tive funcÂ�tion: music is used to inÂ�crease the susÂ�pense.

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There are, howÂ�ever, two exÂ�plicit Â�synch-points: the first conÂ�sists of Â�low-pitched male voÂ�calÂ�ized tones that mark the shot of Â�Cathy’s womb when KenÂ�neth apÂ�pears Â�dressed in a Santa Claus disÂ�guise; the secÂ�ond one is a contraÂ�basses pizÂ�ziÂ�cato puncÂ�tuÂ�atÂ�ing the switchÂ�ing on of the red light durÂ�ing the scene in which Cathy Â�agrees to meet KenÂ�neth in his photogÂ�raÂ�phy darkÂ�room. We have alÂ�ready disÂ�cussed ImÂ�ages and the exÂ�periÂ�menÂ�tal naÂ�ture of its score (see 90–91). There is no Â�Mickey-Mousing here, and the only exÂ�plicit Â�synch-points can be found in the apÂ�pearÂ�ance of Â�atonal-music Â�bursts puncÂ�tuÂ�atÂ� ing Â�Cathryn’s halÂ�luÂ�ciÂ�naÂ�tions. When comÂ�parÂ�ing this film with a simÂ�iÂ�lar Â�insanitybased Â�thriller like The Night VisÂ�iÂ�tor where Â�Mancini’s score has no songs and feaÂ�tures a simÂ�iÂ�larly exÂ�periÂ�menÂ�tal Â�intra-opus style, it is evÂ�iÂ�dent that Â�Williams’s score is more close to the Â�film’s narÂ�raÂ�tive strucÂ�ture. TheÂ�matÂ�iÂ�cally, The Night VisÂ�iÂ�tor is also about madÂ�ness and unÂ�cerÂ�tainty Â�between reÂ�alÂ�ity and halÂ�luÂ�ciÂ�naÂ�tion: the vilÂ�lage docÂ�tor is the only one to have seen Salem the psychoÂ�path, but no one beÂ�lieves him since Salem is still Â�locked and Â�guarded in a Â�high-security asyÂ�lum. UnÂ�like the ManÂ�cini score, Â�Williams’s ImÂ�ages score is Â�shaped on this reÂ�alÂ�ity/ halÂ�luÂ�ciÂ�naÂ�tion amÂ�bivÂ�aÂ�lence. The peaceÂ�ful diÂ�menÂ�sion of Â�Cathryn’s fanÂ�taÂ�sies Â�linked to uniÂ�corns when she works on her Â�children’s books have meÂ�lodic piano music, while atoÂ�nal or even alÂ�eaÂ�toric music acÂ�comÂ�paÂ�nies the scary halÂ�luÂ�ciÂ�naÂ�tions that will inÂ�creasÂ�ingly take over reÂ�alÂ�ity. As the Â�woman’s menÂ�tal state deÂ�genÂ�erÂ�ates, the meÂ�lodic side of the score disÂ�apÂ�pears, and the atoÂ�nal/alÂ�eaÂ�toric one takes the lead. AnÂ�other obÂ�serÂ�vaÂ�tion Â�arises from the comÂ�parÂ�iÂ�son of the two samÂ�ples. In Â�Mancini’s Â�scores, exÂ�plicit Â�synch-points and epiÂ�sodes of Â�Mickey-Mousing, Â�besides being more Â�rarely found, are usuÂ�ally Â�placed as isoÂ�lated eleÂ�ments; that is, they apply to the visÂ�uÂ�als as if they were sound efÂ�fects inÂ�stead of Â�pieces of music. For exÂ�amÂ�ple, think of the aforeÂ�menÂ�tioned apÂ�pearÂ�ance of the Â�killer in the classÂ�room in ArÂ�aÂ�besque or the girl comÂ�ing out of the bedÂ�room in Man’s FaÂ�vorÂ�ite Sport? The varÂ�iÂ�ous Â�tam-tam rubs, triÂ�anÂ�gle tinÂ�kles, and timÂ�pani hits puncÂ�tuÂ�atÂ�ing these acÂ�tions come in from the siÂ�lence as inÂ�diÂ�vidÂ�ual Â�sounds. On the contrary, Â� in Â�Williams’s case exÂ�plicit Â�synch-points are muÂ�siÂ�cal eleÂ�ments emÂ�bedÂ�ded in the score texÂ�ture, and they come in at the right moÂ�ment as part of the muÂ�siÂ�cal Â�phrases, emergÂ�ing from a wider strucÂ�ture. As for the muÂ�siÂ�cal means, Â�Williams’s orÂ�chesÂ�tra durÂ�ing the peÂ�riod was not much difÂ�ferÂ�ent from Â�Mancini’s: it Â�blended the traÂ�diÂ�tional symÂ�phonic setÂ�ting with big bands or jazz comÂ�bos. Yet we have seen that Â�Williams preÂ�ferred clasÂ�siÂ�cal Â�strings to more Â�modern-style woodÂ�winds in diÂ�alogue underÂ�scorÂ�ing. As for the music lanÂ�guage, ManÂ�cini was more interÂ�ested in exÂ�plorÂ�ing the Â�rhythms and colÂ�ors of conÂ�temÂ�poÂ�rary pop music (cockÂ�tail music, cool jazz,

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blues, Latin Â�American). Â�Williams also emÂ�ployed the muÂ�siÂ�cal diÂ�alect of the time in many inÂ�stances—for exÂ�amÂ�ple, in title songs, dieÂ�getic Muzak, and in acÂ�tion Â�scenes Â�scored with the conÂ�temÂ�poÂ�rary Bond Â�big-band style à la John Barry. HowÂ�ever, a sigÂ�nifÂ�iÂ�cant numÂ�ber of cases show Â�Williams’s prefÂ�erÂ�ence for the diÂ�alects of both the Â�art-music canon and the HolÂ�lyÂ�wood traÂ�diÂ�tion. ConÂ�sider the carÂ�toon proÂ�logue of A Guide for the MarÂ�ried Man. It is diÂ�vided into three epiÂ�sodes of marÂ�iÂ�tal inÂ�fiÂ�delÂ�ity Â�through the ages. In the first segÂ�ment—the Stone Age— music is perÂ�cusÂ�sive and “primÂ�iÂ�tive” in the manÂ�ner of Â�Stravinsky’s Le sacre du prinÂ�temps. In the secÂ�ond segÂ�ment—AnÂ�cient Rome—Â�Williams Â�presents a modal Â�organum-like Â�parallel-motion march for brass mimÂ�ickÂ�ing Â�Miklós Â�Rózsa’s BenHur. In the last segÂ�ment—VicÂ�toÂ�rian EnÂ�gland—there is an ironÂ�iÂ�cally digÂ�nified piece of gaÂ�lante music for harpÂ�siÂ�chord, ceÂ�lesta, harp, and flute. In the film, when Paul is asked to recÂ�olÂ�lect the feelÂ�ings he felt durÂ�ing his very first date with a girl, we are shown an overt parÂ�ody: Paul runs with open arms, in an Â�overly senÂ�tiÂ�menÂ�tal slow moÂ�tion, toÂ�ward a Â�blonde girl in a buÂ�colic Â�meadow. Â�Williams acÂ�comÂ�paÂ�nies the riÂ�dicÂ�uÂ�lous scene with a very Â�kitsch RachÂ�manÂ�iÂ�nov imÂ�iÂ�taÂ�tion— acÂ�tuÂ�ally, a Â�Rachmaninov-via-Tiomkin imÂ�iÂ�taÂ�tion. In anÂ�other scene, when a shy man fiÂ�nally takes a Â�chance and Â�kisses the girl, we hear a heÂ�roic fanÂ�fare à la KornÂ�gold. The scene of the bareÂ�foot man fleeÂ�ing his Â�mistress’s house is Â�scored with a freÂ�netic Â�scherzo that reÂ�calls Scott Â�Bradley’s music for the MGM Tom and Jerry carÂ�toons. In How to Steal a MilÂ�lion, the openÂ�ing party at the muÂ�seum is apÂ�proÂ�priÂ�ately Â�paired with a lofty baÂ�roque Â�Handel-like overÂ�ture. In a scene of Not with My Wife, You Don’t!, Julie is in a movie theÂ�aÂ�ter watchÂ�ing a parÂ�ody of an Â�Italian-cinema stereoÂ�typÂ�iÂ�cal “jealÂ�ousy drama,” Â�scored with pasÂ�sionÂ�ate music evokÂ�ing Â�Mascagni’s veÂ�rismo opÂ�eras. FiÂ�nally, for the Â�upper-class setÂ�ting of FitzÂ�willy, Â�Williams wrote an overÂ�ture in baÂ�roque diÂ�alect—upÂ�dated with comic disÂ�soÂ�nances and amusÂ�ing polyÂ�toÂ�nal epiÂ�sodes—Â�played by trumÂ�pets, harpÂ�siÂ�chord, and tuba, the latÂ�ter havÂ�ing an unÂ�usual numÂ�ber of promÂ�iÂ�nent solos durÂ�ing the score. The comÂ�parÂ�iÂ�son has reÂ�vealed that some eleÂ�ments of Â�Williams’s 1960s Â�scores alÂ�ready Â�placed the comÂ�poser Â�closer to the clasÂ�siÂ�cal style than to the modÂ�ern style. The unÂ�deÂ�niÂ�able evÂ�iÂ�dence would apÂ�pear in the 1970s with Star Wars. Yet a funÂ�daÂ�menÂ�tal mileÂ�stone in the deÂ�velÂ�opÂ�ment of the neoÂ�clasÂ�siÂ�cal trend was Jaws (SteÂ�ven SpielÂ�berg, 1975). The film Â�bridged the two peÂ�riÂ�ods of Â�Williams’s work: the emergÂ�ing Â�composer’s mulÂ�tiÂ�facÂ�eted Â�modern-style first peÂ�riod and the folÂ�lowÂ�ing starÂ�dom as the Star Wars comÂ�poser who reÂ�vived the HolÂ�lyÂ�wood music traÂ�diÂ�tion.

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ohn Â�Williams Â�reached starÂ�dom in the mid-1970s, a peÂ�riod in which HolÂ�ly Â�wood cinÂ�ema was reÂ�covÂ�erÂ�ing from the preÂ�viÂ�ous Â�decade’s deÂ�baÂ�cles. In those years, a new genÂ�erÂ�aÂ�tion of filmÂ�makÂ�ers and screenÂ�writÂ�ers—among them Â�George Lucas and SteÂ�ven SpielÂ�berg—was buildÂ�ing their repÂ�uÂ�taÂ�tion, launchÂ�ing the Â�so-called New HolÂ�lyÂ�wood. It has been Â�claimed that “music, and speÂ�cifÂ�iÂ�cally the orÂ�chesÂ�tral Â�scores of John Â�Williams, has beÂ�come an imÂ�porÂ�tant part of the New HolÂ�lyÂ�wood.”1 So, Â�Williams is said to be the New HolÂ�lyÂ�wood comÂ�poser par exÂ�celÂ�lence. To fully underÂ�stand the meanÂ�ing of this, it is necÂ�esÂ�sary to underÂ� stand first what is meant by New HolÂ�lyÂ�wood. The New HolÂ�lyÂ�wood CinÂ�ema The term “New HolÂ�lyÂ�wood” is someÂ�what equivÂ�ocal. It is often apÂ�plied to films that are very difÂ�ferÂ�ent from each other: on the one hand, BonÂ�nie and Clyde (ArÂ�thur Penn, 1967) and Easy Rider (DenÂ�nis HopÂ�per, 1969); on the other hand, Star Wars (George Lucas, 1977) and SuperÂ�man: The Movie (RichÂ�ard DonÂ�ner, 1978).2 The peÂ�riod Â�between apÂ�proxÂ�iÂ�mately 1967 and 1975, often Â�called “HolÂ�lyÂ�wood ReÂ�naisÂ� sance” or “American New Wave” and inÂ�cludÂ�ing the first two films, is genÂ�erÂ�ally conÂ�fused or at least fused with the subÂ�seÂ�quent peÂ�riod, in which the HolÂ�lyÂ�wood film inÂ�dusÂ�try reÂ�gained its interÂ�naÂ�tional preÂ�domÂ�iÂ�nance. In this book “New 104

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HolÂ�lyÂ�wood” reÂ�fers only to this secÂ�ond peÂ�riod, to inÂ�diÂ�cate Â�Hollywood’s reÂ�orÂ�gaÂ� nÂ�izaÂ�tion Â�around new disÂ�triÂ�buÂ�tion pracÂ�tices and horÂ�iÂ�zonÂ�tal inÂ�teÂ�graÂ�tion. Film comÂ�paÂ�nies beÂ�came Â�merely a porÂ�tion—often of minor imÂ�porÂ�tance—of the netÂ�work of busiÂ�ness of Â�larger corÂ�poÂ�raÂ�tions opÂ�erÂ�atÂ�ing in the multiÂ�meÂ�dia marÂ�ket, and HolÂ�lyÂ�wood stuÂ�dios were at this point taken over by multiÂ�naÂ�tional enÂ�terÂ�tainÂ� ment comÂ�paÂ�nies. AlÂ�though there seems to be a genÂ�eral conÂ�senÂ�sus on using the term “New HolÂ�lyÂ�wood” in this sense,3 when it comes to deÂ�finÂ�ing the peÂ�riod in terms of aesÂ�thetÂ�ics and form, Â�things get more conÂ�troÂ�verÂ�sial. Some Â�contrast the New HolÂ�lyÂ�wood style with the clasÂ�siÂ�cal one and Â�equate New HolÂ�lyÂ�wood eiÂ�ther with “postÂ�clasÂ�siÂ�cal”4 or with “postÂ�modÂ�ern cinÂ�ema.”5 AcÂ�cordÂ�ing to these poÂ�siÂ�tions, conÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood cinÂ�ema, comÂ�pared to clasÂ�siÂ�cal cinÂ�ema, has a very difÂ�ferÂ�ent form and style, charÂ�acÂ�terÂ�ized by fragÂ�mented and superÂ�fiÂ�cial narÂ�raÂ�tives, and an emÂ�phatic style that Â�largely disÂ�plays bomÂ�basÂ�tic visÂ�ual and sound efÂ�fects to inÂ�duce visÂ�ceral senÂ�saÂ�tions and inÂ�tense emoÂ�tions. AcÂ�cordÂ�ing to the postÂ�clasÂ�siÂ�cal theoÂ�rists, this style is the diÂ�rect conÂ�seÂ�quence of the New Â�Hollywood’s marÂ�ket fragÂ�menÂ�taÂ�tion and the reÂ�ducÂ�tion of films to mere comÂ�modÂ�ities to an unÂ�precÂ�eÂ�dented exÂ�tent.6 AcÂ�cordÂ�ing to postÂ�modÂ�ern theoÂ�rists, style mirÂ�rors the very fragÂ�mented and superÂ�fiÂ�cial idenÂ�tity of conÂ�temÂ�poÂ�rary man and the soÂ�ciÂ�ety in which he lives.7 Other scholÂ�ars argue Â�against this sharp break Â�between the clasÂ�siÂ�cal peÂ�riod and the Â�so-called postÂ�clasÂ�siÂ�cal peÂ�riod claimÂ�ing that reÂ�gardÂ�less of marÂ�ket fragÂ�menÂ�taÂ�tion and perÂ�vaÂ�sive comÂ�merÂ�cial pracÂ�tices, the form and style in most films are not that difÂ�ferÂ�ent from those of the clasÂ�siÂ�cal cinÂ�ema.8 Film style has simÂ�ply upÂ�dated itÂ�self and has inÂ�corÂ�poÂ�rated new styÂ�lisÂ�tic opÂ�tions from modÂ�ern cinÂ�ema and video clip aesÂ�thetÂ�ics, folÂ�lowÂ�ing a longÂ�time enÂ�durÂ�ing “canÂ�niÂ�balÂ�isÂ�tic” pracÂ�tice, as in the inÂ�corÂ�poÂ�raÂ�tion in the HolÂ�lyÂ�wood parÂ�aÂ�digm, durÂ�ing the 1920s and 1930s, of the SoÂ�viet monÂ�tage or the Â�highcontrast cinÂ�eÂ�maÂ�togÂ�raÂ�phy of GerÂ�man ExÂ�presÂ�sionÂ�ism. The conÂ�tiÂ�nuÂ�ity theoÂ�rists use two difÂ�ferÂ�ent apÂ�proaches. David BordÂ�well calls “hyperÂ�clasÂ�siÂ�cal” those films that emÂ�phaÂ�size their afÂ�filÂ�iÂ�aÂ�tion with the clasÂ�siÂ�cal form: for exÂ�amÂ�ple, the narÂ�raÂ�tion of Jerry MaÂ�guire (CameÂ�ron Crowe, 1996) is so atÂ�tenÂ�tive to clasÂ�siÂ�cal proÂ�ceÂ�dures as to be Â�called “hyperÂ�clasÂ�siÂ�cal.”9 Other auÂ�thors Â�contrast the term “postÂ�clasÂ�siÂ�cal” with the term “neoÂ�clasÂ�siÂ�cal”; the latÂ�ter term is used to inÂ�diÂ�cate those films that are overt reÂ�makes and tribÂ�utes to traÂ�diÂ�tional genÂ�res and to the clasÂ�siÂ�cal style in an alÂ�most philÂ�oÂ�logÂ�iÂ�cal Â�spirit.10 In this sense, a “post-noir ” like MulÂ�holÂ�land Drive (David Lynch, 2001)—which is set in the Â�present day and modÂ�ernizes Â�themes and narÂ�raÂ�tive topÂ�ics of the clasÂ�siÂ�cal genre—can be disÂ�tinÂ�guished from a “neonoir ” like ChiÂ�naÂ�town (Roman PoÂ�lanÂ�ski, 1974) or L.A. ConÂ�fiÂ�denÂ�tial (CurÂ�tis HanÂ�son, 1997), both of which are set in the past and Â�re-create acÂ�cuÂ�rately the cosÂ�tumes, loÂ�cales, and moods of the origÂ�iÂ�nal 1940s films.11

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A reÂ�curÂ�ring term in conÂ�temÂ�poÂ�rary film studÂ�ies is “postÂ�modÂ�ern.” PostÂ� modÂ�ern films are said to be those with antiÂ�clasÂ�siÂ�cal, nonÂ�linÂ�ear, less cauÂ�sally tight narÂ�raÂ�tive forms, and these charÂ�acÂ�terÂ�isÂ�tics may deÂ�rive from the postÂ�modÂ�ern idea that Â�all-embracing Grand NarÂ�raÂ�tives no Â�longer exist.12 The style of postÂ�modÂ�ern films is flamÂ�boyÂ�ant, showy, and based on pasÂ�tiche, parÂ�ody, and styÂ�lisÂ�tic patchÂ� work. The life of the postÂ�modÂ�ern man is charÂ�acÂ�terÂ�ized by a Â�tourist-like superÂ�fiÂ� cialÂ�ity, a ludic atÂ�tiÂ�tude, a deÂ�conÂ�texÂ�tuÂ�alÂ�ized use of hisÂ�tory. TypÂ�iÂ�cal postÂ�modÂ�ern Â�themes are simÂ�uÂ�laÂ�cra and virÂ�tual reÂ�alÂ�ity, in such films as Blade RunÂ�ner (RidÂ�ley Scott, 1982); SiÂ�mOne (AnÂ�drew NicÂ�col, 2002), or The MaÂ�trix (Andy WaÂ�chowÂ�ski, Lana WaÂ�chowÂ�ski, 1999): in the postÂ�modÂ�ern soÂ�ciÂ�ety, imÂ�ages are worth more than reÂ�alÂ�ity. Yet postÂ�modÂ�ern scholÂ�ars seem to dwell on a handÂ�ful of outÂ�standÂ�ing suitÂ�able exÂ�amÂ�ples and seÂ�lected charÂ�acÂ�terÂ�isÂ�tics in order to valÂ�iÂ�date their theoÂ�retÂ�iÂ� cal frameÂ�work; at the same time they seem to careÂ�fully omit most of the avÂ�erÂ�age proÂ�ducÂ�tions that esÂ�cape their clasÂ�sifiÂ�caÂ�tion, or those forÂ�mal Â�traits that may conÂ�fute their arÂ�guÂ�ment.13 For exÂ�amÂ�ple, LaurÂ�ent JulÂ�lier idenÂ�tifies Star Wars as the inÂ�auÂ�guÂ�ral film of the postÂ�modÂ�ern cinÂ�ema beÂ�cause it is the first reÂ�markÂ�able prodÂ�uct of the new Â�spectacle-based aesÂ�thetÂ�ics.14 Star Wars can Â�surely be seen as the film that esÂ�tabÂ�lished the New HolÂ�lyÂ�wood in the sense that it was the first gloÂ�bal manÂ�iÂ�fesÂ�taÂ�tion of the new horÂ�iÂ�zonÂ�tally inÂ�teÂ�grated disÂ�triÂ�buÂ�tion based on merÂ�chanÂ�disÂ�ing and on the exÂ�ploiÂ�taÂ�tion of every posÂ�sible corÂ�ner of the world marÂ�ket; inÂ�deed, Star Wars was the first film asÂ�soÂ�ciated with a wide seÂ�lecÂ�tion of Â�tie-in gadÂ�gets, and it has Â�grossed more from merÂ�chanÂ�disÂ�ing than from the Â�box-office revÂ�eÂ�nues.15 HowÂ�ever, it is deÂ�batÂ�able that Star Wars was also a turnÂ�ing point in terms of “postÂ�modÂ�ern” style and form. A close forÂ�mal analÂ�yÂ�sis of the film tends to show the Â�contrary. StyÂ�lisÂ�tiÂ�cally, Star Wars is based on traÂ�diÂ�tional edÂ�itÂ�ing techÂ�niques and clasÂ�siÂ�cal shot/reÂ�verse shot alÂ�terÂ�naÂ�tion to make the narÂ�raÂ�tive flow linÂ�eÂ�arly, not to menÂ�tion its inÂ�cluÂ�sion of Â�classical-style music. The narÂ�raÂ�tive form is exÂ�tremely clasÂ�siÂ�cal too: there is a hero with a Â�clear-cut perÂ�sonÂ� alÂ�ity, a preÂ�cise goal, Â�strong moÂ�tiÂ�vaÂ�tions, and the narÂ�raÂ�tive is built Â�around cauÂ�salÂ�ity and “stairÂ�step conÂ�strucÂ�tion,” as in the “caÂ�nonÂ�iÂ�cal story forÂ�mat.”16 FiÂ�nally, its Â�themes are anyÂ�thing but postÂ�modÂ�ern: the film is about one of the most clasÂ�siÂ�cal Â�themes of all, the arÂ�cheÂ�typal Â�hero’s jourÂ�ney.17 Star Wars seems to lack any postÂ�modÂ�ern charÂ�acÂ�terÂ�isÂ�tics, apart from those Â�pointed out by JulÂ�lier: the film leans on promÂ�iÂ�nent specÂ�tacÂ�uÂ�lar moÂ�ments; it inÂ�dulges in playÂ�ful quoÂ�taÂ� tions, patÂ�ent interÂ�texÂ�tuÂ�alÂ�ity, and metaÂ�lanÂ�guage; it Â�boasts strikÂ�ing speÂ�cial efÂ�fects. These alÂ�legÂ�edly postÂ�modÂ�ern charÂ�acÂ�terÂ�isÂ�tics, howÂ�ever, were alÂ�ready Â�present in some clasÂ�siÂ�cal HolÂ�lyÂ�wood films like Â�Hell’s AnÂ�gels (HoÂ�ward Â�Hughes, 1930) and King Kong (MerÂ�ian C. Â�Cooper and ErÂ�nest B. SchoedÂ�sack, 1933) with their strikÂ�ing

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speÂ�cial efÂ�fects; The AdÂ�venÂ�tures of Robin Hood (MiÂ�chael CurÂ�tiz, Â�William KeighÂ�ley, 1938) and The WizÂ�ard of Oz (VicÂ�tor FlemÂ�ing, 1939) with specÂ�tacÂ�uÂ�lar key moÂ�ments; Three Ages (EdÂ�ward F. Cline, Â�Buster KeaÂ�ton, 1923) and A Night in CasÂ�aÂ�blanca (Archie Mayo, 1946), using playÂ�ful quoÂ�taÂ�tions and interÂ�texÂ�tuÂ�alÂ�ity; Show PeoÂ�ple (King Vidor, 1928) and HellÂ�zaÂ�popÂ�pin (H. C. PotÂ�ter, 1941), emÂ�ployÂ�ing metaÂ� lanÂ�guage. If Â�so-called postÂ�modÂ�ern films are acÂ�tuÂ�ally only parÂ�tially postÂ�modÂ�ern, it is even more difÂ�fiÂ�cult to conÂ�vincÂ�ingly apply this label to emÂ�brace inÂ�disÂ�crimÂ�iÂ� nately an enÂ�tire peÂ�riod of the whole film inÂ�dusÂ�try. A film like Back to the FuÂ�ture (RobÂ�ert ZeÂ�meckis, 1985) is a typÂ�iÂ�cal prodÂ�uct of the New HolÂ�lyÂ�wood cinÂ�ema, but it can Â�hardly be Â�called postÂ�modÂ�ern.18 The main probÂ�lem with postÂ�modÂ�ern Â�arises from the numÂ�ber of areas in which the term itÂ�self is conÂ�troÂ�verÂ�sially used: there is one postÂ�modÂ�ern in econÂ�omy, one in phiÂ�loÂ�soÂ�phy, and one in soÂ�ciÂ�olÂ�ogy;19 it seems that theoÂ�rists of the varÂ�iÂ�ous disÂ�ciÂ�plines canÂ�not agree on a Â�shared defÂ�iÂ� niÂ�tion.20 Since the term lacks a Â�clear-cut Â�stable meanÂ�ing, alÂ�though topÂ�iÂ�cal and Â�widely difÂ�fused it might be, it will not be used Â�herein, in order to avoid conÂ�fuÂ� sion.21 InÂ�deed, if we Â�thought of Star Wars as a postÂ�modÂ�ern film and of New HolÂ�lyÂ� wood as a postÂ�modÂ�ern aesÂ�thetic trend, conÂ�seÂ�quently John Â�Williams—who beÂ�came faÂ�mous Â�thanks to Star Wars and is conÂ�sidÂ�ered the most imÂ�porÂ�tant New HolÂ�lyÂ�wood comÂ�poser—would be a postÂ�modÂ�ern comÂ�poser. The probÂ�lem is that the postÂ�modÂ�ern label has been apÂ�plied to comÂ�posÂ�ers like Ennio MorÂ�riÂ�cone, Hans ZimÂ�mer, and, in art music, LuÂ�ciano Berio.22 It is obÂ�viÂ�ous that Â�Williams’s idiom is very difÂ�ferÂ�ent from Â�Morricone’s and Â�Zimmer’s, not to menÂ�tion Â�Berio’s. In this book we conÂ�sider New HolÂ�lyÂ�wood not as a new style but as a peÂ�riod in HolÂ�lyÂ�wood hisÂ�tory charÂ�acÂ�terÂ�ized by a transÂ�forÂ�maÂ�tion of its inÂ�dusÂ�trial, comÂ� merÂ�cial, and disÂ�triÂ�buÂ�tion pracÂ�tices and strucÂ�tures. In this peÂ�riod, a numÂ�ber of films were proÂ�duced that Â�overtly paid homÂ�age to the clasÂ�siÂ�cal HolÂ�lyÂ�wood traÂ�diÂ� tion and imÂ�iÂ�tated that style, and these can be Â�tagged as “neoÂ�clasÂ�siÂ�cal.” One of such neoÂ�clasÂ�siÂ�cal films is Star Wars, a reÂ�viÂ�val of clasÂ�siÂ�cal genÂ�res, with some emÂ�phaÂ�sis on specÂ�tacÂ�uÂ�lar eleÂ�ments that can be Â�called at most “hyperÂ�clasÂ�siÂ�cal.” LikeÂ�wise, John Â�Williams acted in these films as a neoÂ�clasÂ�siÂ�cal comÂ�poser, since he has paid homÂ�age to the clasÂ�siÂ�cal HolÂ�lyÂ�wood music and reÂ�vived that style.23 NeoÂ�clasÂ�siÂ�cism Takes Form Williams’s neoÂ�clasÂ�siÂ�cism can be spotÂ�ted parÂ�ticÂ�uÂ�larly in his colÂ�labÂ�oÂ�raÂ�tions with neoÂ�clasÂ�siÂ�cal filmÂ�makÂ�ers like Â�George Lucas and SteÂ�ven SpielÂ�berg, and beÂ�came a domÂ�iÂ�nant trend from 1975 to 1983.24 HowÂ�ever, a preÂ�viÂ�ous arÂ�tisÂ�tic reÂ�laÂ�tionÂ�ship must be menÂ�tioned beÂ�cause it proÂ�duced two reÂ�markÂ�able early exÂ�amÂ�ples of

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neoÂ�clasÂ�siÂ�cism. Â�Between the late 1960s and early 1970s Â�Williams Â�started a Â�four-film colÂ�labÂ�oÂ�raÂ�tion with the diÂ�recÂ�tor Mark RyÂ�dell: “Mark RyÂ�dell is very comÂ�fortÂ�able with music. He is a piÂ�aÂ�nist himÂ�self, he loves music, it’s very good to work with him on a cerÂ�tain kind of scene in a movie,” says Â�Williams.25 The colÂ� labÂ�oÂ�raÂ�tion reÂ�sulted in The ReÂ�ivÂ�ers (1969), The CowÂ�boys (1972), CinÂ�deÂ�rella LibÂ�erty (1973), and the later The River (1984). CinÂ�deÂ�rella LibÂ�erty is the story of a Â�sailor who, durÂ�ing a leave, falls in love with a prosÂ�tiÂ�tute and acts as a surÂ�roÂ�gate Â�father to her son; its score is modÂ�ern in style, feaÂ�turÂ�ing jazz diÂ�alect, harÂ�monÂ�ica solos by Toots ThieleÂ�mans, and two theme songs—“Nice To Be Â�Around” and “WednesÂ�day SpeÂ�cial,” lyrÂ�ics by Paul Â�Williams. The River inÂ�volves a rural famÂ�ily fightÂ�ing Â�against Â�floods and banks to keep their farm; its music is a prodÂ�uct of the ecÂ�lecÂ� tic style, blendÂ�ing symÂ�phonic Â�Americana Â�strings, penÂ�sive jazz trumÂ�pet solos, Â�country-ballad inÂ�struÂ�menÂ�taÂ�tion, syntheÂ�sizÂ�ers, and 1980s pop Â�rhythm secÂ�tions. The reÂ�mainÂ�ing two, The ReÂ�ivÂ�ers and The CowÂ�boys, stand out in Â�Williams’s early canon as the first two neoÂ�clasÂ�siÂ�cal Â�scores, both havÂ�ing been inÂ�struÂ�menÂ�tal in sigÂ�nalÂ�ing the comÂ�poser to a wider atÂ�tenÂ�tion and proÂ�ducÂ�ing semiÂ�nal conÂ�seÂ�quences for Â�Williams’s caÂ�reer. The Â�Americana symÂ�phonic score for The ReÂ�ivÂ�ers Â�earned Â�Williams his first Oscar nomÂ�iÂ�naÂ�tion for “Best OrigÂ�iÂ�nal Score.” The CowÂ�boys was one of John Â�Wayne’s last WestÂ�erns, and carÂ�ried on the HolÂ�lyÂ�wood WestÂ�ern music traÂ�diÂ�tion, emÂ�ployÂ�ing a full symÂ�phony orÂ�chesÂ�tra, galÂ�lopÂ�ing Â�rhythms, synÂ�coÂ�paÂ�tions, and penÂ�taÂ�tonic Â�scales in the manÂ�ner of JeÂ�rome Â�Moross’s The Big CounÂ�try (William Wyler, 1958) and Elmer Â�Bernstein’s The MagÂ�nifÂ�iÂ�cent Seven ( John Â�Sturges, 1960). AtÂ�testÂ�ing to the imÂ�porÂ�tance and muÂ�siÂ�cal qualÂ�ity of The ReÂ�ivÂ�ers and The CowÂ�boys is the fact that the comÂ�poser has Â�adapted conÂ�cert Â�pieces from both Â�scores.26 More imÂ�porÂ�tant, Â�then-emerging filmÂ�maker SteÂ�ven SpielÂ�berg apÂ�proached Â�Williams in 1972 and later hired him on his first Â�feature-length film—The SugarÂ�land ExÂ�press (1974),27 feaÂ�turÂ�ing a Â�blues-inspired score with harÂ�monÂ�ica solos—beÂ�cause he was a huge fan of both The ReÂ�ivÂ�ers and The CowÂ�boys and had lisÂ�tened to the LPs so many times he wore them out.28 SpielÂ�berg reÂ�calls: I’m a soundÂ�track colÂ�lecÂ�tor and I colÂ�lected Â�scores of great comÂ�posÂ�ers. .€.€. I had a huge colÂ�lecÂ�tion. And for many years there was like a Â�drought. A lot of the great old comÂ�posÂ�ers like DiÂ�miÂ�tri TiomÂ�kin and Max Â�Steiner were no Â�longer writÂ�ing music anyÂ�more. .€.€. There was just a real loss of pure symÂ�phonic film music. And then when I heard The ReÂ�ivÂ�ers and The CowÂ�boys I said, “My God, this guy must be Â�eighty years old!” .€.€. I Â�really Â�thought, “Maybe he’s some guy who’s Â�eighty years old, who maybe wrote the greatÂ�est Â�scores of his life.” And I Â�wanted to know who

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this guy was and I met this young man named John Â�Williams. .€.€. I was Â�amazed! You know, “It’s a reÂ�birth, film music is back. It’s alive! HalÂ�leÂ�luÂ�jah!”29

Yet, Â�though imÂ�porÂ�tant they might have been, the Â�scores to The ReÂ�ivÂ�ers and The CowÂ�boys canÂ�not be said to have been groundÂ�breakÂ�ing for the neoÂ�clasÂ�siÂ�cal trend. Both are peÂ�riod films in which a more Â�classical-style score would have Â�hardly been an unÂ�exÂ�pected event. The score that Â�really Â�launched Â�Williams’s neoÂ�clasÂ�siÂ� cism was Jaws (SteÂ�ven SpielÂ�berg, 1975), the secÂ�ond entry of his colÂ�labÂ�oÂ�raÂ�tion with SteÂ�ven SpielÂ�berg. It was the first inÂ�stance in which a fully neoÂ�clasÂ�siÂ�cal score was apÂ�plied to a draÂ�matic conÂ�temÂ�poÂ�rary story. Here Comes “Bruce” Jaws was someÂ�how in the “disÂ�asÂ�ter moÂ�vies” catÂ�eÂ�gory that was fashÂ�ionÂ�able at that time. In this case, the Â�deadly Â�threat is not deÂ�terÂ�mined by a Â�lightning-stricken, Â�about-to-crash plane, a transÂ�atÂ�lanÂ�tic Â�cruise-liner turnÂ�ing Â�upside-down, an earthÂ�quake hitÂ�ting Los AnÂ�geles, or a skyÂ�scraper on fire, but by a great white shark eatÂ�ing isÂ�landÂ�ers. Jaws inÂ�deed has some narÂ�raÂ�tive conÂ�venÂ�tions of the Â�disastermovie genre: a Â�threat by an irÂ�raÂ�tional and unÂ�stopÂ�pable natÂ�uÂ�ral eleÂ�ment—fire, water, earthÂ�quakes, a danÂ�gerÂ�ous predÂ�aÂ�tor in this case—looms on a large group of peoÂ�ple; the proÂ�tagÂ�oÂ�nist warns the local auÂ�thorÂ�ities in due time, who nevÂ�erÂ� theÂ�less do not lisÂ�ten to him and take acÂ�tion only when it is too late.30 Â�Williams was the ideal and obÂ�viÂ�ous Â�choice to score Jaws: not only did he have a good reÂ�laÂ�tionÂ�ship with SpielÂ�berg but at that time he was also the Â�disaster-movie comÂ�poser. The makÂ�ing of Jaws was parÂ�ticÂ�uÂ�larly trouÂ�bled, and the proÂ�ject was even on the verge of being Â�aborted and never reachÂ�ing the theÂ�aÂ�ters.31 The esÂ�tiÂ�mated budÂ�get of $8.5 milÂ�lion Â�quickly Â�climbed to $11 milÂ�lion. The Â�fifty-five-day proÂ� ducÂ�tion schedÂ�ule ended up exÂ�ceedÂ�ing 150 days.32 There were many techÂ�niÂ�cal and loÂ�gisÂ�tiÂ�cal probÂ�lems, Â�mainly due to the Â�choice of shootÂ�ing as many Â�scenes as posÂ�sible out to sea on loÂ�caÂ�tion, for Â�realism’s sake, Â�rather than in a stuÂ�dio tank. The Â�biggest hitch and a major cause in slowÂ�ing down the pace of shootÂ�ing was “Bruce,” the meÂ�chanÂ�iÂ�cal shark named after Â�Spielberg’s lawÂ�yer.33 A pneuÂ�matÂ�iÂ� cally opÂ�erÂ�ated pupÂ�pet, Bruce cost $750,000 and sank like a stone as soon as it was put into the ocean for the first time.34 Its meÂ�chanÂ�ics Â�jammed conÂ�tinÂ�uÂ�ously, and the shark—when not sinkÂ�ing—was unÂ�reÂ�liÂ�able and Â�mostly unÂ�usÂ�able. In order to keep up with the schedÂ�ule deÂ�spite the abÂ�sence of the leadÂ�ing charÂ�acÂ�ter, SpielÂ�berg reÂ�sorted to varÂ�iÂ�ous viÂ�carÂ�iÂ�ous eleÂ�ments to sigÂ�nal its presÂ�ence: piers

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torn and Â�dragged away; air barÂ�rels preÂ�viÂ�ously fixed to the Â�beast’s back that Â�emerge on the surÂ�face to inÂ�diÂ�cate the presÂ�ence of the shark underÂ�neath, and so on. These soÂ�luÂ�tions were comÂ�pleÂ�mented with point-of-view Â� shots: the camÂ�era subÂ�stiÂ�tuted for the Â�monster’s eyes and conÂ�seÂ�quently the Â�monster’s body could be kept conÂ�venÂ�iently Â�off-screen. In the Â�film’s 119Â�-Â�minute runÂ�ning time, the shark can be just Â�glimpsed at 60 minÂ�utes and fiÂ�nally shows up only at 78 minÂ�utes.35 A cruÂ�cial doubt now Â�haunted the diÂ�recÂ�tor and proÂ�ducÂ�ers: in the few shots in which it apÂ�peared, would the Â�fiberglass-and-rubber pupÂ�pet Â�really be credÂ�ible and thereÂ�fore perÂ�ceived as a menÂ�acÂ�ing shark?36 As adÂ�mitÂ�ted by SpielÂ�berg himÂ�self, it was Â�Williams’s score that made the pupÂ�pet credÂ�ible and truly frightÂ�enÂ�ing: “I think that his score was Â�clearly reÂ�sponÂ� sible for half the sucÂ�cess of the film.”37 This is the first eleÂ�ment that links the Jaws score with the clasÂ�siÂ�cal peÂ�riod: the same thing had hapÂ�pened with the score for King Kong (MerÂ�ian C. Â�Cooper and ErÂ�nest B. SchoedÂ�sack, 1933). The proÂ�ducÂ�ers of King Kong simÂ�iÂ�larly Â�feared that the Â�stop-motion-animated pupÂ�pet would cause laughÂ�ter inÂ�stead of fear. And simÂ�iÂ�larly, it was Max Â�Steiner’s score that saved the day. And, inÂ�ciÂ�denÂ�tally, as King Kong had been the openÂ�ing score of the clasÂ�siÂ�cal style, so Jaws is the openÂ�ing score of the neoÂ�clasÂ�siÂ�cal trend. Â�Besides these hisÂ�torÂ�iÂ� cal parÂ�allels, what makes Jaws a neoÂ�clasÂ�siÂ�cal score? Let’s start from the beÂ�ginÂ�ning, with Â�Williams watchÂ�ing the film for the first time in the “spotÂ�ting sesÂ�sion,” when the comÂ�poser is shown a rough cut of the film as a basis for disÂ�cusÂ�sion about which scenes Â� need music and what kind of music. Â�Williams reÂ�calls the first time he Â�watched Jaws: I knew about the novel. .€.€. I don’t think I read it, but Peter Â�Benchley’s book was very, very popÂ�uÂ�lar. I reÂ�memÂ�ber seeÂ�ing the movie in a proÂ�jecÂ� tion room here at UniÂ�verÂ�sal. I was alone; SteÂ�ven was in Japan at the time. I came out of the screenÂ�ing so exÂ�cited. I had been workÂ�ing for Â�nearly 25 years in HolÂ�lyÂ�wood but had never had an opÂ�porÂ�tuÂ�nity to do a film that was abÂ�soÂ�lutely brilÂ�liant. I had alÂ�ready conÂ�ducted FidÂ�dler on the Roof, and I had Â�worked with diÂ�recÂ�tors like Â�William Wyler and RobÂ�ert AltÂ�man and othÂ�ers. But Jaws just Â�floored me.38

After “spotÂ�ting” the film, Â�Williams began to plan his work: “Most of the disÂ�cusÂ�sions I had with SteÂ�ven at that point were about the shark. The chalÂ�lenge was to find a way to charÂ�acÂ�terÂ�ize someÂ�thing Â�that’s underÂ�waÂ�ter with music Â�rather than with sound efÂ�fects.”39 UnÂ�like PiÂ�ranha ( Joe Dante, 1978), where the voÂ�raÂ�cious fish are charÂ�acÂ�terÂ�ized by a sort of exÂ�cited Â�high-frequency buzz, SpielÂ� berg Â�wanted a muÂ�siÂ�cal idenÂ�tifier and Â�looked for a muÂ�siÂ�cal idea that could be the aural equivÂ�aÂ�lent of the predÂ�aÂ�tor.

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What Does a Shark Sound Like? Some time later, Â�Williams inÂ�vited the diÂ�recÂ�tor to his stuÂ�dio and Â�played the main theme at the piano. This is Â�Spielberg’s recÂ�olÂ�lecÂ�tion: I had acÂ�tuÂ�ally cut in one of Â�John’s own Â�pieces of music for the openÂ�ing tiÂ�tles. That was Â�John’s title theme from RobÂ�ert Â�Altman’s film ImÂ�ages. So I cut in a secÂ�tion that was a Â�lovely piano solo with some very omÂ�iÂ�nous Â�strings in the backÂ�ground that would probÂ�ably have been wonÂ�derÂ�ful for a movie about a huntÂ�ing. And I Â�thought it was playÂ�ing Â�against the obÂ�viÂ�ous priÂ�mal feelÂ�ings that run very deep Â�through Jaws. When Â�Johnny heard it, Â�though, he just Â�didn’t go for it at all.40 .€.€. I exÂ�pected to hear someÂ�thing weird yet still meÂ�lodic. But what he Â�played inÂ�stead, with two finÂ�gers on the lower keys, was dun, dun, Â�dun-dun, Â�dun-dun, Â�dun-dun. At first I began to laugh, and I Â�thought “John has a great sense of humor!” But he was seÂ�riÂ�ous—that was the theme for Jaws. So he Â�played it again and again, and sudÂ�denly it Â�seemed right. SomeÂ�times the best ideas are the most simÂ�ple ones and John had found a sigÂ�naÂ�ture for the enÂ�tire score.41

UnÂ�like the “weird melÂ�ody” in line with the traÂ�diÂ�tion of horÂ�ror music that SpielÂ�berg exÂ�pected—disÂ�soÂ�nant and harÂ�monÂ�iÂ�cally eerie, as the more tonal pasÂ� sages of the score for ImÂ�ages are—Â�Williams opted for a Â�closer muÂ�siÂ�cal equivÂ�aÂ� lent of the shark, a primÂ�iÂ�tive pulÂ�saÂ�tion with no melÂ�ody at all. InÂ�deed, melÂ�ody is a prodÂ�uct of arÂ�tisÂ�tic civÂ�ilÂ�izaÂ�tion, which by its naÂ�ture Â�brings Â�traces of hisÂ�tory and culÂ�ture: I fidÂ�dled Â�around with the idea of creatÂ�ing someÂ�thing that was very .€.€. brainÂ�less, .€.€. like the shark. All inÂ�stinct .€.€. MeanÂ�ing someÂ�thing [that] could be very repÂ�eÂ�tiÂ�tious, very visÂ�ceral, and grab you in your gut, not in your brain. ReÂ�memÂ�ber, SteÂ�ven Â�didn’t have the comÂ�puter shark. He only had his rubÂ�ber ducky, so the simÂ�ple idea of that bass osÂ�tiÂ�nato, just reÂ�peatÂ�ing those two notes and introÂ�duce a third note when you don’t exÂ�pect it and so on. It could be someÂ�thing you could play very Â�softly, which would inÂ�diÂ�cate that the shark is far away when all you see is water. BrainÂ�less music that gets Â�louder and gets Â�closer to you, someÂ� thing is gonna swalÂ�low you up.42

�Williams came up with the prim�i�tive rhyth�mic sim�plic�ity of an os�ti�nato, that is, a brief re�peat�ing and ham�mer�ing frag�ment, more rhyth�mic than me�lodic:

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Transcription of John Williams, “The Shark Theme” (mm. 12–14), from Suite from Jaws (© 1975 BMI), published by USI B Music Publishing, administered by Songs of Universal, Inc., printed by Hal Leonard, “John Williams Signature Edition,” 04490414 [Used in compliance with the U.S. Copyright Act, Section 107].

Those three reÂ�peated bass notes reÂ�call the heartÂ�beat, the priÂ�morÂ�dial Â�rhythm of life.43 Their seemÂ�ingly unÂ�stopÂ�pable conÂ�stant and meÂ�chanÂ�iÂ�cal repÂ�eÂ�tiÂ�tion efÂ�fecÂ� tively repÂ�reÂ�sents the shark: a primÂ�iÂ�tive yet proÂ�fiÂ�cient killÂ�ing maÂ�chine, moved only by the inÂ�stinct for eatÂ�ing. In adÂ�diÂ�tion to charÂ�acÂ�terÂ�izÂ�ing the naÂ�ture of the monÂ�ster, the Â�shark’s motif perÂ�forms anÂ�other imÂ�porÂ�tant funcÂ�tion Â�within the film, a funcÂ�tion that Â�Spielberg’s “weird melÂ�ody” could Â�hardly have carÂ�ried out. Being an osÂ�tiÂ�nato, the shark motif can be more easÂ�ily shortÂ�ened, proÂ�longed, or reÂ�peated in loops as reÂ�quired by visÂ�uÂ�als, so to beÂ�come the aural equivÂ�aÂ�lent of the Â�shark’s moveÂ�ment Â�through space. Â�Williams comÂ�mented, “I Â�thought that alÂ�terÂ�ing the speed and volÂ�ume of the theme, from very slow to very fast, from very soft to very loud, would inÂ�diÂ�cate the mindÂ�less atÂ�tacks of the shark. SteÂ�ven was a bit skepÂ�tiÂ�cal, but when the orÂ�chesÂ�tra perÂ�formed the piece, it Â�worked betÂ�ter than we had anÂ�ticÂ�iÂ�pated.”44 Music is often the only sign of the presÂ�ence of the monÂ�ster that can be perÂ�ceived, since the monÂ�ster itÂ�self is Â�off-screen for most of the time. Â�Williams plays fair with the auÂ�diÂ�ence, since the shark motif is not used to cheat when the shark is not Â�around but is Â�played only when it is Â�present. For exÂ�amÂ�ple, in the Â�fake-fin prank scene, visÂ�uÂ�ally we can be led to take it as a real fin, but there is no music acÂ�comÂ�paÂ�nyÂ�ing it, thus sigÂ�nalÂ�ing that the shark is not there. On the Â�contrary, in the same seÂ�quence, the music anÂ�ticÂ�iÂ�pates the real shark being spotÂ�ted in the esÂ�tuÂ�ary. The Â�shark’s motif does not just perÂ�form the funcÂ�tion of clasÂ�siÂ�cal leitÂ� moÂ�tiv but is also a peÂ�cuÂ�liar type of Â�Mickey-Mousing: the music adÂ�heres perÂ�fectly to the spaÂ�tial moveÂ�ments of the beast. But, unÂ�like the clasÂ�siÂ�cal Â�Mickey-Mousing that repÂ�liÂ�cated the Â�on-screen moveÂ�ments, in this case it Â�mostly inÂ�diÂ�cates Â�off-screen moveÂ�ments. ConÂ�sider Â�Chrissie’s death scene at the beÂ�ginÂ�ning of the film: it is the music that conÂ�veys the “obÂ�scene” viÂ�oÂ�lence and horÂ�ror of the underÂ�waÂ�ter Â�off-screen atÂ�tack—ob scene being Latin for “off-stage.” ChrisÂ�sie unÂ�dresses and deÂ�cides to take a nude night swim in the sea. A Â�point-of-view shot lookÂ�ing up from the

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abyss shows us the body of the girl on the surÂ�face—as in the openÂ�ing tiÂ�tles, we are seeÂ�ing Â�through the eyes of a mysÂ�terÂ�iÂ�ous sea creaÂ�ture. We hear a harp arÂ�pegÂ�gio evokÂ�ing the waves, then two of those omÂ�iÂ�nous low notes, which we have preÂ�viÂ� ously idenÂ�tified with the sea creaÂ�ture. The notes beÂ�come Â�louder and reÂ�peat Â�faster and Â�faster as the creaÂ�ture apÂ�proaches the girl and Â�points at its prey. Then, the narÂ�raÂ�tion reÂ�verses the perÂ�specÂ�tive and cuts to ChrisÂ�sie on the sea surÂ�face. SudÂ�denly, someÂ�thing we canÂ�not see Â�starts pullÂ�ing her down: the acÂ�tion is Â�marked with a viÂ�oÂ�lently sforÂ�zando horns rip, a kind of rrrrrruÂ�hah! That is the Â�shark’s bite; the music conÂ�veys both the Â�shark’s fury and Â�Chrissie’s pain. She Â�screams while she is Â�tossed Â�around. We do not see what is hapÂ�penÂ�ing beÂ�neath the surÂ�face, but we can easÂ�ily imÂ�aÂ�gine the horÂ�rible scene of the shark tearÂ�ing its vicÂ�tim. FranÂ�tic Â�shrill viÂ�oÂ�lin writÂ�ing, viÂ�oÂ�lent perÂ�cusÂ�sion, and reÂ�peated horns “bites” deÂ�pict the Â�off-screen viÂ�oÂ�lence. The scene takes shape in our imagÂ�iÂ�naÂ�tion Â�through music, which fulÂ�fills both a spaÂ�tial perÂ�cepÂ�tive and an emÂ�oÂ�tive funcÂ�tion. The shark motif repÂ�liÂ�cates the Â�shark’s moveÂ�ments on both the horÂ�iÂ�zonÂ�tal and the verÂ�tiÂ�cal axes. HorÂ�iÂ�zonÂ�tal traÂ�jecÂ�toÂ�ries are renÂ�dered Â�through variÂ�aÂ�tions of dyÂ�namÂ�ics and tempo: when the music slows down and the volÂ�ume deÂ�creases, we know that the shark is slowÂ�ing its pace; when the music Â�speeds up or the volÂ�ume inÂ�creases we know that the shark is atÂ�tackÂ�ing. MoveÂ�ments on the verÂ�tiÂ�cal axis are renÂ�dered Â�through variÂ�aÂ�tions of orÂ�chesÂ�tral texÂ�ture: when the writÂ�ing gets Â�thicker, we know that the shark is comÂ�ing to the surÂ�face; when the writÂ�ing thins down to dark timÂ�bres only (contraÂ�basses, celÂ�los, basÂ�soons) we know that the beast is plungÂ�ing into the dark abyss. For exÂ�amÂ�ple, conÂ�sider the pier scene in which two isÂ�landÂ�ers try to hook the shark, with the only reÂ�sult of havÂ�ing the pier torn away, fallÂ�ing into the water, and thus riskÂ�ing being eaten up. When the shark bites the bait and Â�points offÂ�shore, dragÂ�ging along the torn pier to which the bait was fasÂ�tened, the shark osÂ�tiÂ�nato Â�starts, Â�played by contraÂ�basses and celÂ�los. The osÂ�tiÂ�nato keeps playÂ�ing at the same level and speed durÂ�ing the tearÂ�ing off of the pier and the fallÂ�ing into the water of the two men, one of which is Â�pulled offÂ�shore along with the pier. At one point, the pier stops and sudÂ�denly reÂ�verses, inÂ�diÂ�catÂ�ing that the shark is now pointÂ�ing to the swimÂ�ming isÂ�lander. ViÂ�oÂ�lins and viÂ�oÂ�las Â�abruptly join the celÂ�los and contraÂ�basses in playÂ�ing the osÂ�tiÂ�nato, folÂ�lowed by the horns menÂ�acÂ�ingly preÂ�sentÂ�ing the secÂ�ond shark motif (see 115– 16). The Â�music’s speed and volÂ�ume inÂ�crease as the shark Â�chases the man who is franÂ�tiÂ�cally tryÂ�ing to reach the shore and come out of the water. The man sucÂ�ceeds, and the shark has to reÂ�treat. The music deÂ�flates, gradÂ�uÂ�ally deÂ�celÂ�erÂ�atÂ�ing and turnÂ�ing into a sinÂ�gle susÂ�tained bass note that Â�closes the scene. AnÂ�other funcÂ�tion of the score is to furÂ�ther sepÂ�arÂ�ate the two Â�worlds—the shark below and the huÂ�mans above—and this is acÂ�comÂ�plished by using the

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timÂ�bres of the orÂ�chesÂ�tra. The monÂ�ster shark lives down, below the water surÂ�face; huÂ�mans live above the surÂ�face. The difÂ�ferÂ�ence Â�between the Â�humans’ world—lit by the sun—and the Â�shark’s world—the abyss in which darkÂ�ness Â�reigns—is Â�marked by the Â�contrast Â�between the shark music—meÂ�chanÂ�iÂ�cal, low Â�pitched, with dark timÂ�bre—and the human music—meÂ�lodic, Â�higher Â�pitched, and with the Â�bright timÂ�bres of viÂ�oÂ�lins, Â�flutes, and trumÂ�pets. The Jaws score has the imÂ�porÂ�tant emÂ�oÂ�tive funcÂ�tion of creatÂ�ing susÂ�pense, anxÂ�iety, fear. Yet its most sucÂ�cessÂ�ful conÂ�triÂ�buÂ�tion conÂ�sists in its emÂ�bodÂ�yÂ�ing the shark and skillÂ�fully tracÂ�ing its moveÂ�ments both Â�on-screen and Â�off-screen. The score is parÂ�ticÂ�uÂ�larly outÂ�standÂ�ing for its spaÂ�tial perÂ�cepÂ�tive funcÂ�tion. Â�Jaws’s NeoÂ�clasÂ�siÂ�cism The first neoÂ�clasÂ�siÂ�cal eleÂ�ment of the Jaws score is the reÂ�covÂ�ery of clasÂ�siÂ�cal techÂ�niques like Â�Mickey-Mousing and leitÂ�moÂ�tivs. Jaws has also many exÂ�plicit Â�synch-points emÂ�bedÂ�ded in the overÂ�all orÂ�chesÂ�tral writÂ�ing. Here are a few exÂ� amÂ�ples. In the beach scene when the young Alex KintÂ�ner is cut to ribÂ�bons along with his yelÂ�low Lilo, a shriekÂ�ing viÂ�oÂ�lins upÂ�ward glisÂ�sando strengthÂ�ens the Â�zoom-in/Â�track-out Â�Vertigo-like shot that capÂ�tures Â�Brody’s horÂ�rified reÂ�acÂ�tion. In the pond scene, a low flutÂ�ter by the brass repÂ�liÂ�cates the Â�victim’s blood comÂ�ing to the surÂ�face. When the shark Â�passes by Brody’s Â� son—in a Â�point-of-view shot of the beast—music underÂ�lines its swimÂ�ming toÂ�ward and then away from the boy reÂ�specÂ�tively with an upÂ�ward and then a downÂ�ward harp glisÂ�sando. DurÂ�ing the barÂ�rel chase out to the sea, music marks the acÂ�tions with acÂ�cents when the shark is harÂ�pooned, with a perÂ�fectly synÂ�chronÂ�ized cymÂ�bal clash when one of the barÂ�rels hits the water surÂ�face, and with deÂ�scendÂ�ing Â�scales when the barÂ�rels are Â�dragged down. In one scene, Quint is gathÂ�erÂ�ing up one of the Â�barrel’s lines. The shark Â�abruptly Â�emerges, and out of the siÂ�lence the music puncÂ�tuÂ�ates the scarÂ�ing surÂ�prise with a viÂ�oÂ�lent horns rip. Quint gets his hands cut by the rope, the painÂ�ful Â�scratch being Â�stressed by a rapid and bitÂ�ing picÂ�colo upÂ�ward scale. When the shark subÂ�merges again, this is Â�marked by a downÂ�ward contrabasses scale, folÂ�lowed by an acute upÂ�ward scale mirÂ�rorÂ�ing the Â�shark’s fin splashÂ�ing water over the boat. As for leitÂ�moÂ�tivs, they are emÂ�ployed throughÂ�out the score, with parÂ�ticÂ�uÂ�lar vaÂ�riety in the secÂ�ond half of the film, Â�whereas the first half is domÂ�iÂ�nated by the shark motif and viÂ�oÂ�lent or eerie music pasÂ�sages. One theme is a broad melÂ�ody, which can be heard when the shark Â�hunters’ boat Orca is seen leavÂ�ing the harÂ�bor, then Â�across the whole secÂ�ond half of the film, and over the end credÂ�its in a seÂ�rene renÂ�diÂ�tion for Â�strings. This is the prinÂ�ciÂ�pal “human” melÂ�ody that Â�contrasts the

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primÂ�iÂ�tive pulse of the shark motif. It can be asÂ�soÂ�ciated with the Â�man-versus-thebeast strugÂ�gle. AnÂ�other theme is a Â�buoyant Â�hornpipe-like tune, which can be heard again when the Orca Â�leaves. It is asÂ�soÂ�ciated with sea life and puncÂ�tuÂ�ates the huÂ�morÂ�ous and Â�bright moÂ�ments of the shark hunt. AnÂ�other reÂ�curÂ�ring theme that can be heard durÂ�ing the shark hunt is a heÂ�roic fanÂ�fare, which conÂ�veys the exÂ�citeÂ�ment and adÂ�venÂ�turÂ�ousÂ�ness of the deed. There is also a secÂ�ond leitÂ�moÂ�tiv asÂ�soÂ�ciated with the shark. One is the osÂ�tiÂ�nato inÂ�diÂ�catÂ�ing the moveÂ�ments of the beast and heard only when the monÂ�ster is Â�around; the secÂ�ond one is the Â�horn-and-tuba motif asÂ�soÂ�ciated with the shark when someÂ�one talks about it or just Â�thinks of its menÂ�acÂ�ing presÂ�ence, as in the scene in which Brody reads a book on shark atÂ�tacks. The cenÂ�tral muÂ�siÂ�cal interÂ�val of the motif—the secÂ�ond and third notes, from G to Â�C-sharp—is the triÂ�tone or augÂ�mented Â�fourth, a disÂ�soÂ�nant interÂ�val traÂ�diÂ�tionÂ�ally asÂ�soÂ�ciated with evil, the diÂ�aboÂ�lus in musÂ�ica (see also chap. 9).

Transcription of John Williams, “The Shark Theme” (mm. 16–18), from Suite from Jaws (© 1975 BMI), published by USI B Music Publishing, administered by Songs of Universal, Inc., printed by Hal Leonard, “John Williams Signature Edition,” 04490414 [ Used in compliance with the U.S. Copyright Act, Section 107].

The secÂ�ond shark motif is also subÂ�tly used durÂ�ing the InÂ�diÂ�anapÂ�oÂ�lis story seÂ�quence, which is a good exÂ�amÂ�ple of proÂ�fiÂ�cient diÂ�alogue (monoÂ�logue, acÂ�tuÂ�ally) underÂ� scorÂ�ing. Quint Â�starts reÂ�countÂ�ing his dreadÂ�ful exÂ�peÂ�riÂ�ence as a surÂ�viÂ�vor of the USS InÂ�diÂ�anapÂ�oÂ�lis, sunk durÂ�ing World War II. (The crew Â�floated Â�around in the ocean for four days. Only 317 men surÂ�vived, out of 1,196, many havÂ�ing been eaten by Â�sharks.) Â�Quint’s tale of the sinkÂ�ing beÂ�gins withÂ�out music, the seÂ�riÂ�ous faces of the lisÂ�tenÂ�ers conÂ�veyÂ�ing the mood for the draÂ�matic shipÂ�wreck being told. Then Â�Quint’s tale foÂ�cuses on an inÂ�side tragÂ�edy Â�within the shipÂ�wreck: the shark atÂ�tacks that the surÂ�viÂ�vors had to susÂ�tain in the folÂ�lowÂ�ing days. On the words “Very first light, Â�sharks come cruisÂ�ing .€.€.” an omÂ�iÂ�nous bass pedal point Â�sneaks in from the siÂ�lence, folÂ�lowed by a piano gratÂ�ing layer of disÂ�soÂ�nant high Â�strings. DurÂ�ing the monoÂ�logue, low harp tones and waÂ�tery arÂ�pegÂ�gios reÂ�verÂ�berÂ�ate

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Â�within the music texÂ�ture, as to deÂ�pict someÂ�thing movÂ�ing in the abyss, below the surÂ�face. Â�Strings writÂ�ing proÂ�vides more chillÂ�ing efÂ�fects Â�through sinÂ�isÂ�ter glidÂ�ing moÂ�tions. Then Quint tells that at a cerÂ�tain point he saw a Â�friend of his floatÂ�ing Â�nearby and, thinkÂ�ing he was Â�asleep, he Â�reached him to shake him awake. “He Â�bobbed up and down in the water just like a kind of top. UpÂ�ended. Well .€.€. He’d been bitÂ�ten in half, below the waist.” At the beÂ�ginÂ�ning of this line, the secÂ�ond shark motif can be heard, to anÂ�ticÂ�iÂ�pate Â�Quint’s maÂ�caÂ�bre disÂ�covÂ�ery and its cause. AnÂ�other neoÂ�clasÂ�siÂ�cal trait is the reÂ�viÂ�val of the diÂ�alect used in the clasÂ�siÂ�cal peÂ�riod, that is, the late-roÂ�manÂ�tic symÂ�phonic diÂ�alect. One of Â�Williams’s feÂ�licÂ�iÂ�tous inÂ�tuiÂ�tions was that of emÂ�phaÂ�sizÂ�ing the adÂ�venÂ�turÂ�ous Â�spirit of the film. SpielÂ�berg reÂ�ports: “When I first Â�showed Jaws to John, I reÂ�memÂ�ber he said: ‘This is like a piÂ�rate movie! I think we need piÂ�rate music for this, beÂ�cause Â�there’s someÂ�thing priÂ�mal about it—but it’s also fun and enÂ�terÂ�tainÂ�ing!’ ”45 What did Â�Williams mean when he spoke of “piÂ�rate music?” Here are Â�Williams’s words: “When I first saw Jaws, it was clear to me that it would reÂ�quire an acÂ�tion/adÂ�venÂ�ture score. .€.€. For Jaws, I imÂ�aÂ�gined someÂ�thing big and opÂ�erÂ�atic, someÂ�thing very theatÂ�riÂ�cal.”46 EvÂ�iÂ�dently, the acÂ�tion/adÂ�venÂ�ture score that Â�Williams had in mind reÂ�ferred to the old WarÂ�ner Bros. piÂ�rate films boastÂ�ing Erich WolfÂ�gang Â�Korngold’s opÂ�erÂ�atic Â�scores. The barÂ�rel chase seÂ�quence in the open sea, for exÂ�amÂ�ple, is Â�scored with lush symÂ�phonic music and heÂ�roic fanÂ�fares: “It sudÂ�denly beÂ�comes very KornÂ�golÂ�dian, .€.€. you exÂ�pect to see Errol Flynn at the helm of this thing. It gave us a laugh.” says Â�Williams.47 As a sign of the Â�composer’s neoÂ�clasÂ�siÂ�cal Â�tastes, this is inÂ�deed Â�Williams’s faÂ�vorÂ�ite part of the film: “But my own faÂ�vorÂ�ite cue in Jaws has alÂ�ways been the barÂ�rel chase seÂ�quence, where the shark apÂ�proaches the boat and the three heÂ�roes think they have capÂ�tured it. The music acÂ�celÂ�erÂ�ates and beÂ�comes very exÂ�citÂ�ing and heÂ�roic. SudÂ�denly, as the shark overÂ�powÂ�ers them and evenÂ�tuÂ�ally esÂ�capes, the music deÂ�flates and ends with a litÂ�tle Â�sea-chant Â�called ‘SpanÂ�ish Lady.’ The score muÂ�siÂ�cally ilÂ�lusÂ�trates and puncÂ�tuÂ�ates all of this draÂ� matic outÂ�line.”48 And yet anÂ�other neoÂ�clasÂ�siÂ�cal trait is the use of the symÂ�phony orÂ�chesÂ�tra as a muÂ�siÂ�cal means. Among the early 1970s films set in the Â�present time and deÂ�signed to hopeÂ�fully beÂ�come Â�box-office hits, Jaws was the first one emÂ�ployÂ�ing a symÂ� phonic score and havÂ�ing no theme song. A sigÂ�nifÂ�iÂ�cant exÂ�amÂ�ple is the monÂ�tage seÂ�quence showÂ�ing the flockÂ�ing of tourÂ�ists to the isÂ�land to celÂ�eÂ�brate the Â�Fourth of July. This Â�ninety-second seÂ�quence would have been the ideal showÂ�case for a marÂ�ketÂ�able song, perÂ�haps in the style of The Beach Boys’ surf music—a Â�choice that would have been Â�clever from a comÂ�merÂ�cial point of view and would have also been interÂ�estÂ�ingly moÂ�tiÂ�vated by the Â�contrast Â�between the cheerÂ�ful tone of

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the music and the Â�deadly danÂ�ger loomÂ�ing over the tourÂ�ists. InÂ�stead, the monÂ�tage is acÂ�comÂ�paÂ�nied by a Â�baroque-dialect piece for Â�strings, solo trumÂ�pet, and harpÂ�siÂ�chord. From under the seÂ�rene and forÂ�mal surÂ�face of the piece, the shark osÂ�tiÂ�nato Â�emerges Â�played by celÂ�los and contraÂ�basses, ofÂ�ferÂ�ing a kind of Â�blackhumored comÂ�ment on the imÂ�pendÂ�ing menÂ�ace. This Â�choice also clevÂ�erly exÂ� presses in music one of the narÂ�raÂ�tive Â�themes: the city counÂ�cil reÂ�fuses to close the Â�beaches, preÂ�ferÂ�ring to igÂ�nore the menÂ�ace Â�rather than risk jeopÂ�ardÂ�izÂ�ing the Â�Fourth of July tourÂ�ism revÂ�eÂ�nues. As in the music, a forÂ�mal and pomÂ�pous surÂ�face Â�states that everyÂ�thing is fine so as to conÂ�ceal the pendÂ�ing danÂ�ger. MoreÂ�over, the music also careÂ�fully underÂ�scores the diÂ�alogue lines interÂ�woven to the monÂ�tage— by susÂ�tainÂ�ing them with a thinÂ�ner texÂ�ture—and lets the trumÂ�pets play in full Â�stride over the Â�dialogue-free segÂ�ments. A secÂ�ond very “non-pop” Â�choice is the use of fuÂ�gato writÂ�ing for the seÂ�quence in which the Â�hunters’ trio sets up the shark cage.49 The reÂ�lentÂ�less comÂ�plexÂ�ity of the fuÂ�gato proÂ�vides the right comÂ�pelÂ�ling drive and anxÂ�ious exÂ�citeÂ�ment for the elabÂ�orate and risky trap that the shark huntÂ�ers are preÂ�parÂ�ing. Jaws was the first comÂ�merÂ�cial film since the end of clasÂ�siÂ�cal music style to disÂ�card pop music and modÂ�ern style, and opt for a reÂ�viÂ�val of past modÂ�els. EvenÂ� tuÂ�ally, this Â�choice Â�proved to be a good one. It was the first film that Â�grossed more than $100,000,000, and Â�Williams won his secÂ�ond Oscar, his first one for origÂ�iÂ�nal music.50 MoreÂ�over, as King Kong did, Jaws demÂ�onÂ�strated once again the imÂ�porÂ�tant conÂ�triÂ�buÂ�tion that Â�non-diegetic orÂ�chesÂ�tral music could give to film narÂ�raÂ�tion. CritÂ�ics acÂ�knowlÂ�edged the fact and, even beÂ�fore Star Wars, Â�praised Â�Williams’s symÂ�phonic resÂ�toÂ�raÂ�tion: “Williams has been Â�highly inÂ�struÂ�menÂ�tal in tryÂ�ing to bring back to the moÂ�vies the full symÂ�phonic score, with all its poÂ�tenÂ�tial for pleaÂ�surÂ�able maÂ�nipÂ�uÂ�laÂ�tion and its inÂ�tiÂ�maÂ�tions of life Â�larger than life. This was an imÂ�porÂ�tant part of what we got from the moÂ�vies once, and there are many signs that many [of ] us want it back again.”51 Â�Williams exÂ�panded his canÂ�vas with Jaws 2 ( JeanÂ�not Â�Szwarc, 1978) and proÂ�duced anÂ�other neoÂ�clasÂ�siÂ�cal work, clevÂ�erly avoidÂ�ing a copyÂ�cat score. Only the shark osÂ�tiÂ�nato surÂ�vives from the 1975 film score; the secÂ�ond shark motif is not used. The shark osÂ�tiÂ�nato is less Â�present and less maÂ�nipÂ�uÂ�lated than in the first inÂ�stallÂ�ment, probÂ�ably beÂ�cause the shark is much more visÂ�ible, the diÂ�recÂ�tor being more interÂ�ested in Â�on-screen horÂ�ror than in Â�off-screen menÂ�ace. On the other hand, Â�Williams proÂ�vided new symÂ�phonic set Â�pieces for the monÂ�tage seÂ�quences, this time soundÂ�ing like ProÂ�kofÂ�iev in the spirÂ�ited and youthÂ�ful music for the catÂ�aÂ�maÂ�ran race, or in the sarÂ�donic and anÂ�guÂ�lar trumÂ�pet melÂ�ody Â�played durÂ�ing the Â�crowded beach seÂ�quence, named “The Menu” on the LP album.52 The film has two Â�scuba-diving seÂ�quences. The openÂ�ing one is acÂ�comÂ�paÂ�nied by

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waÂ�tery harp arÂ�pegÂ�gios and imÂ�presÂ�sionÂ�isÂ�tic harÂ�moÂ�nies. When the two scuba divÂ�ers find the wreck of the Orca, Â�Williams Â�quotes the “Man-versus-the-Beast Theme” from the preÂ�viÂ�ous film, conÂ�firmÂ�ing muÂ�siÂ�cally that what we are seeÂ�ing is that very boat. The other seÂ�quence has the weightÂ�less moves of the scuba divÂ�ers Â�scored with a graceÂ�ful Â�waltz-like harp piece, tiÂ�tled “BalÂ�let for DivÂ�ers” on the LP album. The score feaÂ�tures heÂ�roic fanÂ�fares again, durÂ�ing the catÂ�aÂ�maÂ�ran race and, more promÂ�iÂ�nently, durÂ�ing the end credÂ�its to apÂ�proÂ�priÂ�ately mark the sucÂ�cessÂ�ful outÂ�come of anÂ�other Â�man-versus-the-beast heÂ�roic deed. Â�Williams comÂ�ments again about the imÂ�porÂ�tance of Jaws for his caÂ�reer: “Jaws was the first major film opÂ�porÂ�tuÂ�nity that I had. .€.€. With SpielÂ�berg, it was the beÂ�ginÂ�nings of our reÂ�laÂ�tionÂ�ship Â�really, and a lot of opÂ�porÂ�tuÂ�nity came my way as a reÂ�sult of it, inÂ�cludÂ�ing the Star Wars films. SpielÂ�berg introÂ�duced me to Â�George Lucas and he was diÂ�rectly reÂ�sponÂ�sible for that reÂ�laÂ�tionÂ�ship deÂ�velÂ�opÂ�ing. The sucÂ�cess of the Star Wars films Â�brought unÂ�beÂ�lievÂ�able opÂ�porÂ�tuÂ�nities. I went to BosÂ�ton and conÂ�ducted the orÂ�chesÂ�tra there for 15 years as a diÂ�rect reÂ�sult of that.”53 The wide sucÂ�cess of Jaws not only launched Â� the neoÂ�clasÂ�siÂ�cal trend but also esÂ�tabÂ�lished Â�Williams as a neoÂ�clasÂ�siÂ�cal comÂ�poser.

7 Williams’s NeoÂ�clasÂ�siÂ�cism S tyl e a n d Ha b Â�i t s

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hat is mu�si�cal neo�clas�si�cism? In �art-music historiog�ra�phy, neo�clas�si �cism was a trend that �brought back the clar�ity of past forms as op�posed to the ex�cesses of con�tem�po�rary music: [ It is a] mu�si�cal trend that arose in the sec�ond half of the nine�teenth cen�tury (with the Bach re�vi�val pro�moted by such com�pos�ers as �Brahms and Max Reger) and �gained full vis�ibil�ity in the 1920s as a re�ac�tion �against �post-Wagnerian the�mat�i�cism and chro�mat�i�cism and with the pur�pose of the sty�lis�tic �re-creation of �clear-cut �pre-Romantic forms. Neo�clas�si�cism can be �placed �within those �twentieth-century ar�tis�tic move�ments in�spired by the �ideals of ob�jec�tiv�ity, ra�tion�al�ity and con� crete�ness, as op�posed to those of sub�jec�tiv�ity and ir�ra�tion�al�ity typ�i�cal of Ro�man�ti�cism and in large part in�her�ited by Im�pres�sion�ism and Ex�pres�sion�ism.1

For exÂ�amÂ�ple, the musiÂ�colÂ�oÂ�gist Guido SalÂ�vetti Â�writes the folÂ�lowÂ�ing about Igor Â�Stravinsky’s neoÂ�clasÂ�siÂ�cism in PulÂ�ciÂ�nella (1920): The modÂ�ifiÂ�caÂ�tions of the origÂ�iÂ�nal music were not aimed at the defÂ�orÂ�maÂ� tion of the model: StraÂ�vinÂ�sky just added some Â�canon-like disÂ�soÂ�nant pasÂ�sages, major secÂ�onds to some perÂ�fect Â�chords, in a caÂ�dence he Â�placed 119

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the Â�chords built on the V and I deÂ�grees siÂ�mulÂ�taÂ�neÂ�ously, Â�shifted a bar’s acÂ�cent on the weak beat, and of Â�course, inÂ�vented a perÂ�sonal orÂ�chesÂ�tral color. .€.€. This StraÂ�vinsÂ�kyan “neoÂ�clasÂ�siÂ�cism” was charÂ�acÂ�terÂ�ized, even in its early days, by the dual asÂ�pect of both the reÂ�spectÂ�ful reÂ�conÂ�strucÂ�tion and the irÂ�revÂ�erÂ�ent parÂ�ody. .€.€. The StraÂ�vinsÂ�kyan neoÂ�clasÂ�siÂ�cism Â�reached its peak in The Â�Rake’s ProgÂ�ress (1951). .€.€. The huge vaÂ�riety of culÂ�tural refÂ�erÂ�ences reÂ�sulted in a huge numÂ�ber of muÂ�siÂ�cal “tips of the hat” where once again the whole hisÂ�tory of music is levÂ�eled on a Â�ground where everyÂ�thing can be Â�reused and enÂ�joyed anew.2

What SalÂ�vetti says about OedÂ�iÂ�pus Rex (1927) in the folÂ�lowÂ�ing pasÂ�sage seems to apply to the neoÂ�clasÂ�siÂ�cal naÂ�ture of the Star Wars score too: “NeoÂ�clasÂ�siÂ�cism is even betÂ�ter underÂ�stood in this sense: it is the esÂ�cape from the Â�present and the plungÂ�ing into the eterÂ�nal diÂ�menÂ�sion of Myth, where Time and HisÂ�tory lose any perÂ�specÂ�tive.”3 The deÂ�ciÂ�sion to Â�choose this kind of music for Star Wars—very unÂ�usual for a Â�sci-fi film—also folÂ�lowed the deÂ�sire to evoke a comÂ�mon muÂ�siÂ�cal herÂ�iÂ�tage that would reÂ�inÂ�force the Â�mythic diÂ�menÂ�sion of the narÂ�raÂ�tive. These neoÂ�clasÂ�siÂ�cal Â�traits are also acÂ�knowlÂ�edged by the musiÂ�colÂ�oÂ�gist SerÂ�gio Â�Miceli: [ T ]here are some charÂ�acÂ�terÂ�isÂ�tics that disÂ�tinÂ�guish Â�Williams from everyÂ�one else. .€.€. Â�Williams has Â�proved to be able to take on the most repÂ�reÂ�senÂ�taÂ�tive styÂ�lisÂ�tic Â�traits of his genÂ�erÂ�aÂ�tion while smoothing their exÂ�cesses by drawÂ�ing inÂ�spiÂ�raÂ�tion from the secÂ�ond and even first genÂ�erÂ�aÂ� tion of HolÂ�lyÂ�wood film comÂ�posÂ�ers. To put it anÂ�other way, in a work of synÂ�theÂ�sis Â�rather than inÂ�noÂ�vaÂ�tion, Â�Williams has skillÂ�fully reÂ�covÂ�ered leitÂ�moÂ�tivic funcÂ�tions, more exÂ�tenÂ�sive and comÂ�plex theÂ�matÂ�iÂ�cism, toÂ�gether with theÂ�matic interÂ�play and imÂ�plicit symÂ�bolÂ�ism. The most sigÂ�nifÂ�iÂ�cant difÂ�ferÂ�ence if we comÂ�pare his work to that of his preÂ�deÂ�cesÂ�sors conÂ�sists in the comÂ�plete abÂ�sorpÂ�tion of blues and jazz inÂ�fluÂ�ences, which Â�causes his Â�scores to sound much more Â�up-to-date. As for the diÂ�rect borÂ�rowÂ�ing from the art music repÂ�erÂ�toire (the other side of the coin) they are nuÂ�merÂ�ous but very Â�blurred and well inÂ�teÂ�grated, which is preÂ�cisely due to Â�Williams’s exÂ�traorÂ�diÂ�nary skillÂ�fulÂ�ness in music asÂ�simÂ�iÂ�laÂ�tion. .€.€. In short, the fuÂ�sion of difÂ�ferÂ�ent styÂ�lisÂ�tic Â�traits, from both art and popÂ�uÂ�lar music, had alÂ�ready been acÂ�comÂ�plished .€.€. but noÂ�body had ever Â�weighed and mixed the inÂ�greÂ�dients so careÂ�fully. To all of this, Â�Williams has also added an Â�ironic and playÂ�ful Â�spirit which was unÂ�doubtÂ�edly faÂ�vored by the narÂ�raÂ�tive naÂ�ture of the films.4

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NeoÂ�clasÂ�siÂ�cism in art music is the reÂ�viÂ�val of past forms and Â�styles upÂ�dated Â� through the hyÂ�bridÂ�izaÂ�tion with Â�twentieth-century harÂ�monic proÂ�gresÂ�sions and disÂ�soÂ�nances, and reÂ�worked Â�through an Â�ironic manÂ�nerÂ�ist exÂ�agÂ�gerÂ�aÂ�tion of cerÂ�tain Â�traits. SimÂ�iÂ�larly, in film music John Â�Williams has reÂ�vived and upÂ�dated the clasÂ�siÂ�cal HolÂ�lyÂ�wood music style, startÂ�ing a neoÂ�clasÂ�siÂ�cal trend Â�within the Â�broader ecÂ�lecÂ�tic style of the New HolÂ�lyÂ�wood. Â�Williams reÂ�calls: Way back, I used to go to the moÂ�vies on SatÂ�urÂ�day with my sisÂ�ter. .€.€. I loved sevÂ�eral Â�things, but Â�mainly I loved the music I could hear in films, which one Â�couldn’t hear anyÂ�where else. I loved cerÂ�tain kinds of Â�scenes. ObÂ�viÂ�ously the love Â�scenes, where you have a very exÂ�presÂ�sive, lyrÂ�iÂ�cal and meÂ�lodic piece of music. I also loved Â�action-adventure Â�scenes. I was talkÂ�ing the other night about this, parÂ�ticÂ�uÂ�larly sword fight Â�scenes. First off, no one ever got hurt. They were choreoÂ�graphÂ�iÂ�cally exÂ�pert. And the sword Â�fights alÂ�ways had great music. SwashÂ�buckÂ�ling stuff ! You could see Errol Flynn and Basil RathÂ�bone doing their great turns. The other thing I loved was the carÂ�toons, with all that quick music.5

What Is NeoÂ�clasÂ�siÂ�cism in Film Music? As with the clasÂ�siÂ�cal style, neoÂ�clasÂ�siÂ�cism in film music is not just a matÂ�ter of reÂ�vivÂ�ing the Â�old-fashioned symÂ�phonic lanÂ�guage. As this book has mainÂ�tained throughÂ�out, the conÂ�cept of style as apÂ�plied to film music Â�should be a Â�broader one, a comÂ�biÂ�naÂ�tion of lanÂ�guage, techÂ�niques, muÂ�siÂ�cal means, and funcÂ�tions. The more a score reÂ�vives as many as posÂ�sible of these four clasÂ�siÂ�cal styÂ�lisÂ�tic eleÂ�ments, the more it can be Â�called neoÂ�clasÂ�siÂ�cal. For Â�clarity’s sake, conÂ�sider three alÂ�most coÂ�eval piÂ�rate films, all Â�clearly lookÂ�ing back on the 1930s swashÂ� buckÂ�ler modÂ�els: PiÂ�rates (Roman PoÂ�lanÂ�ski, 1986, music by PhiÂ�lippe Sarde); Hook (SteÂ�ven SpielÂ�berg, 1991, music by John Â�Williams); and CutÂ�throat IsÂ�land (Renny HarÂ�lin, 1995, music by John DebÂ�ney). Each film has a Â�full-blown symÂ�phonic score that harks back to the clasÂ�siÂ�cal HolÂ�lyÂ�wood Â�scores. In PiÂ�rates and CutÂ�throat IsÂ�land, music is also given a presÂ�tige symÂ�phonic treatÂ�ment: Â�Sarde’s score is perÂ�formed by the OrÂ�chesÂ�tre de Paris, while Â�Debney’s is perÂ�formed by the Â�neoclassical-trend sigÂ�naÂ�ture orÂ�chesÂ�tra itÂ�self, the LonÂ�don SymÂ�phony. HowÂ�ever, upon watchÂ�ing the films, lisÂ�tenÂ�ing to their Â�scores, and comÂ�parÂ�ing them, it is clear that the most neoÂ�clasÂ�siÂ�cal one is Â�Williams’s. His score has a numÂ�ber of Â�clearcut and very recÂ�ogÂ�nizÂ�able leitÂ�moÂ�tivs each apÂ�pearÂ�ing as its reÂ�lated charÂ�acÂ�ter apÂ�pears Â�on-screen, feaÂ�tures deÂ�cidÂ�edly KornÂ�golÂ�dian fanÂ�fares, and, above all,

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disÂ�plays an Â�overtly Â�higher clasÂ�siÂ�cal adÂ�herÂ�ence to the visÂ�uÂ�als—a promÂ�iÂ�nent spaÂ�tial perÂ�cepÂ�tive funcÂ�tion. This is evÂ�iÂ�dent if we pay parÂ�ticÂ�uÂ�lar atÂ�tenÂ�tion to the Â�sword-fight Â�scenes, a tradeÂ�mark of the swashÂ�buckÂ�ler genre. Â�Sarde’s score disÂ�plays a reÂ�fined writÂ�ing that conÂ�vincÂ�ingly reÂ�fers to the Â�Golden Age modÂ�els, but the Â�composer’s techÂ�niques are deÂ�cidÂ�edly more Â�steeped in the EuÂ�roÂ�pean traÂ�diÂ�tion. His treatÂ�ment of the Â�sword-fight Â�scenes conÂ�sists of music havÂ�ing its own flow, withÂ�out the clasÂ�siÂ�cal “catchÂ�ing the acÂ�tion”—no muÂ�siÂ�cal acÂ�cents or gesÂ�tures hits the many Â�clashes of the Â�blades, Â�lunges, and Â�stunts. Also, there is not a Â�strong netÂ�work of leitÂ�moÂ�tivs. Â�Debney’s score is more Â�action-oriented, but it is also more simÂ�iÂ�lar to the heavy acÂ�tion music in the ecÂ�lecÂ�tic style (à la Hans ZimÂ�mer) than to the Â�classical-style balÂ�letic scorÂ�ing. Its perÂ�cepÂ�tive funcÂ�tion is more temÂ� poÂ�ral than spaÂ�tial. We hear a lot of poundÂ�ing Â�rhythms to susÂ�tain the pace of the Â�scenes, overÂ�whelmÂ�ing bass tones that act as a backÂ�ground for the sound efÂ�fects, while exÂ�plicit Â�synch-points Â�between the music and the visÂ�uÂ�als are Â�mostly underÂ� lined with emÂ�phatic cymÂ�bal Â�clashes and loud, isoÂ�lated stingÂ�ers. On the Â�contrary, in the Â�sword-fight Â�scenes in Hook, the score is Â�closely tailÂ�ored on the visÂ�uÂ�als in a balÂ�letic way. ConÂ�sider the final asÂ�sault on CapÂ�tain Â�Hook’s ship and the folÂ�lowÂ�ing deÂ�noueÂ�ment duel Â�between Peter Pan and the piÂ�rate Â�leader. SomÂ�erÂ�saults are repÂ�liÂ�cated with woodÂ�winds Â�whirls, whip pans are acÂ�comÂ�paÂ�nied by harp glisÂ�sanÂ�dos, Â�lunges are Â�stressed by woodÂ�winds runs, and muÂ�siÂ�cal acÂ�cents preÂ�cisely hit the moves and gyÂ�raÂ�tions of the duelÂ�ists. Both Â�Sarde’s and Â�Debney’s score have neoÂ� clasÂ�siÂ�cal Â�traits, but only Â�Williams’s score is outÂ�right neoÂ�clasÂ�siÂ�cal. Â�Williams’s Â�old-fashioned style is acÂ�knowlÂ�edged by a diÂ�rect witÂ�ness of the Â�Golden Age, LiÂ�oÂ�nel NewÂ�man (Alfred’s Â�brother): “Now he Â�writes for films the way one would write an opera; he deÂ�velÂ�ops the charÂ�acÂ�ters draÂ�matÂ�iÂ�cally Â�through the music he Â�writes. What he does enÂ�hances the film; he Â�doesn’t just write muÂ�siÂ� cal seÂ�quences, the way so many othÂ�ers do.”6 HowÂ�ever, these clasÂ�siÂ�cal styÂ�lisÂ�tic Â�traits are hanÂ�dled in a neoÂ�clasÂ�siÂ�cal way: “The Â�nineteenth-century symÂ�phonic model is still Â�present but now it is more credÂ�ible and apÂ�proÂ�priÂ�ate to the times since it has been reÂ�vised to beÂ�come more flexÂ�ible, efÂ�fiÂ�cient but also more Â�ironic and metaÂ�linÂ�guÂ�isÂ�tic. .€.€. UnÂ�like the preÂ�viÂ�ous 1930s and ’40s muÂ�siÂ�cal Â�themes, Â�Williams’s Â�themes are deÂ�signed to showÂ�case the deÂ�vices and techÂ�niques of muÂ�siÂ� cal rhetÂ�oÂ�ric Â�through the playÂ�ful use of quoÂ�taÂ�tions, which are not taken litÂ�erÂ�ally but in their Â�spirit.”7 Â�Williams’s NeoÂ�clasÂ�siÂ�cal Style The basic diÂ�alect emÂ�ployed in these neoÂ�clasÂ�siÂ�cal Â�scores is late roÂ�manÂ�tiÂ�cism, but comÂ�pared with those of Â�Steiner and KornÂ�gold, Â�Williams’s idiom is more

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inÂ�fluÂ�enced by the Â�twentieth-century diÂ�alects. For exÂ�amÂ�ple, epiÂ�sodes of polyÂ� toÂ�nalÂ�ity and atoÂ�nalÂ�ity are freÂ�quently found, and jazz Â�chords color the symÂ�phonic texÂ�ture, for exÂ�amÂ�ple, the freÂ�quent use of thirÂ�teenth Â�chords or synÂ�coÂ�pated Â�rhythms—think of the march for 1941 (SteÂ�ven SpielÂ�berg, 1979). Â�Williams was also inÂ�fluÂ�enced by Â�Copland’s Â�Americana diÂ�alect—panÂ�diÂ�aÂ�tonÂ�iÂ�cism and quarÂ�tal harÂ�mony—esÂ�peÂ�cially in his Â�American Â�themes, for exÂ�amÂ�ple John Â�Quincy Â�Adams’s trumÂ�pet theme in AmisÂ�tad (SteÂ�ven SpielÂ�berg, 1997).8 PanÂ�diÂ�aÂ�tonÂ�iÂ�cism typÂ�iÂ�cally emÂ�ploys the notes of the diÂ�atonic scale Â�freely withÂ�out conÂ�venÂ�tional resÂ�oÂ�luÂ�tions and withÂ�out the stanÂ�dard chord proÂ�gresÂ�sions; unÂ�like the traÂ�diÂ�tional funcÂ�tional toÂ�nalÂ�ity, the Â�chords built on the scale Â�grades are not asÂ�signed fixed funcÂ�tions and difÂ�ferÂ�ent deÂ�grees of imÂ�porÂ�tance. “Hedwig’s Theme” and “FawÂ�kes the PhoeÂ�nix,” reÂ�specÂ�tively from Harry PotÂ�ter and the Â�Sorcerer’s Stone (Chris CoÂ�lumÂ�bus, 2001) and Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets (Chris CoÂ�lumÂ�bus, 2002), are two exÂ�amÂ�ples of Â�themes with panÂ�diÂ�aÂ�tonic pasÂ�sages, as well as the “JourÂ�ney to the IsÂ�land” theme from JuÂ�rasÂ�sic Park (SteÂ�ven SpielÂ�berg, 1993). PanÂ�diÂ�aÂ�tonÂ�iÂ�cism alÂ�lows inÂ�stanÂ�taÂ�neÂ�ous key Â�changes, and the freÂ�quent Â�shifts and unÂ�exÂ�pected modÂ�ulaÂ�tions from one toÂ�nalÂ�ity to othÂ�ers in Â�Williams’s music are powÂ�erÂ�ful Â�attention-catchers, like sudÂ�den color Â�changes in the lightÂ�ing of a room. MuÂ�siÂ�cally, they are very useÂ�ful in keepÂ�ing the interÂ�est level high; cinÂ�eÂ� matÂ�iÂ�cally, they are very efÂ�fecÂ�tive in stressÂ�ing noteÂ�worthy Â�twists in the narÂ�raÂ�tive or Â�events in the visÂ�uÂ�als. When anÂ�aÂ�lyzÂ�ing the “Indiana Jones Theme” in chapÂ�ter 8, one can see how strikÂ�ingly the sudÂ�den use of a Â�D-flat-major chord Â�within a Â�C-major key gives a Â�bright reÂ�freshÂ�ing twist to the tune. QuarÂ�tal harÂ�mony, on the other hand, Â�builds Â�chords not as juxÂ�taÂ�posed Â�thirds—as traÂ�diÂ�tional harÂ�mony does—but as juxÂ�taÂ�posed Â�fourths. For exÂ�amÂ� ple, the model of the “Main Title” from Star Wars is KornÂ�gold—Â�namely Kings Row (Sam Wood, 1942). Â�Williams, howÂ�ever, “AmericanÂ�izes” KornÂ�gold, emÂ�ployÂ�ing quarÂ�tal Â�chords and choosÂ�ing to close the muÂ�siÂ�cal Â�phrase with a chord proÂ�gresÂ�sion typÂ�iÂ�cal of the Â�Americana diÂ�alect used in WestÂ�erns—the major triad built on the flatÂ�tened Â�seventh deÂ�gree reÂ�solves to the domÂ�iÂ�nant chord.9 Â�Williams has also Â�blended the Â�idioms of Â�Hollywood’s first genÂ�erÂ�aÂ�tion with those of the secÂ�ond genÂ�erÂ�aÂ�tion. Parts of Jaws have timÂ�bres, moÂ�tifs, and osÂ�tiÂ�naÂ�tos that reÂ�call Â�Herrmann’s conÂ�cise writÂ�ing: the efÂ�fecÂ�tive simÂ�plicÂ�ity of the Â�shark’s motif and the viÂ�oÂ�lent Â�string writÂ�ing of Â�Chrissie’s death evoke Â�Psycho (AlÂ�fred HitchÂ�cock, 1960). This HerrÂ�manÂ�nesque modÂ�ernÂ�ist inÂ�fluÂ�ence coÂ�exÂ�ists in those works of Â�Williams with exÂ�tended Â�themes, Â�richly orÂ�chesÂ�trated texÂ�tures, and solid muÂ�siÂ�cal strucÂ�ture à la KornÂ�gold, and also with Â�Steiner’s preÂ�cisely deÂ�scripÂ�tive Â�Mickey-Mousing. HarÂ�monÂ�iÂ�cally, Aaron CopÂ�land is again a major inÂ�fluÂ�ence as

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for harÂ�monic Â�choices, and the IV–I proÂ�gresÂ�sion and plaÂ�gal caÂ�dence freÂ�quently used by Â�Williams—for exÂ�amÂ�ple, in the main theme from JuÂ�rasÂ�sic Park—are also typÂ�iÂ�cal of Â�Copland’s Â�Americana modal sound. As for the inÂ�fluÂ�ences from art music, Â�Williams is often Â�linked to RichÂ�ard WagÂ�ner, esÂ�peÂ�cially for his penÂ�chant for using leitÂ�moÂ�tivs exÂ�tenÂ�sively. NoneÂ�theÂ�less, Â�besides leitÂ�moÂ�tivs and conÂ�tinÂ�uÂ�ous muÂ�siÂ�cal acÂ�comÂ�paÂ�niÂ�ment, Star Wars does not sound very WagÂ�nerÂ�ian in terms of melÂ�oÂ�dies and harÂ�moÂ�nies—and it is not WagÂ�nerÂ�ian in Â�Williams’s inÂ�tenÂ�tion.10 PerÂ�haps the most WagÂ�nerÂ�ian Â�Williams piece is the senÂ�tiÂ�menÂ�tal music for the fareÂ�well scene in E.T. the Â�Extra-Terrestrial (SteÂ�ven SpielÂ�berg, 1982), which is remÂ�iÂ�nisÂ�cent of the longÂ�ing “unÂ�endÂ�ing melÂ�ody” techÂ�nique used in TrisÂ�tan und Â�Isolde (1865). More than Â�Wagner’s chroÂ�matÂ�iÂ�cism, Â�Williams uses panÂ�diÂ�aÂ�tonÂ�iÂ�cism. DefÂ�iÂ�nitely more inÂ�fluenÂ�tial than WagÂ�ner in linÂ�guisÂ�tic terms have been such RusÂ�sian comÂ�posÂ�ers as SerÂ�gei ProÂ�kofÂ�iev and DmiÂ�tri ShosÂ�takÂ�oÂ�vitch—think of “The March of the VilÂ�lains” for SuperÂ�man: The Movie (RichÂ�ard DonÂ�ner, 1978), or the “PaÂ�rade of the Ewoks” from ReÂ�turn of the Jedi (RichÂ�ard MarÂ�quand, 1983); or the music of the BritÂ�ish Â�twentieth-century Â�school such as Ralph VauÂ�ghan Â�Williams, Â�William WalÂ�ton, BenÂ�jaÂ�min BritÂ�ten, and, above all, EdÂ�ward Elgar. The most promÂ�iÂ�nent exÂ�amÂ�ples are Jane Eyre (DelÂ�bert Mann, 1970); more reÂ�cently War Horse (SteÂ�ven SpielÂ�berg, 2011); and the “Throne Room” music for the epiÂ�logue of Star Wars, which owes much to Â�Walton’s corÂ�oÂ�naÂ�tion march Orb and ScepÂ�tre (1953). Â�Claude Â�Debussy’s etheÂ�real imÂ�presÂ�sionÂ�ism has also been an inÂ�fluÂ�ence: think of the merÂ�maid music for Hook (SteÂ�ven SpielÂ�berg, 1991); the Â�séance scene music for FamÂ�ily Plot (AlÂ�fred HitchÂ�cock, 1976); and the “ForÂ�tress of SolÂ�iÂ�tude” seÂ�quence in SuperÂ�man: The Movie. RichÂ�ard Â�Strauss’s exÂ�troÂ�verted orÂ�chesÂ�tral granÂ�diÂ�osÂ�ity is the model, for exÂ�amÂ�ple, of the end credÂ�its music for Close EnÂ�counÂ�ters of the Third Kind (SteÂ�ven SpielÂ�berg, 1977), or of the “Planet KrypÂ�ton” Â�heraldic music for SuperÂ�man: The Movie; while there are Â�traces of GusÂ�tav Â�Mahler’s Â�tragic, monÂ�uÂ�menÂ�tal roÂ�manÂ�tiÂ�cism in the elegy writÂ�ten for the Jedi imÂ�moÂ�laÂ�tion seÂ�quence in Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith (George Lucas, 2005); or in the melÂ�anÂ�cholic final music for MiÂ�norÂ�ity ReÂ�port (SteÂ�ven SpielÂ�berg, 2002).11 In genÂ�eral, RusÂ�sian imÂ�presÂ�sionÂ�ism—NiÂ�coÂ�lai Â�RimskyKorsakov and Igor Â�Stravinsky’s first works—seems to be a priÂ�mary model for Â�Williams’s use of the orÂ�chesÂ�tra. In his Â�scores there is a keen atÂ�tenÂ�tion for a colorÂ�isÂ�tic and inÂ�venÂ�tive use of timÂ�bres, and such reÂ�curÂ�ring Â�traits as Â�high-pitched woodÂ�wind runs, promÂ�iÂ�nent harp glisÂ�sanÂ�dos, glisÂ�tenÂ�ing Â�touches of the ceÂ�lesta, and the conÂ�stant presÂ�ence of the piano used eiÂ�ther for addÂ�ing color to a melÂ�ody or to reÂ�inÂ�force the perÂ�cusÂ�sion secÂ�tion. As for techÂ�niques, one of the most promÂ�iÂ�nent Â�traits of Â�Williams’s writÂ�ing is, again, the exÂ�tenÂ�sive use of leitÂ�moÂ�tivs. Â�Williams is a great melÂ�oÂ�dist; he has an

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inÂ�stinct for findÂ�ing just the right muÂ�siÂ�cal equivÂ�aÂ�lent for a film or a charÂ�acÂ�ter and a knack for writÂ�ing Â�clear-cut Â�themes with a Â�strong idenÂ�tity that get inÂ�stantly fixed to the Â�listener’s memÂ�ory. “So much of sucÂ�cessÂ�ful film scorÂ�ing Â�relies on a gratÂ�ifyÂ�ing meÂ�lodic idenÂ�tifiÂ�caÂ�tion for the charÂ�acÂ�ters. .€.€. I try to draw on someÂ� thing that marÂ�ries very well with what I’m seeÂ�ing.”12 For inÂ�stance, on the “InÂ�diÂ�ana Jones Theme” Â�Williams comÂ�ments: “A piece like that is deÂ�cepÂ�tively simÂ�ple to try to find the few notes that will make a right leitÂ�moÂ�tivic idenÂ�tifiÂ�caÂ�tion for a charÂ�acÂ�ter like InÂ�diÂ�ana Jones. I reÂ�memÂ�ber workÂ�ing on that thing for days and days, changÂ�ing notes, changÂ�ing this, inÂ�vertÂ�ing that, tryÂ�ing to get someÂ�thing that Â�seemed to me to be just right. I can’t speak for my colÂ�leagues but for me Â�things which apÂ�pear to be very simÂ�ple are not at all, Â�they’re only simÂ�ple after the fact. The manÂ�uÂ�facÂ�ture of those Â�things which seem inÂ�evÂ�iÂ�taÂ�ble is a proÂ�cess that can be laÂ�boÂ�riÂ�ous and difÂ�fiÂ�cult.”13 The creaÂ�tion of recÂ�ogÂ�nizÂ�able melÂ�oÂ�dies and their skillÂ�ful comÂ�biÂ�naÂ�tion into a leitÂ�moÂ�tivic netÂ�work alÂ�lows Â�Williams’s Â�scores to be a proÂ�fiÂ�cient muÂ�siÂ�cal reÂ�tellÂ�ing of the Â�film’s narÂ�raÂ�tive. Â�Themes and muÂ�siÂ�cal moÂ�tifs asÂ�soÂ�ciated with charÂ�acÂ�ters or conÂ�cepts and their maÂ�nipÂ�uÂ�laÂ�tion for narÂ�raÂ�tive purÂ�poses are conÂ�sisÂ�tently Â�present in virÂ�tuÂ�ally all his work, even in more exÂ�periÂ�menÂ�tal Â�scores like Close EnÂ�counÂ�ters of the Third Kind. The six Â�scores for the Star Wars saga are exÂ�emÂ�plarÂ�ily built with dozÂ�ens of leitÂ�moÂ�tivs. The muÂ�siÂ�cal maÂ�nipÂ�uÂ�laÂ�tion of leitÂ�moÂ�tivs also imÂ�plies good Â�skills in the Â�themeand-variation techÂ�nique. Says a reÂ�viewer: “Even more imÂ�presÂ�sive, Â�though, are the myÂ�riad ways in which he transÂ�forms the archÂ�ing lines of that main melÂ�ody, fragÂ�mentÂ�ing and poiÂ�sonÂ�ing them as the mood turns from triÂ�umÂ�phant to omÂ�iÂ� nous. The terse, tense music in “JuÂ�rasÂ�sic Park” isn’t funÂ�daÂ�menÂ�tally difÂ�ferÂ�ent from the soarÂ�ing stuff. Mr. Â�Williams, for all his lyrÂ�iÂ�cal lavÂ�ishÂ�ness, is an exÂ�pert at reÂ�cyÂ�cling, at makÂ�ing a given theme do many difÂ�ferÂ�ent Â�things in the Â�course of a film.” 14 For exÂ�amÂ�ple, “Darth Â�Vader’s Theme” is Â�widely used as the milÂ�iÂ�taÂ�risÂ�tic and threatÂ�enÂ�ing “ImÂ�peÂ�rial March” in The EmÂ�pire Â�Strikes Back (Irvin KershÂ�ner, 1980). When Darth Vader, in ReÂ�turn of the Jedi, evenÂ�tuÂ�ally reÂ�pents and gives his life to save his son, Â�Williams senÂ�siÂ�tively Â�penned a beÂ�nign variÂ�aÂ�tion of Â�Vader’s theme Â�gently Â�played by a solo harp. A strikÂ�ing inÂ�stance, again from the Star Wars catÂ�aÂ�logue, is “Augie’s Great MuÂ�nicÂ�iÂ�pal Band,” a joyÂ�ful piece for Â�chorus and orÂ�chesÂ�tra that acÂ�comÂ�paÂ�nies the celÂ�eÂ�braÂ�tion in the closÂ�ing scene of Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace (George Lucas, 1999). A close lisÂ�tenÂ�ing reÂ�veals that the cheerÂ�ful Â�major-mode theme is, meanÂ�ingÂ�fully, a variÂ�aÂ�tion of the Â�minormode sinÂ�isÂ�ter Emperor’s theme alÂ�ready feaÂ�tured in ReÂ�turn of the Jedi, as if to say that the vicÂ�tory of Good verÂ�sus Evil being celÂ�eÂ�brated here is deÂ�ceitÂ�ful and tragÂ�iÂ� cally ephemÂ�eral15—inÂ�deed, SenÂ�aÂ�tor PalÂ�paÂ�tine (the fuÂ�ture evil EmÂ�peror) can be

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spotÂ�ted among the onÂ�lookÂ�ers. Â�Williams also masÂ�ters the Â�Mickey-Mousing techÂ� nique, which in Â�Williams’s case is usuÂ�ally not Â�pushed to the exÂ�tremes as in Â�Steiner’s, but when Â�needed, Â�Williams can be very SteiÂ�neÂ�resque: in the openÂ�ing Â�train-chase seÂ�quence of InÂ�diÂ�ana Jones and the Last CruÂ�sade (SteÂ�ven SpielÂ�berg, 1989) there is, on avÂ�erÂ�age, one exÂ�plicit Â�synch-point every six secÂ�onds.16 AnÂ�other clasÂ�siÂ�cal techÂ�nique that Â�Williams can hanÂ�dle proÂ�fiÂ�ciently is the diÂ�alogue underÂ� scorÂ�ing (see esÂ�peÂ�cially chaps. 2 and 5). A typÂ�iÂ�cal Â�Williams techÂ�nique that is conÂ�nected with the Â�macro-emotive funcÂ�tion is what can be Â�called “gradÂ�ual disÂ�cloÂ�sure of the main theme.” The main theme is preÂ�sented gradÂ�uÂ�ally Â�across the film, in the form of proÂ�gresÂ�sively Â�longer meÂ�lodic fragÂ�ments, and the final exÂ�poÂ�siÂ�tion of the theme in its enÂ�tirety comes only at a straÂ�teÂ�gic point in the narÂ�raÂ�tive. TypÂ�iÂ�cally such a straÂ�teÂ�gic point is a scene reÂ�quirÂ�ing a Â�strong emoÂ�tional reÂ�sponse from the viewÂ�ers. Â�Williams exÂ�plains: “What is so imÂ�porÂ�tant is an hour and a half or ten reels of prepÂ�arÂ�aÂ�tion to that moÂ�ment. .€.€. [I]n the first reel we only heard two notes, in the third reel we heard four, in the fifth reel we heard six maÂ�nipÂ�uÂ�lated, in the tenth .€.€. and so on. But in the Â�twelfth you hear all Â�twelve comÂ�ing. So, to the auÂ�diÂ�ence, Â�you’ve Â�created an exÂ�pecÂ�tancy to deÂ�liver someÂ�thing Â�that’s not only very emoÂ�tional but is also inÂ�evÂ�iÂ�taÂ�ble. It’s a moÂ�ment that had to hapÂ�pen.”17 HavÂ�ing being preÂ�pared throughÂ�out the preÂ�viÂ�ous part of the film, the viewÂ�ers can easÂ�ily recÂ�ogÂ�nize the theme when it is preÂ�sented in its enÂ�tirety and be gratÂ�ified by the Â�long-awaited full stateÂ�ment of the faÂ�milÂ�iar theme. PerÂ�haps the best inÂ� stance can be found in E.T. the Â�Extra-Terrestrial, whose main theme—fragÂ�ments of which are preÂ�sented throughÂ�out the first half of the film—is comÂ�pletely Â�stated by the full orÂ�chesÂ�tra only in the specÂ�tacÂ�uÂ�lar and emoÂ�tionÂ�ally upÂ�liftÂ�ing seÂ�quence of the biÂ�cyÂ�cle Â�flight over the moon. LoÂ�cally, the gratÂ�ifiÂ�caÂ�tion proÂ�duced in the viewÂ�ers by recÂ�ogÂ�nizÂ�ing and fiÂ�nally hearÂ�ing the Â�long-delayed presÂ�enÂ�taÂ�tion of the full melÂ�ody is proÂ�jected onto the imÂ�ages, thus amÂ�plifyÂ�ing their emoÂ�tional imÂ�pact and perÂ�formÂ�ing a Â�micro-emotive funcÂ�tion.18 This “gradÂ�ual disÂ�cloÂ�sure of the main theme” techÂ�nique also works gloÂ�bally, perÂ�formÂ�ing a Â�macro-emotive funcÂ� tion on the whole Â�film’s form: it casts onto the enÂ�tire film the sense of coÂ�heÂ�sion and unity given to the score by the reÂ�curÂ�rent theÂ�matic reÂ�prises and their deÂ�velÂ�opÂ� ment and forÂ�mal cloÂ�sure. In Jaws, the techÂ�nique circumÂ�scribes the whole Â�shark-hunt final act: what we have Â�called the “Man-versus-the-Beast” theme is heard for the first time when the Orca Â�leaves the harÂ�bor; it is preÂ�sented in fragÂ�menÂ�tary ways throughÂ�out the sea hunt; and apÂ�pears in its comÂ�plete form only after the shark is Â�killed, over the end credÂ�its, enÂ�hancÂ�ing the sense of fulÂ�fillÂ� ment for the man havÂ�ing deÂ�feated the beast.

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Last, as for the muÂ�siÂ�cal means, Â�Williams is evÂ�iÂ�dently fond of the symÂ�phony orÂ�chesÂ�tra: “The symÂ�phony orÂ�chesÂ�tra itÂ�self is one of the greatÂ�est inÂ�venÂ�tions of our arÂ�tisÂ�tic culÂ�ture. FabÂ�uÂ�lous Â�sounds it can proÂ�duce and a great range of emoÂ� tional caÂ�paÂ�bilÂ�ities.”19 From Star Wars on, Â�Williams’s orÂ�chesÂ�tra has been much Â�bigger than the clasÂ�siÂ�cal stuÂ�dio orÂ�chesÂ�tras. This is anÂ�other trait that can be Â�called neoÂ�clasÂ�siÂ�cal—or “hyperÂ�clasÂ�siÂ�cal,” in Â�Bordwell’s words20—being an exÂ�agÂ�gerÂ�aÂ�tion of clasÂ�siÂ�cal Â�traits. Â�Williams’s NeoÂ�clasÂ�siÂ�cal AtÂ�tiÂ�tude Â�Besides styÂ�lisÂ�tic Â�traits, there are also a numÂ�ber of habÂ�its and pracÂ�tices that link Â� Williams with the clasÂ�siÂ�cal HolÂ�lyÂ�wood music.21 Â�Williams comÂ�mented, “My own prefÂ�erÂ�ence is not to read scripts. Â� It’s like when you read a novel: you enÂ� visÂ�age the loÂ�cales, you cast the Â�players in your mind. Â�That’s the reaÂ�son, I think, why peoÂ�ple are so often disÂ�apÂ�pointed by film verÂ�sions of novÂ�els they have read—they don’t conÂ�form to their preÂ�conÂ�cepÂ�tions. So I’d Â�rather not read Â�scripts, and I tell proÂ�ducÂ�ers that I’d Â�rather go into a proÂ�jecÂ�tion room and react to the peoÂ�ple and Â�places and Â�events—and parÂ�ticÂ�uÂ�larly the Â�rhythm—of the film itÂ�self.”22 ComÂ�pare Â�Williams’s words to Max Â�Steiner’s: I write what I see and what I hear and the way the charÂ�acÂ�ter afÂ�fects me. That is why I have a rule I have had all my life. I never .€.€. I never but never read a Â�script. I have had one or two bad exÂ�peÂ�riÂ�ences. I read a Â�script and I think this is the greatÂ�est Â�script I ever read and I see the picÂ�ture and it is the most horÂ�rible thing you ever saw. The charÂ�acÂ�ters are changÂ�ing and you build up an image of charÂ�acÂ�ters when you read a Â�script. On the other hand I have read Â�scripts that were so terÂ�rible I Â�wouldn’t touch them. But when the picÂ�ture came out, I loved it. So I deÂ�cided I’d wait until I see the picÂ�ture. I would never write .€.€. most proÂ�ducÂ�ers never underÂ�stand it. They say to me, “Shall I send you the Â�script?” and I say, “Hell no, I don’t want to read it,” beÂ�cause I know it will steer me all wrong .€.€. good or bad.23

Â� Besides the fact that writÂ�ten pages can evoke imÂ�ages that can be disÂ�apÂ�pointÂ� ingly difÂ�ferÂ�ent from the film verÂ�sion, this Â�choice can be exÂ�plained in styÂ�lisÂ�tic terms too. Says Â�Williams, “You Â�really can’t get that off the page of Â�script, .€.€. there may be one page of Â�script that could be five minÂ�utes of film, or five pages of Â�script Â�that’s 30 secÂ�onds of film. We need to see it.”24 ComÂ�posÂ�ing music from

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a screenÂ�play is posÂ�sible in those cases in which the music is writÂ�ten prior to the film, as in the Leone/ MorÂ�riÂ�cone colÂ�labÂ�oÂ�raÂ�tion25 or when exÂ�plicit Â�synchpoints Â�between music and visÂ�uÂ�als are not reÂ�quired, as in the modÂ�ern style—for exÂ�amÂ�ple, in Nino Â�Rota’s Â�scores. If, on the one hand, the music has to fulÂ�fill only a cogÂ�niÂ�tive or emÂ�oÂ�tive funcÂ�tion, the comÂ�poser can acÂ�quire the Â�needed inÂ�forÂ�maÂ� tion by readÂ�ing the Â�script and disÂ�cussÂ�ing it with the diÂ�recÂ�tor. On the other hand, if the score is also supÂ�posed to folÂ�low the image Â�tightly and perÂ�form a sigÂ�nifÂ�iÂ�cant spaÂ�tial perÂ�cepÂ�tive funcÂ�tion, the comÂ�poser must necÂ�esÂ�sarÂ�ily work from a Â�film’s cut in order to conÂ�form the music to the visÂ�uÂ�als secÂ�ond by secÂ�ond. Â�Williams exÂ�plains, “In the film work I look at the film a lot. There is a Â�cutting room, a viewÂ�ing room so to speak, Â�within the buildÂ�ing I work in, and I can look at a scene I am workÂ�ing on for two or three days and see it as often as I need to see it. I can write a few bars, then go look at it.”26 Â�Williams has Â�stated: “The test of a good score .€.€. is that you Â�hardly even noÂ�tice it. It’s like a good Â�tailor. You don’t want to know how he sewed it, you just want to know that it holds.”27 And this stateÂ�ment, again, Â�sounds much like Â�Steiner’s “[Music Â�should fit] a picÂ�ture like a glove.”28 Â�Williams’s typÂ�iÂ�cal work rouÂ�tine is reÂ�ported in a 1984 arÂ�tiÂ�cle: Williams—along with the proÂ�ducer, the diÂ�recÂ�tor, the film edÂ�iÂ�tor, and the music edÂ�iÂ�tor—“spots” the film, that is, they deÂ�cide when the music Â�should start and stop. The exact spot, preÂ�cise to Â�one-third of a secÂ�ond, is Â�marked on the film. Then the music edÂ�iÂ�tor writes Â� out a deÂ�tailed cue sheet—a chronÂ�oÂ�logÂ�iÂ�cal listÂ�ing of every event and sound efÂ�fect that hapÂ�pens durÂ�ing the parts of the film that will be acÂ�comÂ�paÂ�nied by music. With the cue sheet as his guide, Â�Williams comÂ�poses about two minÂ�utes of music each day. He is alÂ�lowed four weeks to write the music for an avÂ�erÂ�age feaÂ�ture film which reÂ�quires about 60 minÂ�utes of music. .€.€. Most film cues are from a few secÂ�onds to two or three minÂ�utes long, so the film comÂ�poser often Â�adopts a pieceÂ�meal apÂ�proach, conÂ�cenÂ�tratÂ�ing on two minÂ�utes of film at a time. “When I come in in the mornÂ�ing, I like to look at the seÂ�quence that I’m going to work on that day, so it’s fresh in my mind. .€.€. I look at my asÂ�signÂ�ment for the day on the MovÂ�iÂ�ola (a maÂ�chine that reÂ�duces the movie to a Â�four-inch wide viewÂ�ing Â�screen), mark up the cues sheet, reÂ�study just that bit of film, and then work on it. I may check the clip again later in the afterÂ�noon. .€.€. There are many Â�extra-musical probÂ�lems. The Â�biggest one is havÂ�ing the music Â�co-exist with a lot of Â�noises. It Â�should be conÂ�ceived orÂ�chesÂ�trally with these Â�things in mind. You not only need to study the film, you need to study the

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Â�sounds asÂ�soÂ�ciated with the film in these areas and try to Â�create a marÂ�riage Â�between the orÂ�chesÂ�tra and those Â�sounds.”29

As for the writÂ�ing itÂ�self, Â�Williams still uses an Â�old-school modus opÂ�erÂ�andi. UnÂ�like the Â�next-generation comÂ�posÂ�ers and some Â�same-age comÂ�posÂ�ers—Jerry GoldÂ�smith, for exÂ�amÂ�ple—Â�Williams does not use syntheÂ�sizÂ�ers, MIDI, or any other techÂ�noÂ�logÂ�iÂ�cal tool to comÂ�pose his music. In his words: “I don’t use syntheÂ� sizÂ�ers or elecÂ�tronic equipÂ�ment and all that stuff. My muÂ�siÂ�cal edÂ�uÂ�caÂ�tion is such that it Â�pre-dates all of that and alÂ�though I know a litÂ�tle bit about it, I Â�haven’t deÂ�velÂ�oped the Â�skills. I use the piano, Â�that’s my old Â�friend in music.”30 And “Antique tools. Not even a pen these days. PenÂ�cil and paper. .€.€. And I find that at least for me penÂ�cil and paper introÂ�duces a proÂ�cess of workÂ�ing Â�that’s as much part of it, it beÂ�comes part of the conÂ�cepÂ�tual rouÂ�tine or proÂ�cess of workÂ�ing. It’s tanÂ�gible. It feels good to hold a pen or penÂ�cil in your hand and dirty up paper. I supÂ�pose it must seem to young comÂ�posÂ�ers a comÂ�pletely anteÂ�diÂ�luÂ�vian or Â�oldfashioned way of doing it.”31 “It’s an inÂ�fluÂ�ence that would be hard to quanÂ�tify, but I think methÂ�oÂ�dolÂ�ogy is inÂ�tiÂ�mately conÂ�nected to reÂ�sult. .€.€. It’s someÂ�thing you do with your hands, so Â�there’s an asÂ�pect of craftsÂ�manÂ�ship inÂ�volved, even penÂ�manÂ�ship.”32 On the reÂ�cordÂ�ing stage, Â�Williams, unÂ�like the maÂ�jorÂ�ity of conÂ�temÂ�poÂ�rary film conÂ�ducÂ�tors, does not use too conÂ�stricÂ�tive techÂ�niÂ�cal aids: “Williams conÂ�ducts with the film proÂ�jected on a Â�screen beÂ�hind the orÂ�chesÂ�tra and a clock in front of the poÂ�dium. TimÂ�ings are Â�marked in the score at least every other bar. Other meÂ�chanÂ�iÂ�cal aids, like a “streamer” which shows up on the Â�screen as a band of light folÂ�lowed by a Â�bright flash at the cruÂ�cial moÂ�ment help mainÂ�tain Â�stopwatch preÂ�ciÂ�sion. Many comÂ�posÂ�ers rely on click Â�tracks (a variÂ�aÂ�tion on the metÂ�roÂ� nome) that let the conÂ�ducÂ�tor and the orÂ�chesÂ�tra memÂ�bers hear a beat that has alÂ�ready been synÂ�chronÂ�ized with the movie. But Â�Williams finds the unÂ�reÂ�lentÂ�ing beat comÂ�ing Â�through the headÂ�phones too conÂ�finÂ�ing for muÂ�siÂ�cal exÂ�presÂ�sion. With the clock to mark off the moÂ�ments that must be Â�matched exÂ�actly, he preÂ�fers to allow his musiÂ�cians some flexÂ�ibilÂ�ity in Â�between those key Â�points.”33 In the old days, the click track was emÂ�ployed by Max Â�Steiner to allow his very Â�tightly synÂ�chronÂ�ized Â�scores to be reÂ�corded in less time and as preÂ�cisely as posÂ�sible. Â�Williams, on the Â�contrary, conÂ�ducts freeÂ�style as KornÂ�gold did, which is a more comÂ�plex Â�method to Â�achieve the perÂ�fect synÂ�chronÂ�izaÂ�tion but alÂ�lows the music to flow more Â�freely and to sound less meÂ�chanÂ�iÂ�cal.34 In chapÂ�ter 6, we underÂ�lined the imÂ�porÂ�tance of Â�Williams’s apÂ�prenÂ�ticeÂ�ship durÂ�ing the last years of the stuÂ�dio Â�system and his trainÂ�ing in the Â�fast-paced teleÂ�viÂ�sion proÂ�ducÂ�tion. His work habÂ�its seem to have been inÂ�fluÂ�enced by those

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past exÂ�peÂ�riÂ�ences as it seems that he preÂ�fers to comÂ�pose in a work enÂ�viÂ�ronÂ�ment someÂ�what remÂ�iÂ�nisÂ�cent of the old music deÂ�partÂ�ments. Being no more Â�in-house emÂ�ployÂ�ees but freeÂ�lancÂ�ers, most of HolÂ�lyÂ�wood comÂ�posÂ�ers have their stuÂ�dios at home (e.g., Danny ElfÂ�man, but Jerry GoldÂ�smith also used to comÂ�pose at home)35 or at their own muÂ�siÂ�cal comÂ�pany (e.g., Hans ZimÂ�mer). HoÂ�ward Â�Shore’s stuÂ�dio is loÂ�cated in New York, far away from the HolÂ�lyÂ�wood stuÂ�dios. On the Â�contrary, Â�Williams has rouÂ�tinely Â�worked in an ofÂ�fice loÂ�cated in some film stuÂ�dio or proÂ�ducÂ�tion comÂ�pany throughÂ�out his caÂ�reer. He had had an ofÂ�fice in the 20th CenÂ�tury Fox stuÂ�dios for Â�twenty-five years, until he moved to Â�Spielberg’s AmÂ�blin comÂ�pound at UniÂ�verÂ�sal StuÂ�dios in 1987 (AmÂ�blin is now Â�within the Â�DreamWorks SKG faÂ�cilÂ�ities). HowÂ�ever anecÂ�doÂ�tally this might sound, it someÂ� what atÂ�tests to Â�Williams’s fondÂ�ness for the old days: We knew it was, say, WarÂ�ner Bros OrÂ�chesÂ�tra, beÂ�cause unÂ�like now, where you have one or two honÂ�ored freeÂ�lance Â�groups reÂ�cordÂ�ing everyÂ�thing, it Â�wasn’t the same peoÂ�ple playÂ�ing on every film. .€.€. In the isoÂ�laÂ�tion of a few miles Â�across Los AnÂ�geles you had inÂ�spiÂ�raÂ�tional inÂ�diÂ�vidÂ�uÂ�alÂ�ity comÂ�ing out of these stuÂ�dio Â�systems.36 We had a music deÂ�partÂ�ment table where we all went every day for lunch. We’d sit Â�around and Â�between orÂ�derÂ�ing sandÂ�wiches, we’d talk about your probÂ�lems and my probÂ�lems, this dreadÂ�ful diÂ�recÂ�tor and that hateÂ�ful proÂ�ducer, and we’d got a betÂ�ter celÂ�list here than they have Â�across the Â�street—the kind of inÂ�side stuff that Â�really puts you in touch with how Â�things work. Every stuÂ�dio had that, but it’s all gone now. Every comÂ� poser works at home. We don’t even know each other any more. We’re not conÂ�nected.37

AnÂ�other simÂ�iÂ�larÂ�ity with clasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers is Â�Williams’s parÂ�allel caÂ�reer in conÂ�cert music both as a comÂ�poser and as a conÂ�ducÂ�tor, Â�whereas Â�modernstyle film comÂ�posÂ�ers typÂ�iÂ�cally have a parÂ�allel caÂ�reer in songÂ�writÂ�ing or pop music—apart from some exÂ�cepÂ�tions like Rota and MorÂ�riÂ�cone. Among the film comÂ�posÂ�ers who have also proÂ�duced a conÂ�sidÂ�erÂ�able Â�amount of conÂ�cert music are KornÂ�gold, WaxÂ�man, Rózsa, MoÂ�ross, and HerrÂ�mann. Â�Williams’s conÂ�cert Â�pieces are unÂ�usuÂ�ally nuÂ�merÂ�ous for a film comÂ�poser of his genÂ�erÂ�aÂ�tion: Â�twelve conÂ�cerÂ�tos, one symÂ�phony, someÂ�where Â�around Â�thirty other works comÂ�prisÂ�ing celÂ�eÂ�braÂ�tory fanÂ�fares, orÂ�chesÂ�tral miniÂ�atures, and solo or chamÂ�ber Â�pieces. Â�Williams also has a parÂ�allel caÂ�reer as a conÂ�cert conÂ�ducÂ�tor, as did AlÂ�fred NewÂ�man, who used to conÂ�duct the HolÂ�lyÂ�wood Bowl OrÂ�chesÂ�tra; Franz WaxÂ�man, who Â�founded and was muÂ�siÂ�cal diÂ�recÂ�tor of the Los AnÂ�geles InterÂ�naÂ�tional Music FesÂ�tiÂ�val; and

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BerÂ�nard HerrÂ�mann, who spent his last Â�decade Â�mostly as a conÂ�ducÂ�tor in LonÂ� don.38 NewÂ�man, in parÂ�ticÂ�uÂ�lar, seems to have been a role model for Â�Williams: “[As for conÂ�ductÂ�ing Â�skills], of film comÂ�posÂ�ers, Â�though, AlÂ�fred NewÂ�man was the best I’ve ever seen or heard: he was a maÂ�giÂ�cian with an orÂ�chesÂ�tra, could get amazÂ�ing efÂ�fects. And such a disÂ�ciÂ�pliÂ�narÂ�ian, in the most natÂ�uÂ�ral and simÂ�ple way.”39 Even more unÂ�usual is Â�Williams’s care in adaptÂ�ing conÂ�cert Â�suites from his film Â�scores. This is anÂ�other eleÂ�ment linkÂ�ing him to the clasÂ�siÂ�cal peÂ�riod, whose film comÂ�posÂ�ers Â�mostly came from theÂ�aÂ�ter or conÂ�cert music and were used to that meÂ�dium, Â�whereas Â�modern-style comÂ�posÂ�ers had radio staÂ�tions and the Â�record marÂ�ket as the priÂ�mary tarÂ�get for their film music outÂ�side of the films. Even Â�Steiner, noted for the fragÂ�menÂ�tary strucÂ�ture and Â�highly funcÂ�tional naÂ�ture of his film works, Â�showed some conÂ�cern for the strucÂ�tuÂ�ral soÂ�lidÂ�ity of the music: “Even Â�though the Â�themes [of Gone with the Wind ] are popÂ�uÂ�lar it’s writÂ�ten in symÂ�phonic style. I tried to be as muÂ�siÂ�cal as posÂ�sible. It’s in itÂ�self a seÂ�riÂ�ous work, in itÂ�self. The score is symÂ�phonic, even if it is in a popÂ�uÂ�lar vein here and there. [Of Â�course it can be Â�played in conÂ�cert halls,] sure. It has been. It has been Â�played everyÂ�where. I Â�played it with the New York PhilÂ�harÂ�monic. There was just anÂ�other one with the LonÂ�don SymÂ�phony, and now they are going to do it in Tokyo. .€.€. I have made a suite out of it.”40 On arÂ�rangÂ�ing film music for conÂ�certs, Â�Williams has Â�stated: “If I can take the music out of the sound track and have it alÂ�most reÂ�semÂ�ble music, this is a minor mirÂ�aÂ�cle, and a douÂ�ble asset. .€.€. If I write a 100Â�-Â�minute score, there may be 20 minÂ�utes that could be exÂ�tracted and Â�played. The other 80 minÂ�utes is funcÂ�tional acÂ�comÂ�paÂ�niÂ�ment that could never stand on its own and was never inÂ�tended to.”41 AlÂ�though Â�Williams underÂ�plays it, his parÂ�ticÂ�uÂ�lar care for conÂ�cert verÂ�sions is Â�proved by the fact that he is the only film comÂ�poser whose nuÂ�merÂ�ous conÂ�cert Â�suites can easÂ�ily be found for sale in auÂ�thorÂ�iÂ�taÂ�tive full Â�scores.42 Like his colÂ�leagues of the past—parÂ�ticÂ�uÂ�larly Rózsa, WaxÂ�man, and HerrÂ�mann—Â�Williams often uses muÂ�siÂ�cal forms simÂ�iÂ�lar to those of art music: the Â�scherzo in Jane Eyre, DraÂ�cula ( John BadÂ�ham, 1979), and InÂ�diÂ�ana Jones and the Last CruÂ�sade; the fuÂ�gato in Jaws, Black SunÂ�day ( John FranÂ�kenÂ�heimer, 1977), and Harry PotÂ�ter and the PrisÂ�oner of AzÂ�kaÂ�ban (AlÂ�fonso CuaÂ�ron, 2004); Â�set-pieces for Â�chorus and orÂ�chesÂ�tra like the carÂ�ols in Home Alone (Chris CoÂ�lumÂ�bus, 1990), “GloÂ�ria” in MonÂ�sigÂ�nor (Frank Perry, 1982) and “ExÂ�sulÂ�tate justi” in EmÂ�pire of the Sun (SteÂ�ven SpielÂ�berg, 1987); and Â�quasi-ballet music for acÂ�tion Â�scenes, for exÂ�amÂ�ple in JuÂ�rasÂ�sic Park, of which the comÂ�poser says, “[It is] a masÂ�sive job of symÂ�phonic carÂ�toonÂ�ing. You have to match the rhythÂ�mic gyÂ�raÂ�tions of the dinoÂ�saurs and Â�create these kind of funny balÂ�lets.”43 In the clasÂ�siÂ�cal peÂ�riod, this atÂ�tenÂ�tion to the soÂ�lidÂ�ity of

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the muÂ�siÂ�cal form on the part of clasÂ�siÂ�cally Â�trained comÂ�posÂ�ers can be exÂ�plained by the hope that the best bits of a film score might be exÂ�tracted and thus have a life outÂ�side of the films.44 LikeÂ�wise, from the outÂ�set Â�Williams inÂ�serts traÂ�diÂ�tional forms when writÂ�ing his film Â�scores, so that he can obÂ�tain—with a miniÂ�mum of Â�changes—Â�stand-alone Â�pieces for conÂ�cert presÂ�enÂ�taÂ�tions. For exÂ�amÂ�ple, he might add a coda to close a pasÂ�sage left open in the film score, as in the case of “The AsÂ�terÂ�oid Field” from The EmÂ�pire Â�Strikes Back or “The Lost Boys BalÂ�let” from Hook.45 From the score for Harry PotÂ�ter and the Â�Sorcerer’s Stone, Â�Williams Â�adapted an Â�eight-movement Â�children’s suite in the Â�spirit of BenÂ�jaÂ�min Â�Britten’s The Young Â�Person’s Guide to the OrÂ�chesÂ�tra, op. 34 (1946).46 An exÂ�amÂ�ple of the muÂ�siÂ�cal soÂ�lidÂ�ity of Â�Williams’s comÂ�poÂ�siÂ�tions is the fiÂ�nale of E.T. the Â�Extra-Terrestrial, which was Â�adapted with the mere reÂ�moval of a few cenÂ�tral measÂ�ures into the symÂ�phonic poem AdÂ�venÂ�tures on Earth:47 “Thanks to its theÂ�matic conÂ�catÂ�eÂ�naÂ�tions, the piece alÂ�ludes conÂ�vincÂ�ingly to the muÂ�siÂ�cal Â�macro-forms of the nineÂ�teenth and early twenÂ�tiÂ�eth cenÂ�tuÂ�ries .€.€. showÂ�ing a muÂ�siÂ�cal leÂ�gitÂ�iÂ�macy Â�rarely to be found in Â�filmmusic adÂ�apÂ�taÂ�tions .€.€. These same forms were also able to cope with and Â�satisfy each narÂ�raÂ�tive need in their natÂ�uÂ�ral place—that is, the film—and this is a proof of the overÂ�all qualÂ�ity of the comÂ�poser.”48 MoreÂ�over, Â�Williams has often emÂ�ployed faÂ�mous or Â�well-known conÂ�cert soÂ�loÂ�ists to play on his film Â�scores: the viÂ�oÂ�linÂ�ist Isaac Stern in FidÂ�dler on the Roof (NorÂ�man JeÂ�wiÂ�son, 1971); the viÂ�oÂ�linÂ�ist ItÂ�zhak PerlÂ�man in Â�Schindler’s List (SteÂ�ven SpielÂ�berg, 1994); and the celÂ�list Yo-Yo Ma in Seven Years in Tibet ( Jean-Jacques AnÂ�naud, 1997).49 The inÂ�volveÂ�ment of these ilÂ�lusÂ�triÂ�ous guest stars, Â�mostly Â�planned at the beÂ�ginÂ�ning of the comÂ�poÂ�siÂ�tional proÂ�cess, has led to a conÂ�spicÂ�uÂ�ous quanÂ� tity of Â�film-music Â�pieces for solo and orÂ�chesÂ�tra, all of which are pracÂ�tiÂ�cally ready for conÂ�cert presÂ�enÂ�taÂ�tion as well. Â�Besides conÂ�certs but still outÂ�side the cinÂ�ema, Â�Williams has acÂ�comÂ�plished anÂ�other fuÂ�sion Â�between clasÂ�siÂ�cal and modÂ�ern pracÂ�tices. He careÂ�fully superÂ�vises the creaÂ�tion of the Â�film-music album to be marÂ�keted—which is typÂ�iÂ�cal of the Â�modern-style comÂ�posÂ�ers—while also strivÂ�ing to have a muÂ�siÂ�cal form as solid as posÂ�sible—which is charÂ�acÂ�terÂ�isÂ�tic of Â�classical-style comÂ�posÂ�ers. FolÂ�lowÂ�ing Â�Mancini’s exÂ�amÂ�ple, Â�Williams Â�records seÂ�lecÂ�tions from the film score exÂ�pressly reÂ�arÂ�ranged for the alÂ�bums in order to have a betÂ�ter muÂ�siÂ�cal soÂ�lidÂ�ity and cloÂ�sure. The track list of the album does not reÂ�flect the order in which the pieces Â� were preÂ�sented in the film, but here the list meets criÂ�teÂ�ria of muÂ�siÂ�cal vaÂ�riety and balÂ�ance aimed at an autonÂ�oÂ�mous music exÂ�peÂ�riÂ�ence.50 The LP album of Star Wars is a clear exÂ�amÂ�ple: the “The LitÂ�tle PeoÂ�ple Work” track folÂ�lows “Ben’s Death/TIE Â�Fighter AtÂ�tack,” in a reÂ�verse order comÂ�pared to the film. The “Main Title” of Star Wars on the album is difÂ�ferÂ�ent from that in the film: “I

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comÂ�bined part of the end title with the openÂ�ing music to give the beÂ�ginÂ�ning of the Â�record the feelÂ�ing of an overÂ�ture.”51 If we comÂ�pare the 1982 LP album of E.T. the Â�Extra-Terrestrial (40', MCA Â�Records 1982, CD, MCLD 19021), which has Â�pieces exÂ�pressly Â�re-recorded for the album, with the 1996 CD conÂ�tainÂ�ing the music used in the Â�film’s sound track (78', MCA Â�Records 1996, CD, MCAD11494), we noÂ�tice that the Â�pieces in the 1982 LP alÂ�bums were conÂ�sidÂ�erÂ�ably Â�adapted and exÂ�panded for a betÂ�ter lisÂ�tenÂ�ing exÂ�peÂ�riÂ�ence. For exÂ�amÂ�ple, on the CD with the origÂ�iÂ�nal music track the music for the HalÂ�loÂ�ween seÂ�quence and the folÂ�lowÂ�ing biÂ�cyÂ�cle Â�flight over the moon (tiÂ�tled “The Magic of HalÂ�loÂ�ween”) lasts 2' 53" while on the album the corÂ�reÂ�spondÂ�ing track “E.T.’s HalÂ�loÂ�ween” lasts 4' 07". Â�Williams added adÂ�diÂ�tional Â�phrases to get a more exÂ�tended muÂ�siÂ�cal deÂ� velÂ�opÂ�ment that Â�closed the piece more forÂ�mally, while the film verÂ�sion stops Â�abruptly with the biÂ�cyÂ�cle landÂ�ing. SimÂ�iÂ�larly, the music in the monÂ�tage seÂ�quence of Jaws lasts 1' 30" in the film—and on the origÂ�iÂ�nal music track CD (Decca 2000, CD, 467045-2)—while in the album (MCA Â�Records 1975, CD, MCD01660MCAD1660) the piece is huÂ�morÂ�ously named “PromÂ�eÂ�nade (TourÂ�ists on the Menu)” and was exÂ�panded to 2' 46".52 Â�Besides inÂ�herÂ�itÂ�ing styÂ�lisÂ�tic Â�traits and habÂ�its from the past, Â�Williams as a neoÂ� clasÂ�siÂ�cal comÂ�poser has also beÂ�come the tarÂ�get of the same old prejÂ�uÂ�dices that used to surÂ�round clasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers, along with new prejÂ�uÂ�dices Â�against the very idea of neoÂ�clasÂ�siÂ�cism.

8 Williams’s NayÂ�s ayÂ�ers A DeÂ�co n Â�s tr ucÂ�tio n o f C l a s Â�s i Â�c a l a n d New C r itÂ�iÂ�cis ms

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lasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers were typÂ�iÂ�cal tarÂ�gets of highÂ�brow critÂ�ics. For exÂ�amÂ�ple, Â�Miklós Rózsa saw his credÂ�ibilÂ�ity as an art comÂ�poser preÂ�juÂ�diÂ�cially quesÂ�tioned: “Only a Â�light-headed Â�critic would sugÂ�gest that Â�Rózsa’s chamÂ�ber music and his symÂ�phonic works sound like ‘movie music,’ alÂ�though there have been critÂ�ics who have not been able to avoid this fatÂ�uÂ�ous view. After a perÂ�forÂ�mance in EnÂ�gland of his Theme, VariÂ�aÂ�tions and FiÂ�nale, op. 13, a Â�critic comÂ�mented that it Â�showed unÂ�misÂ�takÂ�able signs of the Â�composer’s inÂ�volveÂ�ment in films. It was writÂ�ten in 1933, four years beÂ�fore Rózsa began his asÂ�soÂ�ciÂ�aÂ�tion with moÂ�tion picÂ�tures!”1 HolÂ�lyÂ�wood comÂ�posÂ�ers were often atÂ�tacked and Â�blamed for their lack of origÂ�iÂ�nalÂ�ity and for Â�over-popularizing art music in their comÂ�poÂ�siÂ�tions.2 They were acÂ�cused of unÂ�origÂ�iÂ�nally borÂ�rowÂ�ing from past comÂ�posÂ�ers, even someÂ�times of shameÂ�lessly stealÂ�ing. In this light, DiÂ�miÂ�tri TiomÂ�kin deÂ�livered this Â�self-ironic acÂ�cepÂ�tance Â�speech in his tradeÂ�mark “Russian-English” upon reÂ�ceivÂ�ing an Oscar in 1955 for The High and the Â�Mighty (William A. WellÂ�man, 1954): “LaÂ�dies and genÂ�tleÂ�men .€.€. I like to make some kind of apÂ�preÂ�ciÂ�aÂ�tion to very imÂ�porÂ�tant facÂ�tor which makes me sucÂ�cessÂ�ful and adds to qualÂ�ity of this town. I like to thank JoÂ�hannes Â�Brahms, JoÂ�hann Â�Strauss, RichÂ�ard Â�Strauss, RichÂ�ard WagÂ�ner .€.€.”3 Like the clasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers, Â�Williams is the poÂ�lemic idol of a

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conÂ�spicÂ�uÂ�ous numÂ�ber of parÂ�ticÂ�uÂ�larly veheÂ�ment deÂ�tracÂ�tors. Oddly Â�enough, such a thing does not hapÂ�pen to such an exÂ�tent with other Â�equally popÂ�uÂ�lar comÂ�posÂ�ers, like Ennio MorÂ�riÂ�cone. Â�Williams, in parÂ�ticÂ�uÂ�lar, has been acÂ�cused of being too comÂ�merÂ�cial, of stealÂ�ing from the past masÂ�ters, and of reÂ�sortÂ�ing to mere muÂ�siÂ�cal cliÂ�chés. Some stateÂ�ments are Â�overtly subÂ�jecÂ�tive and perÂ�empÂ�tory, like the folÂ�lowÂ�ing comÂ�ment to a reÂ�cent Â�Williams interÂ�view, which apÂ�peared on the New York Times webÂ�site: “Williams is sort of like the AnÂ�drew Lloyd WebÂ�ber of film music. Lots of Â�pretty melÂ�oÂ�dies but (the “Jaws” music aside) nothÂ�ing that Â�really supÂ�ports the tone or mood of the film. The only great comÂ�poser of film music who’s still workÂ�ing is Ennio MorÂ�riÂ�cone.”4 The stateÂ�ment has the visÂ�ceral naÂ�ture of the disÂ�putes Â�between sport supÂ�portÂ�ers—“Williams verÂ�sus MorÂ�riÂ�cone,” not too difÂ�ferÂ�ent from “BosÂ�ton Red Sox verÂ�sus New York YanÂ�kees.” If the comÂ�menÂ�taÂ�tor had taken into conÂ� sidÂ�erÂ�aÂ�tion Â�Williams’s Close EnÂ�counÂ�ters of the Third Kind, just to name one, his asÂ�serÂ�tion might have been difÂ�ferÂ�ent. But Â�besides amÂ�aÂ�teurs, some pracÂ�tiÂ�tionÂ�ers, critÂ�ics, and scholÂ�ars with more credÂ�ibilÂ�ity and comÂ�peÂ�tence also show a biased Â� view. Ennio MorÂ�riÂ�cone once Â�called the “Main Title” from Star Wars a “marÂ�cetta [cheap march],” statÂ�ing that he would have Â�rather comÂ�posed an Â�eight-voice fugue.5 This claim—Â�besides soundÂ�ing Â�slightly arÂ�roÂ�gant—is surÂ�prisÂ�ing for the alÂ�terÂ�nate soÂ�luÂ�tion proÂ�posed. It is clear that an Â�eight-voice fugue would be out of place in the openÂ�ing tiÂ�tles of Star Wars. MorÂ�riÂ�cone does not lack narÂ�raÂ�tive senÂ�siÂ�tivÂ�ity or exÂ�peÂ�riÂ�ence in the Â�film-music busiÂ�ness: this conÂ�troÂ�verÂ�sial asÂ�serÂ�tion canÂ�not be due to inÂ�comÂ�peÂ�tence but to a Â�haughty atÂ�tiÂ�tude. The “MorÂ�riÂ�coÂ�nian” comÂ�poser Marco FriÂ�sina once Â�stated: “[Williams] uses trumÂ�pets very well. But alÂ�ways with a taste and in a way that are typÂ�iÂ�cally Â�American: the Â�fifths, for inÂ�stance. The Â�fifths are typÂ�iÂ�cal of a charÂ�acÂ�terÂ�isÂ�tiÂ�cally Â�American ‘bad taste.’ ”6 In this case, sayÂ�ing that open Â�fifths, which are inÂ�deed typÂ�iÂ�cal of the quarÂ�tal harÂ�mony and panÂ�diÂ�aÂ�tonÂ�iÂ�cism of Â�American music—think of Aaron Â�Copland’s FanÂ�fare for the ComÂ�mon Man (1942)—are Â�American bad taste is like sayÂ�ing that the NeaÂ�polÂ�iÂ�tan chord is ItalÂ�ian bad taste and the Â�augmentedsixth chord is GerÂ�man bad taste! The film diÂ�recÂ�tor Dario ArÂ�gento, speakÂ�ing of film music durÂ�ing a conÂ�ferÂ�ence at the UniÂ�verÂ�sity of Genoa, Italy, Â�praised musiÂ�cians like MorÂ�riÂ�cone, Pino DoÂ�nagÂ�gio, BerÂ�nard HerrÂ�mann, and the GobÂ�lin—the ItalÂ�ian Â�progressive-rock band known for the main theme of Â�Argento’s ProÂ�fondo Rosso (1975).7 When asked about the Â�not-mentioned Â�Williams, ArÂ�gento reÂ�plied, “Oh, Â�that’s a comÂ�merÂ�cial comÂ�poser.” What does “comÂ�merÂ�cial” mean? Is Â�Williams “comÂ�merÂ�cial” beÂ�cause

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he sells many Â�records and is Â�widely popÂ�uÂ�lar? If yes, is not MorÂ�riÂ�cone as comÂ�merÂ� cial as Â�Williams? The OrÂ�chesÂ�traÂ�tors, Again RusÂ�sell Lack, in his book on film music, drags up the old broÂ�mide statÂ�ing that using an orÂ�chesÂ�traÂ�tor is a sympÂ�tom of arÂ�tisÂ�tic inÂ�comÂ�peÂ�tence: “In foreÂ�groundÂ�ing the symÂ�phonic score, Â�Williams is sidÂ�ing with traÂ�diÂ�tion, but his very tight workÂ�ing schedÂ�ules mean that he works exÂ�tenÂ�sively with orÂ�chesÂ�traÂ�tors. .€.€. One might argue that his ceÂ�lebÂ�rity is due more to the films he has Â�scored Â�rather than the Â�scores themÂ�selves, which Â�whilst stirÂ�ring Â�enough are hard to sinÂ�gle out as disÂ�tincÂ� tively his own since they are so varÂ�ied, due in part to Â�Williams’ freÂ�quent use of a vaÂ�riety of difÂ�ferÂ�ent orÂ�chesÂ�traÂ�tors and arÂ�rangÂ�ers.”8 WorkÂ�ing under “very tight workÂ�ing schedÂ�ules” is someÂ�thing that any comÂ� poser in HolÂ�lyÂ�wood is used to, Â�Williams being not an exÂ�cepÂ�tion: “A stanÂ�dard Â�contract for his movie comÂ�poÂ�siÂ�tions gives him three Â�months to Â�create a score. A Lucas or SpielÂ�berg epic might reÂ�quire 120 minÂ�utes of music. A litÂ�tle calÂ�cuÂ�latÂ�ing and preÂ�sto. Â�Williams must comÂ�pose forty minÂ�utes of origÂ�iÂ�nal score a month, or 10 minÂ�utes a week, or two minÂ�utes every day (asÂ�sumÂ�ing he rests on the weekÂ�end, which he often does not).”9 The use of orÂ�chesÂ�traÂ�tors is inÂ�deed a traÂ�diÂ�tional asÂ�pect of the HolÂ�lyÂ�wood pracÂ�tice aimed to opÂ�tiÂ�mize labor time, and I have also Â�argued Â�against the necÂ�esÂ�sary equaÂ�tion of orÂ�chesÂ�traÂ�tors with ghostÂ�writÂ�ers. In Â�Lack’s stateÂ�ment, Â�though, he seems to igÂ�nore both the HolÂ�lyÂ�wood traÂ�diÂ�tion and Â�Williams’s speÂ�cific work Â�method. Had Lack dug a litÂ�tle Â�deeper under the surÂ�face, he might have easÂ�ily found out that Â�Williams had not used “a vaÂ�riety of difÂ�ferÂ�ent orÂ�chesÂ�traÂ�tors” but colÂ�labÂ�oÂ�rated for more than Â�twenty years with HerÂ�bert W. SpenÂ�cer (1905– 92)—from A Guide for the MarÂ�ried Man (1967) to Home Alone (1990). Â�Williams comÂ�mented: [Spencer’s] been my first Â�choice for a very long time. He’s an exÂ�pert orÂ�chesÂ�traÂ�tor but he’s also a guy I can live with for the Â�length of time it takes to do a picÂ�ture. It’s more of a perÂ�sonal thing. .€.€. We know each other very well, so I supÂ�pose we do [create a form of shortÂ�hand]. He knows my idioÂ�synÂ�craÂ�sies. In douÂ�bling, for exÂ�amÂ�ple, you may want to lean on someÂ�thing, to be à “2” or à “3” or whatÂ�ever, and someÂ�times Herb will be in the next room and pound on the piano and say, “How

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much do you want that B flat? Three or four horns, or six?” And I may reÂ�memÂ�ber Â�there’s a great sword whack on the soundÂ�track, so I say, “Six!” That sort of thing. We have a great reÂ�laÂ�tionÂ�ship.10

Â�Williams had with SpenÂ�cer a long and trustÂ�ing colÂ�labÂ�oÂ�raÂ�tion—reÂ�callÂ�ing that Â�between KornÂ�gold and his orÂ�chesÂ�traÂ�tor Hugo FriedÂ�hofer—which guarÂ�anÂ�teed an even and styÂ�lisÂ�tiÂ�cally homoÂ�geÂ�neÂ�ous outÂ�put.11 After Â�Spencer’s death, Â�Williams began conÂ�sisÂ�tent colÂ�labÂ�oÂ�raÂ�tions with a few reÂ�curÂ�ring names: John NeuÂ�feld, AlÂ�exÂ�anÂ�der CouÂ�rage, ConÂ�rad Pope, Eddie Karam, many of whom had Â�served as Â�Spencer’s asÂ�soÂ�ciates and asÂ�sistÂ�ants in the past. Â�Williams, like most HolÂ�lyÂ�wood comÂ�posÂ�ers of the past, needs the help of orÂ�chesÂ�traÂ�tors to meet deadÂ� lines: “WithÂ�out the Â�orchestrator’s help, Â�Williams esÂ�tiÂ�mates that his daily outÂ�put would be cut in half.”12 NoneÂ�theÂ�less, his Â�sketches are so deÂ�tailed that using a difÂ�ferÂ�ent orÂ�chesÂ�traÂ�tor would not afÂ�fect the reÂ�sults in terms of idiom and orÂ�chesÂ� tral texÂ�ture: I don’t want to miniÂ�mize the conÂ�triÂ�buÂ�tion of orÂ�chesÂ�traÂ�tors but, on the other hand, I try to be very careÂ�ful about my Â�sketches so that I get just what I want: winds on two or three Â�staves, horns, brass, low brass, piano, perÂ�cusÂ�sion, etc., in the midÂ�dle, and then three or four Â�staves for Â�strings, so that on eight or ten Â�staves you can get alÂ�most a Â�note-perfect acÂ�cuÂ�rate score. But the sheer labor of layÂ�ing it out in full score for symÂ�phony orÂ�chesÂ�tra would Â�greatly slow me up, so here orÂ�chesÂ�traÂ�tors help. When you conÂ�sider that Star Wars had some 90 minÂ�utes of orÂ�chesÂ�tral music and had to be writÂ�ten in some Â�six-plus weeks .€.€. about half the Â�length of an opera. Well, to do that withÂ�out even stenÂ�oÂ�graphic help from an orÂ�chesÂ�traÂ�tor would be physÂ�iÂ�cally imÂ�posÂ�sible. On Star Wars I used four: Herb [SpenÂ�cer] was Â�contracted to do it and he reÂ�ceives the Â�credit (he must have done about 500 of the 800Â�-Â�or-so pages of score), but ArÂ�thur MorÂ�ton, AnÂ�gela MorÂ�ley and Al WoodÂ�bury also Â�helped a lot. I even did some seÂ�quences myÂ�self, so I hope that it’s a comÂ�pliÂ�ment to my Â�sketches that you can’t tell who did what!13

The BosÂ�ton Pops perÂ�cusÂ�sionÂ�ist PatÂ�rick HolÂ�lenÂ�beck deÂ�buted as an orÂ�chesÂ�traÂ� tor after Â�Williams had asked for his help on InÂ�diÂ�ana Jones and the Last CruÂ�sade: “When I got out there I heard these horÂ�ror stoÂ�ries of orÂ�chesÂ�traÂ�tors being Â�handed a page with a title, a key sigÂ�naÂ�ture and a numÂ�ber of bars and nothÂ�ing else on it; so orÂ�chesÂ�traÂ�tors have deÂ�velÂ�oped a mysÂ�tique as, alÂ�legÂ�edly, ‘the seÂ�cret

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comÂ�posÂ�ers,’ and in many cases it may be true—but not with John Â�Williams. With him, orÂ�chesÂ�tratÂ�ing means takÂ�ing his notes from the litÂ�tle green paper and putÂ�ting them in the big yelÂ�low paper.”14 EvÂ�iÂ�dence Â�proves that Â�Williams is fully caÂ�pable of orÂ�chesÂ�tratÂ�ing his works, schedÂ�ule perÂ�mitÂ�ting: he perÂ�sonÂ�ally orÂ�chesÂ�trated the Â�scores for FidÂ�dler on the Roof (NorÂ�man JeÂ�wiÂ�son, 1971); Jane Eyre (DelÂ�bert Mann, 1970); CinÂ�deÂ�rella LibÂ�erty (Mark RyÂ�dell, 1973); The MisÂ�souri Â�Breaks (ArÂ�thur Penn, 1976); and ImÂ�ages (RobÂ�ert AltÂ�man, 1972).15 Â�Williams’s works are conÂ�sisÂ�tent with his overÂ�all idiom and orÂ�chesÂ�tral sound, as KathÂ�ryn KalÂ�iÂ�nak Â�points out: “Such deÂ�tailed Â�sketches and Â�long-term colÂ�labÂ�oÂ�raÂ�tions leave litÂ�tle room for deÂ�viÂ�aÂ�tion and inÂ�sure a conÂ�sisÂ�tency in terms of the Â�Williams sound.”16 In short, Â�Lack’s stateÂ�ments sound as if they are the reÂ�sult of eiÂ�ther inÂ�comÂ�peÂ�tence or prejÂ�uÂ�dice, inÂ�sinÂ�uÂ�atÂ�ing that ghostÂ�writÂ�ers are emÂ�ployed so as to downÂ�play Â�Williams’s Â�skills. The AesÂ�thetic PrejÂ�uÂ�dice In 2002 the music Â�critic NorÂ�man LeÂ�brecht Â�penned a Â�fierce arÂ�tiÂ�cle, elÂ�oÂ�quently tiÂ�tled “The MagÂ�pie MaesÂ�tro.” This arÂ�tiÂ�cle apÂ�pears to be an emÂ�bleÂ�matic resÂ�erÂ�voir of prejÂ�uÂ�dices susÂ�tained by weak Â�points and Â�masked with senÂ�saÂ�tionÂ�alÂ�isÂ�tic rhetÂ�oÂ�ric but ilÂ�lusÂ�trates what are the typÂ�iÂ�cal arÂ�guÂ�ments used to atÂ�tack Â�Williams. “John Â�Williams has corÂ�nered the Â�film-score marÂ�ket. But his patchÂ�work soundÂ�tracks that borÂ�row from the clasÂ�sics are an ofÂ�fence to the ear .€.€. Â�Williams has, for three Â�decades, been Â�Hollywood’s comÂ�poser of Â�choice. HitÂ�ting the jackÂ�pot with Jaws and Star Wars, he added a gloss of culÂ�ture (known as ‘class’) to Â�harumscarum adÂ�venÂ�ture moÂ�vies.”17 The arÂ�tiÂ�cle opens asÂ�serÂ�tively with a rheÂ�torÂ�iÂ�cal stateÂ�ment based on Â�Lebrecht’s perÂ�sonal taste, and later someÂ�what conÂ�tempÂ� tuÂ�ously links the Â�composer’s work to “harum-scarum adÂ�venÂ�ture moÂ�vies,” which Â�serves to downÂ�play Â�Williams’s imÂ�porÂ�tance to that of a Â�merely comÂ�merÂ�cial arÂ�tiÂ�san. The stateÂ�ment also sugÂ�gests Â�Lebrecht’s disÂ�like for HolÂ�lyÂ�wood cinÂ�ema, and a forÂ�mal analÂ�yÂ�sis of Jaws carÂ�ried out with comÂ�peÂ�tence (and withÂ�out prejÂ�uÂ�dice) would demÂ�onÂ�strate that the film is anyÂ�thing but “harum-scarum.” LeÂ�brecht conÂ�tinÂ�ues: “He is, beÂ�yond quesÂ�tion, the most faÂ�mous livÂ�ing orÂ�chesÂ�tral comÂ�poser. PosÂ�teÂ�rity, howÂ�ever, is not so Â�slickly seÂ�cured. The word in HolÂ�lyÂ�wood is that Â�Williams is on the wane .€.€. He has not won an Oscar since Â�Schindler’s List in 1993.”18 Again, here Â�Williams’s imÂ�porÂ�tance is downÂ�played by conÂ�cedÂ�ing that his merit is only that of being faÂ�mous. Yet such fame is quesÂ�tioned as for its lonÂ�gevÂ�ity, thus imÂ�plyÂ�ing that Â�Williams is nothÂ�ing but a fad. What is the exact Â�source of this “word in HolÂ�lyÂ�wood”? How can an inÂ�formed (and unÂ� biased) Â�critic speak of deÂ�cline in 2002, a year in which Â�Williams comÂ�posed as

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many as three films: Star Wars: EpiÂ�sode II—AtÂ�tack of the Â�Clones; Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets; and Catch Me If You Can? MoreÂ�over, these Â�scores are very difÂ� ferÂ�ent from each other in their “intra-opus’’ style: they reÂ�flect not only the quanÂ�tity of Â�Williams’s 2002 outÂ�put but also its vaÂ�riety and inÂ�venÂ�tiveÂ�ness. SigÂ�nifÂ�iÂ� cantly, in the same year, anÂ�other Â�critic deÂ�clared: “[T]he inÂ�deÂ�fatÂ�iÂ�gable comÂ�poser shows no signs of slowÂ�ing down.”19 As for the OsÂ�cars, Â�Williams had alÂ�ready won five as of 2002, and in the next Â�decade he beÂ�came the Â�most-nominated livÂ�ing perÂ�son and the secÂ�ond Â�most-nominated in AcadÂ�emy Award hisÂ�tory. UnÂ�deÂ�niÂ�ably, OsÂ�cars have alÂ�ways been quesÂ�tionÂ�able as a criÂ�terÂ�ion for gaugÂ�ing sucÂ�cess. Many times they are Â�awarded to a cerÂ�tain film beÂ�cause of the Â�producers’ and votÂ�ing Â�colleagues’ lobÂ�byÂ�ing—just think that KuÂ�brick, HitchÂ�cock, ChaÂ�plin, and MorÂ�riÂ�cone never won an Oscar or won only the HonÂ�orary LifeÂ�time AchieveÂ�ment Â�Awards. After statÂ�ing, “What John Â�Williams did to the modÂ�ern movie score was to reÂ�duce it to a Â�string of cliÂ�chés and strip it of muÂ�siÂ�cal charÂ�acÂ�ter,” LeÂ�brecht Â�praises the old HolÂ�lyÂ�wood comÂ�posÂ�ers: “His Â�themes [Korngold’s] would run for 30 minÂ�utes conÂ�tinÂ�uÂ�ously and while Â�traces of Â�Strauss and MahÂ�ler are often audÂ�ible, the music has an unÂ�misÂ�takÂ�able sigÂ�naÂ�ture. KornÂ�gold, once heard, is not readÂ�ily forÂ�gotÂ�ten. His HolÂ�lyÂ�wood folÂ�lowÂ�ers, emÂ�iÂ�grants all, inÂ�cluded Max Â�Steiner (CasÂ�aÂ�blanca), Franz WaxÂ�man (SunÂ�set BouleÂ�vard), DmiÂ�tri TiomÂ�kin (High Noon) and Mikos [sic] Rózsa (SpellÂ�bound). Each had his own sound, each added meÂ�lodic and harÂ�monic novÂ�elty.”20 The acÂ�cuÂ�saÂ�tion Â�against Â�Williams’s music of being Â�merely a Â�string of cliÂ�chés Â�sounds exÂ�actly like the 1947 Â�Adorno and EisÂ�ler acÂ�cuÂ�saÂ�tion Â�against clasÂ�siÂ�cal HolÂ�lyÂ�wood film music. ProÂ�verÂ�biÂ�ally, the good old days are alÂ�ways betÂ�ter than the Â�present day, and inÂ�deed LeÂ�brecht now takes the Â�much-blamed clasÂ�siÂ�cal HolÂ�lyÂ�wood music as an exÂ�amÂ�ple of perÂ�sonal origÂ�iÂ�nalÂ�ity and music soÂ�lidÂ�ity if comÂ�pared to Â�Williams. As for the alÂ�leged novÂ�elty added by each old HolÂ�lyÂ�wood comÂ�poser, this may be true for WaxÂ�man, Rózsa, and KornÂ�gold, but talkÂ�ing of meÂ�lodic and harÂ�monic novÂ�elty for Â�Steiner and Â�Tiomkin’s traÂ�diÂ�tional Â�idioms is exÂ�agÂ�gerÂ�aÂ�tion. LeÂ�brecht then comÂ�pares HolÂ�lyÂ�wood comÂ�posÂ�ers with EuÂ�roÂ�pean Â�art-film comÂ�posÂ�ers: Some are reÂ�memÂ�bered Â�merely for an efÂ�fect—BerÂ�nard HerrÂ�mann, for inÂ�stance, for the Â�mass-stringed Â�chills he apÂ�plied to AlÂ�fred Â�Hitchcock’s thrillÂ�ers. OthÂ�ers, like Nino Rota, Â�co-created with FeÂ�derÂ�ico FelÂ�lini the esÂ�senÂ�tial amÂ�biÂ�ence of cinÂ�eÂ�matic legÂ�end. Late in life, Rota Â�plundered his own score to 8½ for a theme that beÂ�came The Â�Godfather’s. .€.€. Just how much a comÂ�poser Â�brings to a movie is heard in HiÂ�roÂ�shima mon

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Amour (1959), where Alain Â�Resnais’ somÂ�noÂ�lent pace and Â�flimsy plot are susÂ�tained by Â�Georges Â�Delerue’s comÂ�pelÂ�ling soundÂ�track. .€.€. DelÂ�eÂ�rue, who died in 1992, wrote 294 film Â�scores but never colÂ�lected the Â�milliondollar fee that is the Â�Williams benchÂ�mark. .€.€. Â�More’s the pity, since there are still musiÂ�cians proÂ�ducÂ�ing fine work for the Â�screen—GaÂ�briel Yared, JoceÂ�lyn Pook, WojÂ�ciech Kilar—to name three of the best. But Â�theirs is an upÂ�hill batÂ�tle Â�against the Â�Williams Â�method of plasÂ�terÂ�ing moÂ�vies with bits of what we know, Â�rather than reÂ�vealÂ�ing an unÂ�seen diÂ�menÂ�sion.21

BerÂ�nard HerrÂ�mann, uniÂ�verÂ�sally acÂ�knowlÂ�edged as one of the most inÂ�venÂ�tive and outÂ�standÂ�ing comÂ�posÂ�ers havÂ�ing Â�worked in HolÂ�lyÂ�wood, is disÂ�missed here as a Â�merely senÂ�saÂ�tionÂ�alÂ�ist comÂ�poser for one HitchÂ�cock Â�thriller. What about CitÂ�iÂ�zen Kane (Orson Â�Welles, 1941), just to name one of Â�Herrmann’s landÂ�mark works? More imÂ�porÂ�tant to our deÂ�conÂ�strucÂ�tion of the Â�article’s arÂ�guÂ�ment, Â�Lebrecht’s posÂ�iÂ�tive exÂ�amÂ�ples are films comÂ�pletely difÂ�ferÂ�ent from those made in HolÂ�lyÂ� wood, and comÂ�posÂ�ers whose style is conÂ�seÂ�quently very difÂ�ferÂ�ent. Since the aim is to critÂ�iÂ�cize Â�Williams, a HolÂ�lyÂ�wood comÂ�poser, exÂ�amÂ�ples of good film music and valÂ�uÂ�able comÂ�posÂ�ers Â�should be taken from the same styÂ�lisÂ�tic group, that of the HolÂ�lyÂ�wood repÂ�erÂ�toire. By stickÂ�ing to EuÂ�roÂ�pean Â�art-film exÂ�amÂ�ples and comÂ� mentÂ�ing that Â�Williams’s music simÂ�ply reÂ�states in films what the viewÂ�ers alÂ�ready know, LeÂ�brecht unÂ�veils his prefÂ�erÂ�ence for modÂ�ern style, his scant underÂ�standÂ� ing of the HolÂ�lyÂ�wood music style, and his Â�biased view of HolÂ�lyÂ�wood cinÂ�ema. An analÂ�yÂ�sis of films like Close EnÂ�counÂ�ters of the Third Kind and Jaws would reÂ�veal that music does much more than simÂ�ply say what we alÂ�ready know. And so it seems that what LeÂ�brecht wants to deÂ�molÂ�ish is not just Â�Williams but the kind of comÂ�merÂ�cial cinÂ�ema he supÂ�posÂ�edly repÂ�reÂ�sents, deÂ�fined by the geÂ�neric term “harum-scarum.” Â�Williams is chasÂ�tised beÂ�cause he is a symÂ�bol of HolÂ�lyÂ�wood cinÂ�ema and beÂ�cause he is fiÂ�nanÂ�cially very sucÂ�cessÂ�ful. InÂ�deed, the money arÂ�guÂ� ment is Â�brought forÂ�ward when LeÂ�brecht reÂ�ports that DelÂ�eÂ�rue Â�earned less money than Â�Williams, which Â�should imply that DelÂ�eÂ�rue was a betÂ�ter comÂ�poser. This is based on an old idea that can be Â�traced back to the Â�nineteenth-century roÂ�manÂ�tic view of Art (with capÂ�iÂ�tal letÂ�ter) as a Â�quasi-religion exÂ�erÂ�cised for Art’s sake, as opÂ�posed to craft, whose aim is to make money. The same equaÂ�tion was reÂ�vived by Â�Adorno and EisÂ�ler, who also used to chasÂ�tise the comÂ�merÂ�cialÂ�ism of HolÂ�lyÂ� wood film music of the 1930s and 1940s: the conÂ�cluÂ�sion is that true art canÂ�not be comÂ�merÂ�cial. This old split Â�between Art and comÂ�modÂ�ity Â�emerges again in Â�Lebrecht’s closÂ�ing: “There is no deÂ�nyÂ�ing the sucÂ�cess of John Â�Williams, any more than one can igÂ�nore that of Bill Gates. We may have to live with it, but there is no law yet that says we must like it.”22

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This Â�fierce atÂ�tiÂ�tude of clasÂ�siÂ�cal music critÂ�ics Â�against film music is a conÂ� seÂ�quence of the Â�nineteenth-century disÂ�tincÂ�tion Â�between “abÂ�soÂ�lute music”— music that is ab soÂ�luta (unÂ�tied), comÂ�posed for a Â�stand-alone lisÂ�tenÂ�ing exÂ�peÂ�riÂ�ence freed from any exÂ�terÂ�nal inÂ�fluÂ�ences and exÂ�traÂ�musÂ�iÂ�cal refÂ�erÂ�ences—and “apÂ�plied/ funcÂ�tional music”—a muÂ�siÂ�cal renÂ�diÂ�tion of a litÂ�erÂ�ary text, like a symÂ�phonic poem, or a muÂ�siÂ�cal acÂ�comÂ�paÂ�niÂ�ment to an exÂ�traÂ�musÂ�iÂ�cal event, such as a balÂ�let, an opera, or a film. The idea that the forÂ�mer is inÂ�trinÂ�siÂ�cally and necÂ�esÂ�sarÂ�ily betÂ�ter music than the latÂ�ter and that the two types must be kept disÂ�tinct and Â�neatly sepÂ�arÂ�ated harks back to the Â�nineteenth-century dicÂ�tum.23 ConÂ�nected to this is the presÂ�ence of a “Beethoven-centered” criÂ�terÂ�ion that has had a conÂ�sisÂ�tent inÂ�fluÂ�ence on musiÂ�colÂ�ogy and has deÂ�terÂ�mined a bias Â�against what deÂ�viÂ�ates from the caÂ�nonÂ�iÂ�cal modÂ�els. In David Â�Neumeyer’s words: “A disÂ�tincÂ�tion Â�between ‘popular’ and ‘academic’ canÂ�ons is cerÂ�tainly Â�present in music as well, but the sitÂ�uÂ�aÂ�tion is conÂ�sidÂ�erÂ�ably more comÂ�plex [than in film studÂ�ies] due to inÂ�stiÂ�tuÂ� tional facÂ�tors, esÂ�peÂ�cially the opÂ�presÂ�sive presÂ�ence of the Â�Beethoven-Centered canon, Â�oriented toÂ�ward inÂ�struÂ�menÂ�tal Â�rather than vocal or draÂ�matic music.”24 A textÂ�book exÂ�amÂ�ple of this “caÂ�nonÂ�iÂ�cal prejÂ�uÂ�dice” is an arÂ�tiÂ�cle Â�printed in the Los AnÂ�geles Times in 1983, when the HolÂ�lyÂ�wood comÂ�poser and BosÂ�ton Pops conÂ�ducÂ�tor had “dared” to conÂ�duct a “seÂ�riÂ�ous” conÂ�cert proÂ�gram: This Â�week’s conÂ�certs by the Los AnÂ�geles PhilÂ�harÂ�monic at the DorÂ�oÂ�thy ChanÂ�dler PaÂ�vilÂ�ion raise only one esÂ�senÂ�tial quesÂ�tion: Why? Why would Carlo Maria GiuÂ�lini, a man of lofty prinÂ�ciÂ�ples and imÂ�pecÂ�cable taste, enÂ�trust a preÂ�sumÂ�ably seÂ�riÂ�ous Â�winter-season proÂ�gram to John Â�Williams, an amiÂ�able musiÂ�cian whose claim to fame and forÂ�tune are predÂ�iÂ�cated on Â�movie-score bomÂ�bast and BosÂ�ton Pops bagÂ�aÂ�telles? .€.€. Why would our culÂ�tural guarÂ�dians want to deÂ�vote an enÂ�tire Â�evening’s diet to such junk food as SamÂ�uel Â�Barber’s Â�crunchy “School for ScanÂ�dal” overÂ�ture .€.€. the aforeÂ�menÂ�tioned Â�Williams [ViÂ�oÂ�lin] ConÂ�certo and— horÂ�ror of horÂ�rors—GusÂ�tav Â�Holst’s “The PlanÂ�ets,” a banal Â�thumpetythump 1916 ooze orgy now Â�prized by some obÂ�servÂ�ers as a preÂ�view of Â�spacey “Star Wars” atÂ�tracÂ�tions? .€.€. Since Â�Williams did not venÂ�ture into anyÂ�thing like MoÂ�zart or BeeÂ�thoÂ�ven or Â�Brahms or even TchaiÂ�kovÂ�sky, it is imÂ�posÂ�sible to gauge his skill as an interÂ�preter of great music. He did reÂ�veal himÂ�self, howÂ�ever, as an efÂ�fiÂ�cient muÂ�siÂ�cal trafÂ�fic cop, deÂ�spite a disÂ�conÂ�certÂ�ing tenÂ�dency to gild the exÂ�presÂ�sive lily with exÂ�cesÂ�sive faÂ�cial choreogÂ�raÂ�phy.25

Here we can Â�clearly disÂ�cern the Â�critic’s prejÂ�uÂ�dice Â�against the music not inÂ�cluded in the reÂ�vered canon of the Â�deities of abÂ�soÂ�lute art music. MoÂ�zart, BeeÂ�thoÂ�ven,

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and Â�Brahms are auÂ�thors of “great music.’’ Along with Bach, they are the inÂ� disÂ�putÂ�able masÂ�ters of a Â�German-centric, stiff, and acÂ�aÂ�demic set of valÂ�ues—the wordÂ�ing “even Â�Tchaikovsky’’ imÂ�plies that the RusÂ�sian comÂ�poser is someÂ�what conÂ�sidÂ�ered a Â�lesser masÂ�ter than the great GerÂ�mans. What is not in the Canon is autoÂ�matÂ�iÂ�cally not Â�worthy of even being taken into conÂ�sidÂ�erÂ�aÂ�tion: it is “junk Â�food’’ and the proÂ�tecÂ�tion of “cultural Â�guardians’’ is inÂ�voked Â�against those who, like Â�Williams, atÂ�tempt to tresÂ�pass from the “apÂ�plied music/popÂ�uÂ�lar music” realm onto that of “abÂ�soÂ�lute/art music.” The IdeoÂ�logÂ�iÂ�cal PrejÂ�uÂ�dice Neil Â�Lerner, in an analÂ�yÂ�sis of Star Wars and Close EnÂ�counÂ�ters of the Third Kind, while praisÂ�ing the efÂ�fecÂ�tiveÂ�ness of Â�Williams’s music also acÂ�cuses it of auÂ�thorÂ�iÂ� tarÂ�ianÂ�ism: “What is so reÂ�markÂ�able about Â�Williams’ Â�scores .€.€. is the way that they so efÂ�fecÂ�tively limit any opÂ�poÂ�siÂ�tional readÂ�ings of the films they acÂ�comÂ�pany. In Star Wars, the music makes it difÂ�fiÂ�cult to idenÂ�tify any other charÂ�acÂ�ter Â�besides Luke as the cenÂ�tral hero .€.€. Â�Williams’ sweepÂ�ingly nosÂ�talÂ�gic music reÂ�asÂ�sures, perÂ�suades, and above all else, lulls us into being unÂ�critÂ�iÂ�cal.”26 A conÂ�cise exÂ�plaÂ�naÂ� tion for this interÂ�preÂ�taÂ�tion is that it deÂ�scends from those film theÂ�oÂ�ries—Â�mostly based on semiÂ�otÂ�ics, (LaÂ�caÂ�nian) psychoÂ�analÂ�yÂ�sis, and MarxÂ�ism—that see films as ideoÂ�logÂ�iÂ�cal veÂ�hiÂ�cles to be unÂ�masked or as texts to be deÂ�ciÂ�phered, Â�rather than as arÂ�tiÂ�facts to be apÂ�proached in aesÂ�thetic terms.27 Such an apÂ�proach runs throughÂ� out the film studÂ�ies of the last Â�decades, in the works of Â�Jean-Louis CoÂ�molli and Jean NarÂ�boni, Â�Jean-Louis Â�Baudry, Â�Marie-Claire RoÂ�pars, in femÂ�iÂ�nist film theÂ�ory, and in deÂ�conÂ�strucÂ�tionÂ�ism, which seems to be Â�Lerner’s frameÂ�work beÂ� cause he uses the charÂ�acÂ�terÂ�isÂ�tic term “opÂ�poÂ�siÂ�tional readÂ�ings.”28 From a (neo) forÂ�malÂ�ist point of view, Star Wars is a Â�well-constructed film: the scope of the narÂ�raÂ�tion is to Â�present Luke as the proÂ�tagÂ�oÂ�nist of Star Wars, and the music is asked to help viewÂ�ers to conÂ�nect emÂ�paÂ�thetÂ�iÂ�cally with him. The final reÂ�sult— viewÂ�ers do idenÂ�tify with Luke—shows that the narÂ�raÂ�tion fulÂ�filled its scope and the music acÂ�comÂ�plished its duÂ�ties efÂ�fecÂ�tively. On the music for Jaws, for exÂ�amÂ�ple, Â�Williams says: “So we can play the shark music even if he Â�wasn’t Â�present, .€.€. and sugÂ�gest that he’s comÂ�ing, and by getÂ�ting Â�louder and Â�louder and Â�louder—even if the camÂ�era Â�doesn’t move—you get a sense that he is getÂ�ting Â�closer to you beÂ�cause music is getÂ�ting Â�faster or Â�louder or both. So in that way, I don’t use the word maÂ�nipÂ�uÂ�late, beÂ�cause it’s beÂ�come an ugly word, but it’s acÂ�tuÂ�ally a good word, beÂ�cause you can manÂ�age and choreoÂ�graph these emoÂ�tions we talk about.”29 The word “maÂ�nipÂ�uÂ�late” here means that the music coopÂ�erÂ�ates with the other forÂ�mal deÂ�vices to asÂ�sist the

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narÂ�raÂ�tion in obÂ�tainÂ�ing cerÂ�tain aesÂ�thetic efÂ�fects and emÂ�oÂ�tive reÂ�acÂ�tions in the viewÂ�ers. In Â�Lerner’s Â�contra view, maÂ�nipÂ�uÂ�laÂ�tion is an ideoÂ�logÂ�iÂ�cal deÂ�ceit. From a deÂ�conÂ�strucÂ�tionÂ�ist perÂ�specÂ�tive, music is seen as an auÂ�thorÂ�iÂ�tarÂ�ian imÂ�poÂ�siÂ�tion by a diÂ�recÂ�tor who is slyly tryÂ�ing to maÂ�nipÂ�uÂ�late the viewÂ�ers ideoÂ�logÂ�iÂ�cally. SimÂ�iÂ�larly, the term “nosÂ�talÂ�gia” (in Â�Lerner’s arÂ�tiÂ�cle “nosÂ�talÂ�gic music”) is used with reÂ�acÂ�tionÂ� ary/reÂ�gresÂ�sive conÂ�noÂ�taÂ�tions, imÂ�plyÂ�ing that music inÂ�sidÂ�iÂ�ously “anÂ�aestheÂ�tizes” the Â�viewers’ critÂ�iÂ�cal conÂ�science.30 As the leadÂ�ing exÂ�poÂ�nent of neoÂ�clasÂ�siÂ�cism—a trend that reÂ�stored a past style and can be easÂ�ily laÂ�beled as nosÂ�talÂ�gic—Â�Williams is autoÂ�matÂ�iÂ�cally seen as an ideoÂ�logÂ�iÂ�cally reÂ�acÂ�tionÂ�ary comÂ�poser. Â�Besides matÂ�ters of perÂ�sonal taste, which are difÂ�fiÂ�cult to take into conÂ�sidÂ�erÂ�aÂ� tion, the aesÂ�thetic and ideoÂ�logÂ�iÂ�cal prejÂ�uÂ�dices so far anÂ�aÂ�lyzed can exÂ�plain why Â�Williams is more veÂ�heÂ�mently atÂ�tacked than other Â�equally popÂ�uÂ�lar and sucÂ�cessÂ�ful comÂ�posÂ�ers. Being neoÂ�clasÂ�siÂ�cal and Â�past-oriented, he is seen—eiÂ�ther conÂ�sciously or unÂ�conÂ�sciously—as reÂ�gresÂ�sive and conÂ�serÂ�vaÂ�tive. InÂ�versely, MorÂ�riÂ�cone and other Â�modern-style, Â�future-oriented comÂ�posÂ�ers who chalÂ�lenged traÂ�diÂ�tional rules are seen as proÂ�gresÂ�sive and revÂ�oÂ�luÂ�tionÂ�ary—hence necÂ�esÂ�sarÂ�ily betÂ�ter, when ideolÂ�ogy is conÂ�fused with style. This same prejÂ�uÂ�dice may also exÂ�plain the damÂ�naÂ�tio meÂ�morÂ�iae Â�against the SpielÂ�berg/Â�Williams duo as well. One must reÂ�memÂ�ber that this is one of the most outÂ�standÂ�ing diÂ�recÂ�tor/comÂ�poser colÂ�labÂ�oÂ�raÂ�tions in hisÂ�tory. Begun in 1973 and enÂ�terÂ�ing its forÂ�tiÂ�eth year of conÂ�tinÂ�uÂ�ous partÂ�nerÂ�ship in 2013, it has proÂ�duced Â�twenty-six films so far, the maÂ�jorÂ�ity of which are reÂ�markÂ�able case studÂ�ies of perÂ�fect film and music inÂ�teÂ�graÂ�tion.31 SerÂ�gio Â�Miceli says that “[Williams’s] colÂ�labÂ�oÂ�raÂ�tion with SpielÂ�berg is a partÂ�nerÂ�ship among the most solid and fruitÂ�ful ones in the hisÂ�tory of film music and has unÂ�doubtÂ�edly proÂ�duced works which are above the avÂ�erÂ�age.”32 SimÂ�iÂ�larly, MerÂ�vyn Cooke Â�writes: “The longÂ�standÂ�ing colÂ�labÂ�oÂ�raÂ�tion Â�between SpielÂ�berg and Â�Williams is uniÂ�verÂ�sally reÂ�garded as emÂ� bleÂ�matic of the perÂ�fect marÂ�riage of Â�audio-visual creaÂ�tive imagÂ�iÂ�naÂ�tion, techÂ�niÂ�cal acÂ�comÂ�plishÂ�ment, solid narÂ�raÂ�tive and comÂ�merÂ�cial savÂ�viÂ�ness that disÂ�tinÂ�guished the finÂ�est HolÂ�lyÂ�wood blockÂ�bustÂ�ers of the modÂ�ern age.”33 DeÂ�spite the evÂ�iÂ�dence, there is a Â�film-music hisÂ�torÂ�iÂ�cal “neÂ�gaÂ�tionÂ�ism,” which tries eiÂ�ther to downÂ�play or to igÂ�nore the duo’s conÂ�triÂ�buÂ�tions, and it has a numÂ� ber of Â�adepts. In his 1994 book OverÂ�tones and UnderÂ�tones: ReadÂ�ing Film Music, the Â�film-music Â�scholar Royal S. Brown did not even menÂ�tion the duo but inÂ�cluded HitchÂ�cock/HerrÂ�mann, Leone/MorÂ�riÂ�cone, and EiÂ�senÂ�stein/ProÂ�kofÂ�iev. He deÂ� fined the colÂ�labÂ�oÂ�raÂ�tion Â�between Â�Claude ChabÂ�rol and Â�Pierre JanÂ�sen as “the most fruitÂ�ful diÂ�recÂ�tor/comÂ�poser colÂ�labÂ�oÂ�raÂ�tion in the hisÂ�tory of cinÂ�ema.”34 The ItalÂ�ian musiÂ�colÂ�oÂ�gist RoÂ�berto Â�Calabretto’s damÂ�naÂ�tio meÂ�morÂ�iae is even more disÂ�conÂ�certÂ�ing: “[In film hisÂ�tory] the reÂ�laÂ�tionÂ�ships Â�between diÂ�recÂ�tor and

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musiÂ�cian are very varÂ�ied. SomeÂ�times in forÂ�tuÂ�nate but rare cases, alÂ�though they may come from difÂ�ferÂ�ent backÂ�grounds, the two move toÂ�gether sucÂ�cessÂ�fully on the same arÂ�tisÂ�tic path. ThereÂ�fore, we have feÂ�licÂ�iÂ�tous colÂ�labÂ�oÂ�raÂ�tions like those Â�between FeÂ�derÂ�ico FelÂ�lini and Nino Rota, SerÂ�gio Leone and Ennio MorÂ�riÂ�cone, AlÂ�fred HitchÂ�cock and BerÂ�nard HerrÂ�mann, SerÂ�gei EiÂ�senÂ�stein and SerÂ�gei ProÂ�koÂ� fÂ�iev, the TavÂ�iÂ�ani brothÂ�ers and NiÂ�cola PiÂ�oÂ�vani.”35 CalÂ�aÂ�bretto lists other “feÂ�licÂ�iÂ�tous colÂ�labÂ�oÂ�raÂ�tions,” a list in which everyÂ�one but SpielÂ�berg and Â�Williams is menÂ� tioned: “In film hisÂ�tory there have been very happy colÂ�labÂ�oÂ�raÂ�tions, in which the comÂ�poser and the diÂ�recÂ�tor Â�worked in perÂ�fect harÂ�mony and with comÂ�mon goals and which proÂ�duced very beauÂ�tiÂ�ful Â�scores. Among the many exÂ�amÂ�ples, we can reÂ�port Erik Satie and René Clair; ZbigÂ�niew PreÂ�isÂ�ner and KrzyszÂ�tof KiesÂ�lowÂ�ski .€.€. ; Joe HiÂ�saiÂ�shi and TaÂ�keÂ�shi KiÂ�tano .€.€. ; Marco BelÂ�locÂ�chio and Carlo CrivÂ�elli; AlÂ�fred HitchÂ�cock and BerÂ�nard HerrÂ�mann; HiÂ�roÂ�shi TeÂ�shigÂ�aÂ�hara and Toru TakÂ�eÂ�mitsu .€.€. Ennio MorÂ�riÂ�cone and SerÂ�gio Leone .€.€. One of the best duos in film hisÂ�tory is that Â�between MiÂ�chael Nyman and Peter GreenÂ�away.”36 EvÂ�iÂ�dently, this omisÂ�sion canÂ�not be due to igÂ�norÂ�ance but simÂ�ply to ideoÂ�logÂ�iÂ�cal prejÂ�uÂ�dice or idioÂ�synÂ�cratic disÂ�like. As a neoÂ�clasÂ�siÂ�cal film comÂ�poser Â�Williams, on the one hand, inÂ�herÂ�ited the aesÂ�thetic prejÂ�uÂ�dices typÂ�iÂ�cally atÂ�tached to the clasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers; on the other hand, he is also the tarÂ�get of new ideoÂ�logÂ�iÂ�cal prejÂ�uÂ�dices preÂ�cisely due to his being neoÂ�clasÂ�siÂ�cal.

9 Raid�ers of the Lost Ark Back�ground A Neo �cl a s �s i�ca l F i lm

M

ay 1977. Mauna Kea Hotel, HaÂ�waii. SteÂ�ven SpielÂ�berg and Â�George Lucas are on vaÂ�caÂ�tion toÂ�gether. Star Wars is just comÂ�ing out in theÂ�aÂ� ters. Lucas, thinkÂ�ing it would be a comÂ�merÂ�cial flop, deÂ�cided to flee CalÂ�iÂ�forÂ�nia, away from the exÂ�pected Â�box-office disÂ�asÂ�ter—which, on the Â�contrary, would soon turn into the Â�biggest sucÂ�cess of all time. The two filmÂ�makÂ�ers and close Â�friends are on the beach, workÂ�ing on a giÂ�ganÂ�tic sand casÂ�tle, and Â�George tells SteÂ�ven an old idea of his: a story, or Â�rather a seÂ�ries of adÂ�venÂ�tures, whose proÂ�tagÂ�oÂ� nist is a fearÂ�less arÂ�chaeÂ�olÂ�oÂ�gist who Â�travels the world in Â�search of treasÂ�ures.1 This was the Â�quasi-legendary moÂ�ment in which RaidÂ�ers of the Lost Ark and the InÂ�diÂ�ana Jones saga were born, a saga that would deÂ�velop over the next Â�twenty-seven years into four feaÂ�ture films—RaidÂ�ers of the Lost Ark (1981), InÂ�diÂ�ana Jones and the TemÂ�ple of Doom (1984), InÂ�diÂ�ana Jones and the Last CruÂ�sade (1989), InÂ�diÂ�ana Jones and the KingÂ�dom of the CrysÂ�tal Skull (2008), and a TV seÂ�ries, The Young InÂ�diÂ�ana Jones ChronÂ�iÂ�cles (1992–93). Lucas, story auÂ�thor and exÂ�ecÂ�uÂ�tive proÂ�ducer with his film comÂ�pany LuÂ�casÂ�film Ltd., Â�relied on his Â�friend SteÂ�ven SpielÂ�berg to diÂ�rect all the films of the seÂ�ries. SpielÂ�berg acÂ�cepted the task enÂ�thuÂ�siasÂ�tiÂ�cally as he saw in it the chance Â� to someÂ�what fulÂ�fill one of his Â�long-standing deÂ�sires: to diÂ�rect a James Bond film.2 AcÂ�tuÂ�ally, the two seÂ�ries are very difÂ�ferÂ�ent. The James Bond films are Â�firmly set in the conÂ�temÂ�poÂ�rary world and, since the first films and up to those reÂ�alÂ�ized 145

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in the Â�twenty-first cenÂ�tury, they have alÂ�ways been a showÂ�case for the Â�trends and habÂ�its of the soÂ�ciÂ�ety of the time. They Â�flaunt the fads of the day in terms of cars, clothÂ�ing, men’s and Â�women’s hair Â�styles, techÂ�nolÂ�ogy, muÂ�siÂ�cal Â�tastes, and the state of the art in curÂ�rent film style. Armed with the fuÂ�turÂ�isÂ�tic gadÂ�gets of Dr. Q, Bond is comÂ�mitÂ�ted to proÂ�tectÂ�ing WestÂ�ern civÂ�ilÂ�izaÂ�tion; Bond lives in the Â�present day and is conÂ�cerned in the fuÂ�ture of his soÂ�ciÂ�ety. InÂ�diÂ�ana Jones, armed with his PhD in arÂ�chaeÂ�olÂ�ogy, is comÂ�mitÂ�ted to reÂ�trievÂ�ing anÂ�cient relÂ�ics and is interÂ�ested in past soÂ�ciÂ�eties, not Â�merely beÂ�cause he is an arÂ�chaeÂ�olÂ�oÂ�gist—the past is his job— but beÂ�cause his adÂ�venÂ�tures are set in the 1930s. Â�Rather than being imÂ�mersed in a conÂ�temÂ�poÂ�rary and Â�up-to-date conÂ�text like Bond, InÂ�diÂ�ana lives in a “vinÂ�tage” past.3 Said SpielÂ�berg: “[That was a] peÂ�riod where adÂ�venÂ�tures could hapÂ�pen, a roÂ�manÂ�tic time when it took a litÂ�tle Â�longer to get Â�around the world by air than it does today, a peÂ�riod withÂ�out adÂ�vanced techÂ�nolÂ�ogy, where the clevÂ�erÂ�ness of the inÂ�diÂ�vidÂ�ual Â�against the enemy was what matÂ�tered. So it Â�wouldn’t use laser guns and light saÂ�bers and James Bond weapÂ�onry.”4 As had hapÂ�pened beÂ�fore with Star Wars, the idea was to pay homÂ�age to the clasÂ�siÂ�cal HolÂ�lyÂ�wood genre films. ParÂ�ticÂ�uÂ�larly, inÂ�spiÂ�raÂ�tion was drawn from Â�B-movies like The Â�Masked MarÂ�vel (SpenÂ�cer GorÂ�don BenÂ�net, 1943) and seÂ�riÂ�als like Don WinÂ�slow of the Navy (Ford Beebe, Ray TayÂ�lor, 1942) and BlackÂ�hawk: FearÂ�less ChamÂ�pion of FreeÂ�dom (SpenÂ�cer GorÂ�don BenÂ�net, Fred F. Sears, 1952). Even more than in the Star Wars case, all those inÂ�volved in the film Â�seemed to have the nosÂ�talÂ� gic wish of reÂ�covÂ�erÂ�ing not only those past genÂ�res but also their Â�old-fashioned style.5 When the film came out, the catchÂ�phrase on the posÂ�ters and billÂ�boards was: “The reÂ�turn of the great adÂ�venÂ�ture.” A reÂ�porter from the set noted: “For all of us, it beÂ�came a great exÂ�peÂ�riÂ�ence, someÂ�thing we could all reÂ�memÂ�ber from our childÂ�hood—a Â�full-color adÂ�venÂ�ture tale, the manÂ�iÂ�fesÂ�taÂ�tion of the batÂ�tle Â�between good and evil, a handÂ�some hero and beauÂ�tiÂ�ful herÂ�oÂ�ine, an ugly and horÂ�rible vilÂ�lain and a handÂ�some and Â�not-so-horrible vilÂ�lain, the purÂ�suit of a deÂ�sired obÂ�ject that in good hands will be a beauÂ�tiÂ�ful and reÂ�spected thing, but that in the wrong hands will deÂ�stroy the world. .€.€. It beÂ�came clear that the maÂ�jorÂ�ity of peoÂ�ple makÂ�ing RaidÂ�ers .€.€. had a core of roÂ�manÂ�tiÂ�cism sevÂ�eral Â�inches in diÂ�amÂ�eÂ�ter.”6 Â�George Lucas deÂ�scribed the idea beÂ�hind the film: “The esÂ�sence of RaidÂ�ers is that it’s a throwÂ�back to an older kind of film. It’s a Â�high-adventure film Â�vaguely in the mode of the old SatÂ�urÂ�day afterÂ�noon seÂ�riÂ�als. AcÂ�tuÂ�ally the seÂ�riÂ�als were Â�C-movies and I would say that RaidÂ�ers is an Â�old-fashioned Â�B-movie. .€.€. What inÂ�spired me to make RaidÂ�ers was a deÂ�sire to see this kind of movie. You sit back and say, ‘Why don’t they make this kind of movie anyÂ�more?’ And I’m in a poÂ�siÂ�tion to do it. So I’m Â�really doing it more than anyÂ�thing else so that I can enjoy it—I just want to see this movie.”7

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SteÂ�ven SpielÂ�berg diÂ�rectly deÂ�clared his love for clasÂ�siÂ�cal films: “I went back and Â�looked at my faÂ�vorÂ�ite films from the 1930s and 1940s and Â�thought how Â�quickly and Â�cheaply they were made. I think I’m baÂ�siÂ�cally a reÂ�inÂ�carÂ�nated diÂ�recÂ� tor from the 1930s.”8 ComÂ�pared to Jaws and Close EnÂ�counÂ�ters of the Third Kind, Â�Spielberg’s style for RaidÂ�ers was more diÂ�rect and Â�strictly funcÂ�tional, “a model of stylÂ�ish econÂ�omy.”9 Even the screenÂ�writer LawÂ�rence KasÂ�dan exÂ�pressed his fondÂ�ness for old adÂ�venÂ�ture films: “AdÂ�venÂ�ture films were abÂ�soÂ�lutely at the heart of my love of moÂ�vies. .€.€. EveryÂ�thing in the movie resÂ�oÂ�nates from other moÂ�vies. Â�That’s the feelÂ�ing we were after. It Â�doesn’t take itÂ�self too seÂ�riÂ�ously.”10 In the same Â�spirit, HarÂ�riÂ�son Ford gave life to the main charÂ�acÂ�ter: “[The film is] Â�really about moÂ�vies more than it’s about anyÂ�thing else. It’s inÂ�trinÂ�siÂ�cally deÂ�signed as a real tribÂ�ute to the craft.”11 DrawÂ�ing from the OldÂ�ies ThroughÂ�out RaidÂ�ers it is no surÂ�prise to find not only a numÂ�ber of inÂ�fluÂ�ences but also outÂ�right quoÂ�taÂ�tions from Â�B-movies and seÂ�riÂ�als.12 For exÂ�amÂ�ple, the hero purÂ�sued by an inÂ�digÂ�eÂ�nous tribe comes from Too Hot to HanÂ�dle ( Jack ConÂ�way, 1938); the fight Â�against the Nazis comes from Spy Â�Smasher (William WitÂ�ney, 1942); the hero using a whip comes from Man with the Steel Whip (AdÂ�reon FrankÂ�lin, 1954); the Arab disÂ�guise used by InÂ�diÂ�ana when he inÂ�filÂ�trates the arÂ�chaeÂ�oÂ�logÂ�iÂ�cal site comes from LawÂ�rence of AraÂ�bia (David Lean, 1962); the anÂ�iÂ�mated map showÂ�ing the route of the jourÂ�neys is from CasÂ�aÂ�blanca (MiÂ�chael CurÂ�tiz, 1942), which also inÂ�spired the seÂ�quences set in Cairo and InÂ�diÂ�ana getÂ�ting drunk à la BoÂ�gart after losÂ�ing MarÂ�ion; and the fiÂ�nale with the crate conÂ�tainÂ�ing the Ark Â�stocked in a huge wareÂ�house reÂ�minds us of CitÂ�iÂ�zen Kane (Orson Â�Welles, 1941). As for the main Â�character’s look and naÂ�ture, SpielÂ�berg said: “He’s a reÂ�markÂ�able comÂ�biÂ�naÂ�tion of Errol Flynn from The AdÂ�venÂ�tures of Don Juan [VinÂ�cent SherÂ�man, 1948] and HumÂ�phrey BoÂ�gart as Fred C. Dobbs in The TreasÂ�ure of the Â�Sierra Madre [ John HuÂ�ston, 1948] .€.€. vilÂ�lainÂ�ous and roÂ�manÂ�tic all at once.”13 Two other films also seem to have had more than a litÂ�tle inÂ�fluÂ�ence on the charÂ�acÂ�ter and look of InÂ�diÂ�ana Jones: King Â�Solomon’s Mines (CompÂ�ton BenÂ�nett, AnÂ�drew MarÂ�ton, 1950) and SeÂ�cret of the Incas ( Jerry HopÂ�per, 1954). As in RaidÂ�ers, the male leads—Allan QuarÂ�terÂ�main and Harry Â�Steele, reÂ�specÂ�tively—are Â�rugged adÂ�venÂ�turÂ�ers who inÂ�itially are quite rough with and defÂ�iÂ�nitely imÂ�poÂ�lite to the woman with whom they are Â�forced to Â�travel but end up fallÂ�ing in love with her. In King Â�Solomon’s Mines, when the feÂ�male Â�lead’s elÂ�eÂ�gant dress Â�proves to be toÂ�tally inÂ�adÂ�eÂ�quate for a trip into the junÂ�gle, QuarÂ�terÂ�main unÂ�graceÂ�fully tears it off, as InÂ�diÂ�ana will do with Â�Willie’s in InÂ�diÂ�ana Jones and the TemÂ�ple of Doom. In King Â�Solomon’s Mines there

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is also a capÂ�uÂ�chin monÂ�key Â�called Lulu, which is very simÂ�iÂ�lar to the monÂ�key that Jones meets in Cairo. Also the huge rollÂ�ing boulÂ�der that traps QuarÂ�terÂ�main and his felÂ�lows in a mine cave reÂ�semÂ�bles the one we see in RaidÂ�ers—Â�though anÂ�other Â�rolling-boulder line of anÂ�cesÂ�try can be Â�traced back to JourÂ�ney to the CenÂ�ter of the Earth (Henry Levin, 1959), in which ProÂ�fesÂ�sor LinÂ�denÂ�brook and his team narÂ�rowly esÂ�cape from being Â�crushed by a giÂ�ganÂ�tic rock. In SeÂ�cret of the Incas the river esÂ�cape on a yelÂ�low dinÂ�ghy is simÂ�iÂ�lar to that of InÂ�diÂ�ana Jones and the TemÂ�ple of Doom. MoreÂ�over, the preÂ�cise spot where the Inca treasÂ�ure is hidÂ�den is inÂ�diÂ�cated by a ray of sunÂ�light reÂ�flected from a mirÂ�ror Â�placed in a preÂ�cise poÂ�siÂ�tion at a preÂ�cise moÂ�ment of the day, a trick that will be reÂ�prised for the Ra meÂ�dalÂ�lion and the map room in RaidÂ�ers. Above all, in SeÂ�cret of the Incas the Â�protagonist’s look is very simÂ�iÂ�lar to Â�Jones’s: dark brown Â�leather Â�bomber Â�jacket, Â�wide-brimmed feÂ�dora hat, a reÂ�volÂ�ver in his belt, and his name Harry (Steele) Â�sounds very akin to Henry ( Jones.) RaidÂ�ers of the Lost Ark can be deÂ�fined as a neoÂ�clasÂ�siÂ�cal film beÂ�cause of its many exÂ�plicit and Â�ironic quoÂ�taÂ�tions of past works and its reÂ�trieval and upÂ�date of preÂ�viÂ�ous styÂ�lisÂ�tic opÂ�tions. For exÂ�amÂ�ple, the film mocks the Â�time-honored cliÂ�ché of the hero knockÂ�ing out an enemy to steal his uniÂ�form so as to inÂ�conÂ�spicÂ�uÂ�ously minÂ�gle with the crowd. In this case, InÂ�diÂ�ana Â�punches a Nazi solÂ�dier but when putÂ�ting the stoÂ�len uniÂ�form on, he reÂ�alizes that it is so small that he canÂ�not even butÂ�ton it up. UnÂ�like the Â�low-budget films by which it was inÂ�spired, RaidÂ�ers is inÂ�tenÂ�tionÂ� ally naive and Â�flimsy-looking. It is Â�well-grounded in a deep apÂ�preÂ�ciÂ�aÂ�tion and knowlÂ�edge of clasÂ�siÂ�cal cinÂ�ema to the exÂ�tent that someÂ�times it even borÂ�ders on a philÂ�oÂ�logÂ�iÂ�cal apÂ�proach. In line with this, the proÂ�tagÂ�oÂ�nist here is not just the exÂ�plorer/adÂ�venÂ�turer type like QuarÂ�terÂ�main, Â�Steele, and Dobbs but is also a Â�scholar, a proÂ�fesÂ�sor of arÂ�chaeÂ�olÂ�ogy pasÂ�sionÂ�ately splitÂ�ting his life Â�between the study of the past and the reÂ�covÂ�ery of its relÂ�ics. The same hapÂ�pens for Lucas and SpielÂ�berg. As cineÂ�philes they know and adÂ�mire the clasÂ�siÂ�cal HolÂ�lyÂ�wood films; as “arÂ�chaeÂ�olÂ�oÂ�gists/diÂ�recÂ�tors” they atÂ�tempt to reÂ�cover that style. Lucas and SpielÂ�berg are corÂ�rectly reÂ�garded as two of the main proÂ�motÂ�ers of the reÂ�covÂ�ery of clasÂ�siÂ�cal narÂ�raÂ�tion based on linÂ�eÂ�arÂ�ity and cauÂ�salÂ�ity in the New HolÂ�lyÂ�wood cinÂ�ema.14 The Â�Film’s SynÂ�opÂ�sis and Form and the Scope of the AnalÂ�yÂ�sis ProÂ�fesÂ�sor Henry “InÂ�diÂ�ana” Jones has just come back to the colÂ�lege where he Â�teaches arÂ�chaeÂ�olÂ�ogy, after a darÂ�ing adÂ�venÂ�ture in South

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AmerÂ�ica, durÂ�ing which he had reÂ�covÂ�ered a Â�golden idol, imÂ�meÂ�diÂ�ately stoÂ�len from him by his rival BelÂ�loq. Some repÂ�reÂ�senÂ�taÂ�tives of the U.S. governÂ�ment come to inÂ�form Jones that HitÂ�ler is on the trail of imÂ�porÂ�tant arÂ�chaeÂ�oÂ�logÂ�iÂ�cal arÂ�tiÂ�facts near Cairo and they ask for Â�Jones’s help. InterÂ� pretÂ�ing the inÂ�forÂ�maÂ�tion, Jones reÂ�alizes that HitÂ�ler is lookÂ�ing for the Ark of the CovÂ�eÂ�nant, whose imÂ�mense power would be a masÂ�sive Â�threat in the hands of the dicÂ�taÂ�tor. The arÂ�chaeÂ�olÂ�oÂ�gist then acÂ�cepts the task and Â�leaves. The first step is to reÂ�trieve the headÂ�piece of the Staff of Ra, a meÂ�dalÂ�lion caÂ�pable of inÂ�diÂ�catÂ�ing on a Â�three-dimensional map the place where the Ark is burÂ�ied. HowÂ�ever, the meÂ�dalÂ�lion beÂ�longs to Abner RaÂ�venÂ�wood, Â�Jones’s old menÂ�tor, who is now in Nepal. There, Jones meets Â�Abner’s daughÂ�ter, MarÂ�ion, who runs a tavÂ�ern in the HimÂ�aÂ�layas and has inÂ�herÂ�ited the meÂ�dalÂ�lion upon her Â�father’s death. Since Jones and MarÂ�ion had preÂ�viÂ�ously been inÂ�volved in a love afÂ�fair gone awry, she is only willÂ�ing to swap the headÂ�piece for a large sum of money. MeanÂ�while, the Nazis reach the bar, led by the uncÂ�tuÂ�ous and viÂ�cious Toht. Jones saves MarÂ�ion and sucÂ�ceeds in reÂ�trievÂ�ing the meÂ�dalÂ�lion. The tavÂ�ern is deÂ�stroyed by a fire, and MarÂ�ion has to reÂ�lucÂ�tantly folÂ�low Jones, hopÂ�ing to gain a reÂ�ward for her loss. The next stop is Cairo, where the Nazis have alÂ�ready found the room with the Â�three-dimensional map of the anÂ�cient city of Tanis—BelÂ�loq is the head of the exÂ�caÂ�vaÂ�tion site. Since they do not have the meÂ�dalÂ�lion, they canÂ�not loÂ�cate the spot where the Ark is burÂ�ied. In Cairo, Jones is welÂ�comed by his Â�friend SalÂ�lah, one of the exÂ�caÂ�vaÂ�tors hired to Â�search for the Ark. In order to get the meÂ�dalÂ�lion, the Nazis kidÂ�nap MarÂ�ion and atÂ�tempt to kill Jones. With the help of SalÂ�lah, Jones manÂ�ages to sneak into the exÂ�caÂ�vaÂ�tion site. He enÂ�ters the map room and, Â�thanks to the meÂ�dalÂ�lion, idenÂ�tifies the exact point where the Ark is burÂ�ied—the Nazis have a parÂ�tial copy of the headÂ�piece and are digÂ�ging in the wrong spot. That night, Jones and SalÂ�lah find the “Well of Souls,” a large tomb that Â�houses the Ark and is Â�crammed with poiÂ�sonÂ�ous Â�snakes. HowÂ�ever, the Nazis disÂ�cover the clanÂ�desÂ�tine opÂ�erÂ�aÂ�tion and steal the Ark, enÂ�capÂ�suÂ�latÂ�ing Jones and MarÂ�ion in the tomb to a cerÂ�tain death. The two manÂ�age to esÂ�cape; Jones, after chasÂ�ing the truck carÂ�ryÂ�ing the Ark, sucÂ�ceeds in stealÂ�ing it from the Nazis. Jones and MarÂ�ion board Capt. Â�Katanga’s ship with the Ark, but the Nazis find them, take the Ark, and kidÂ�nap MarÂ�ion, givÂ�ing her to BelÂ�loq, who has falÂ�len in love with her. Jones has manÂ�aged to avoid being capÂ�tured and Â�sneaks into the Nazi subÂ�maÂ�rine. The Â�U-boat Â�emerges on an isÂ�land in the AeÂ�gean Sea, and the Ark is carÂ�ried Â�through

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a gorge to be Â�opened durÂ�ing an anÂ�cient HeÂ�brew ritÂ�ual. ThreatÂ�enÂ�ing to deÂ�stroy the Ark with a baÂ�zooka, Jones Â�blocks the conÂ�voy and calls for the reÂ�lease of MarÂ�ion. BelÂ�loq knows that Jones is bluffÂ�ing and does not comÂ�ply with him. InÂ�deed, Jones is reÂ�lucÂ�tant to blow up the Ark and evenÂ�tuÂ�ally surÂ�renÂ�ders. ToÂ�gether with MarÂ�ion, Jones is taken to the site of the openÂ�ing rite. The rite beÂ�gins and when the lid is reÂ�moved, the Ark is reÂ�vealed to conÂ�tain nothÂ�ing but sand. Â�Belloq’s disÂ�apÂ�pointÂ�ment soon turns into surÂ�prise when light and smoke start pourÂ�ing out of the Ark. Jones warns MarÂ�ion to keep her eyes shut: fire leaps out from the Ark and Â�strikes down the Nazi solÂ�diers, while some Death AnÂ�gels kill Toht, BelÂ�loq and the WehrÂ�macht coloÂ�nel. Jones and MarÂ�ion, who kept their eyes Â�closed, are the only surÂ�viÂ�vors. The Ark is Â�handed over to ofÂ�fiÂ�cials in WashÂ�ingÂ�ton, who exÂ�clude Jones from any reÂ�search on it and even reÂ�fuse to reÂ�veal the place where it is kept. Jones Â�leaves the buildÂ�ing in bitÂ�ter disÂ�apÂ�pointÂ�ment, comÂ�plainÂ�ing about the Â�bureaucrats’ obÂ�tuseÂ� ness. He finds MarÂ�ion waitÂ�ing for him outÂ�side the buildÂ�ing, and she tries to cheer him up. MeanÂ�while, the Ark is Â�locked in an anonÂ�yÂ�mous Â�wooden crate and Â�stored in a vast wareÂ�house full of hunÂ�dreds of idenÂ�tiÂ� cal Â�crates, probÂ�ably to be lost again.

The most inter�est�ing for�mal char�ac�ter�is�tic of Raid�ers is the way in which the clas�si�cal nar�ra�tion �merges with epi�sodic and freer mo�dal�ities typ�i�cal of se�ri�als and �B-movies: It is also clear that Raid�ers it�self tells a story, a story which is struc�tured ac�cord�ing to the prin�ci�ples of the se�rial for�mat that op�er�ated in �B-movie ad�ven�ture films in the 1930s and 1940s. .€.€. It can thus be di�vided into six dis�tinct epi�sodes, each of which is rel�a�tively �self-contained, and each of which ends in a se�ries of rapid dra�matic ac�tions and/or in an un�re�solved �cliff-hanging se�quence .€.€. As is the case in most se�rial nar�ra�tives, cau�sal mo�ti�va�tions ap�pear at times to be sus�pended; it is un�clear, for in�stance, pre�cisely how Jones es�capes from the Nazi Sub�ma�rine. .€.€. How�ever, a sin�gle �plot-line �linked to the �search for the ark of the cov�e�nant, and an an�tag�o�nis�tic re�la�tion�ship �between the hero, Jones, and the vil�lain, Bel�loq, link each of these se�quences to�gether.15

Under the epiÂ�sodic and specÂ�tacÂ�uÂ�lar apÂ�pearÂ�ance of the Â�film’s surÂ�face, in its Â� deeper strucÂ�ture we recÂ�ogÂ�nize the solid pilÂ�lars of clasÂ�siÂ�cal narÂ�raÂ�tion. Each charÂ�acÂ�ter unÂ�amÂ�bigÂ�uÂ�ously shows his psychoÂ�logÂ�iÂ�cal Â�traits; his acÂ�tions are and

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reÂ�main conÂ�sisÂ�tent with his psycholÂ�ogy and are moÂ�tiÂ�vated by clear reaÂ�sons. Each acÂ�tion is Â�oriented to the achieveÂ�ment of a known scope/obÂ�ject, and this purÂ�suit linÂ�eÂ�arly Â�guides the chain of acÂ�tions to the end of the story. AcÂ�tions, typÂ�iÂ�cally, are orÂ�dered along a Â�well-constructed proÂ�gresÂ�sion and Â�linked by Â�cause-andeffect reÂ�laÂ�tions. For exÂ�amÂ�ple, in order to find the Ark, Jones needs the meÂ�dalÂ�lion of Ra, and in order to find it he has to ask Â�Marion’s help. MarÂ�ion hates Jones and will give him the meÂ�dalÂ�lion only in reÂ�turn for a sigÂ�nifÂ�iÂ�cant Â�amount of money. When the Nazis atÂ�tack, Jones manÂ�ages to save her but not her tavÂ�ern, which ends up being deÂ�stroyed. ThereÂ�fore, MarÂ�ion, Â�though deÂ�testÂ�ing Jones, canÂ�not do anyÂ�thing else but folÂ�low him in the quest, deÂ�mandÂ�ing a part of the reÂ�ward as comÂ�penÂ�saÂ�tion for the loss of her tavÂ�ern. Â�Marion’s charÂ�acÂ�ter is introÂ�duced acÂ�cordÂ�ing to the clasÂ�siÂ�cal stanÂ�dards. Her charÂ�acÂ�ter Â�traits are straightÂ�forÂ�wardly deÂ�fined from the very first moÂ�ments of her first apÂ�pearÂ�ance, and they reÂ�main unÂ�changed throughÂ�out the story. MarÂ�ion is introÂ�duced in her tavÂ�ern in the HimÂ�aÂ�layas while she is chalÂ�lengÂ�ing a burly NepÂ�aÂ�lese to a drinkÂ�ing conÂ�test. From the beÂ�ginÂ�ning, the narÂ�raÂ�tion shows MarÂ�ion as a tough, teÂ�naÂ�cious KathÂ�aÂ�rine HepÂ�burn–like woman. The narÂ�raÂ�tive deÂ�vice of the drinkÂ�ing conÂ�test is not only funcÂ�tional to introÂ�duce the charÂ�acÂ�ter but also has a comÂ�poÂ�siÂ�tional moÂ�tiÂ�vaÂ�tion, which will be reÂ�vealed later when BelÂ�loq tries to get MarÂ�ion drunk in the hope that she will inÂ�adÂ�verÂ�tently give away some inÂ�forÂ�maÂ�tion about the meÂ�dalÂ�lion. UnÂ�like the viewÂ�ers, BelÂ�loq does not know that MarÂ�ion is used to drinkÂ�ing hard liqÂ�uor, and his Â�scheme will be Â�thwarted, endÂ�ing up with him getÂ�ting drunk. We are not just inÂ�formed that MarÂ�ion is a tough woman but we are also given a piece of inÂ�forÂ�maÂ�tion that we use later in the story: this is the clasÂ�siÂ�cal deÂ�vice of plantÂ�ing a “set-up,” which later blosÂ�soms into a “pay-off.”16 The same dual funcÂ�tion is found in the epiÂ�sode in which Toht the Nazi— moÂ�ments after havÂ�ing threatÂ�ened MarÂ�ion with a Â�red-hot poker—Â�brands the palm of his hand in grabÂ�bing the Â�red-hot meÂ�dalÂ�lion. ApÂ�parÂ�ently, the moÂ�tiÂ�vaÂ�tion for this acÂ�tion could be seen as a “karÂ�mic” balÂ�ance punÂ�ishÂ�ing the evil Nazi, which also Â�serves as comic reÂ�lief, with Toht screamÂ�ing hysÂ�terÂ�iÂ�cally and franÂ� tiÂ�cally runÂ�ning out of the tavÂ�ern to shove his hand into the snow. Later, we disÂ�cover that this comic gag was also a Â�set-up moÂ�tiÂ�vated comÂ�poÂ�siÂ�tionÂ�ally. Why do the Nazis have the meÂ�dalÂ�lion of Ra if it is in Â�Jones’s posÂ�sesÂ�sion? They had a copy made from the fireÂ�brand on Â�Toht’s hand, as the narÂ�raÂ�tion reÂ�veals when Toht disÂ�plays it durÂ�ing an Â�open-palm Nazi saÂ�lute: here is the Â�pay-off. There are also some diÂ�alogue hooks typÂ�iÂ�cal of clasÂ�siÂ�cal narÂ�raÂ�tion where a line of diÂ�alogue anÂ�ticÂ�iÂ�pates what will hapÂ�pen in the next scene, servÂ�ing as a Â�bridge to Â�smooth the tranÂ�siÂ�tion.17 For exÂ�amÂ�ple, after the esÂ�cape from the Well

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of Souls, SalÂ�lah inÂ�forms Jones that the Ark has just been Â�loaded onto a truck. Jones looks at his EgypÂ�tian Â�friend and asks: “What truck?” ImÂ�meÂ�diÂ�ately after, we see the truck leavÂ�ing the exÂ�caÂ�vaÂ�tion site and Jones chasÂ�ing it on horseÂ�back. We have seen that RaidÂ�ers is a neoÂ�clasÂ�siÂ�cal film reÂ�sortÂ�ing to some staÂ�ples of the clasÂ�siÂ�cal narÂ�raÂ�tion form. In the folÂ�lowÂ�ing pages, the film is anÂ�aÂ�lyzed as to the way John Â�Williams’s neoÂ�clasÂ�siÂ�cal score supÂ�ports such narÂ�raÂ�tion and as to the way it fulÂ�fills, Â�through an exÂ�tenÂ�sive use of leitÂ�moÂ�tiv and Â�Mickey-Mousing, the typÂ�iÂ�cal funcÂ�tion of the clasÂ�siÂ�cal music style: the spaÂ�tial perÂ�cepÂ�tive funcÂ�tion. Since the analÂ�yÂ�sis cenÂ�ters on the forÂ�mal funcÂ�tions of film music, interÂ�preÂ�tive readÂ�ings seekÂ�ing to unÂ�earth the “sympÂ�toÂ�matic meanÂ�ings” of the film—freÂ�quently inÂ�diÂ�cated as an early case of Â�right-wing “ReÂ�agÂ�aÂ�nite enÂ�terÂ�tainÂ�ment”—is not the main conÂ�cern here.18 UnÂ�deÂ�niÂ�ably, RaidÂ�ers Â�flaunts many raÂ�cial and Â�quasi-racist stereoÂ�types: South Â�Americans as cowÂ�ards, lazy, and petty; Arabs as unÂ�trustÂ� worthy, threatÂ�enÂ�ing, and deÂ�ceitÂ�ful; along with some overt celÂ�eÂ�braÂ�tions of Â�American superÂ�iorÂ�ity, as in the faÂ�mous scene in which Jones looks down on an imÂ�posÂ�ing Arab showÂ�ing off his scimÂ�iÂ�tar and simÂ�ply Â�shoots him down with his Â�stars-and-stripes reÂ�volÂ�ver. HowÂ�ever, disÂ�cussÂ�ing the ideolÂ�ogy beÂ�hind these stereoÂ�types is also not the focus of this analÂ�yÂ�sis.19 Here, these stereoÂ�types are seen as clasÂ�siÂ�cal conÂ�venÂ�tions imÂ�ported in the Â�film’s neoÂ�clasÂ�siÂ�cal “packÂ�age” along with the fake exÂ�otÂ�iÂ�cism of the scenÂ�ery. Such Â�rough-cut stereoÂ�typÂ�iÂ�cal charÂ�acÂ�ters were coÂ�piÂ�ously Â�present in the genre cinÂ�ema and Â�B-movies that inÂ�spired RaidÂ�ers, for exÂ�amÂ�ple, the MexÂ�iÂ�cans in TreasÂ�ure of the Â�Sierra Madre or the InÂ�dians in The Naked JunÂ�gle (Byron HaÂ�skin, 1954). They are not so much Â�fullbodied charÂ�acÂ�ters as imÂ�meÂ�diÂ�ately recÂ�ogÂ�nizÂ�able Â�one-dimensional figÂ�ures repÂ�reÂ� sentÂ�ing a speÂ�cific ethÂ�nic or soÂ�cial group—someÂ�thing simÂ�iÂ�lar to the SoÂ�viet cinÂ�ema typÂ�age. The Score: Its Main Themes Â� and MoÂ�tifs In 1981, after havÂ�ing comÂ�posed the music for the film, Â�Williams deÂ�scribed his work: “It is a wonÂ�derÂ�ful adÂ�venÂ�ture film in the style of the ’30s—like a Â�BogartBacall film set in the MidÂ�dle East. It has an 80Â�-Â�minute score which I wrote in DeÂ�cemÂ�ber and JanÂ�uÂ�ary and which I reÂ�corded with the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra in FebÂ�ruÂ�ary. It’s all in the manÂ�ner of Max Â�Steiner .€.€. Â�things like the Â�hero’s theme and the big love theme.”20 Like the two Â�biggest neoÂ�clasÂ�siÂ�cal exÂ�amÂ�ples that preÂ�ceded RaidÂ�ers—Star Wars and SuperÂ�man: The Movie—the music plays a major role. And the disÂ�tinÂ�guishÂ�ing feaÂ�tures of the clasÂ�siÂ�cal style are simÂ�iÂ�larly reÂ�covÂ�ered: leitÂ�moÂ�tiv, Â�Mickey-Mousing,

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theÂ�matic deÂ�velÂ�opÂ�ment, use of the large symÂ�phony orÂ�chesÂ�tra, and Â�late-romantic diÂ�alect. HowÂ�ever, comÂ�pared to the other two films, the score for RaidÂ�ers Â�stands out for its more freÂ�quent and emÂ�phaÂ�sized use of Â�Mickey-Mousing and for its meÂ�ticÂ�uÂ�lous reÂ�enÂ�actÂ�ment of clasÂ�siÂ�cal music cliÂ�chés. Â�Williams reÂ�called, “The InÂ�diÂ�ana Jones moÂ�vies were great fun. There was nothÂ�ing I had to take too seÂ�riÂ�ously muÂ�siÂ�cally. They were theatÂ�riÂ�cal and Â�over-the-top.21 .€.€. I mean, we have the Nazis, you know, and the orÂ�chesÂ�tra hits these 1940s draÂ�matic Â�chords, you know, Â�seventh deÂ�gree of the scale on the botÂ�tom, which is a kind of an old sigÂ�nal of some evil, milÂ�iÂ�taÂ�risÂ�tic doer. We just unÂ�abashÂ�edly did that just for the fun of it. I mean, for the camp fun of it. It’s adÂ�misÂ�sible, it seems, in the style of a picÂ�ture like this.”22 The Â�intra-opus style is more straightÂ�forÂ�ward and simÂ�pler in terms of harÂ�mony than those of Star Wars and SuperÂ�man. The refÂ�erÂ�ences for those Â�scores were Â�Wagner’s opÂ�erÂ�atic theÂ�matÂ�iÂ�cism, RichÂ�ard Â�Strauss’s rich orÂ�chesÂ�tral palÂ�ette, and Â�Korngold’s balÂ�ance Â�between cinÂ�eÂ�matic funcÂ�tionÂ�alÂ�ity and muÂ�siÂ�cal form. For RaidÂ�ers the model was Max Â�Steiner and his Â�highly funcÂ�tional idiom aimÂ�ing to ilÂ�lusÂ�trate each image and catch each acÂ�tion muÂ�siÂ�cally. It was not a “space opera,” but a homÂ�age to the Â�low-cost adÂ�venÂ�ture Â�B-movies. Â�Williams conÂ�seÂ� quently made his writÂ�ing more diÂ�rect and esÂ�senÂ�tial in order to mirÂ�ror in music that straightÂ�forÂ�ward and Â�stripped-down film style. Not that the RaidÂ�ers score is Â�stripped-down in the sense that it Â�sounds like a GioÂ�vanni Fusco score for an AnÂ�tonÂ�iÂ�oni film, of course. On the Â�contrary, the music is emÂ�phatic and heÂ�roic and—like Star Wars and SuperÂ�man—Â�Williams reÂ�corded it with the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra, again showÂ�casÂ�ing the brilÂ�liant sound of its prinÂ�ciÂ�pal trumÂ�pet MauÂ�rice MurÂ�phy.23 The point is that from a harÂ�monic point of view, the writÂ�ing is simÂ�pler, and from a meÂ�lodic point of view the Â�themes have a more humÂ�mable qualÂ�ity—comÂ�pare “Princess Leia’s Theme” from Star Wars to “Marion’s Theme” from RaidÂ�ers. The first InÂ�diÂ�ana Jones theme is the faÂ�mous one feaÂ�tured in the conÂ�cert verÂ�sion Â�called RaidÂ�ers March.24 From here on, it will be Â�called “Indy 1” beÂ�cause this is the prinÂ�ciÂ�pal leitÂ�moÂ�tiv asÂ�soÂ�ciated with the InÂ�diÂ�ana Jones charÂ�acÂ�ter. From a harÂ�monic point of view, it is built on the simÂ�ple alÂ�terÂ�naÂ�tion of I and V deÂ�grees—tonic and domÂ�iÂ�nant. It feaÂ�tures such Â�Williams idioÂ�matic Â�traits as the added Â�fourth and the omitÂ�ted leadÂ�ing tone colÂ�orÂ�ing the harÂ�monic patÂ�tern, which has a twist in the Â�eighth bar with a chord built on the flatÂ�tened secÂ�ond deÂ�gree—a sort of NeaÂ�polÂ�iÂ�tan chord in major mode. If comÂ�pared to the I–IV–I harÂ�monic proÂ�gresÂ�sion that charÂ�acÂ�terizes Star Wars and SuperÂ�man, this I–V–I proÂ�gresÂ�sion Â�sounds less modal and more diÂ�atonic—that is, more popÂ�uÂ�lar. As for the meÂ�lodic comÂ�poÂ�nent, it is clear that a good leitÂ�moÂ�tiv is one caÂ�pable of

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reÂ�vealÂ�ing muÂ�siÂ�cally many Â�traits of a charÂ�acÂ�ter. StickÂ�ing to our preÂ�viÂ�ous comÂ�parÂ�iÂ�son Â�between the two heÂ�roes, it is interÂ�estÂ�ing to comÂ�pare the InÂ�diÂ�ana Jones theme with the James Bond theme.25 The folÂ�lowÂ�ing is SerÂ�gio Â�Miceli’s inÂ�sightÂ�ful analÂ�yÂ�sis: The “James Bond Theme” Â�stands out in the colÂ�lecÂ�tive imagÂ�iÂ�naÂ�tion as an icon of “BondÂ�ism,” that is, superÂ�manÂ�hood. .€.€. [It has] a dyÂ�namic comÂ� poÂ�nent, inÂ�trinÂ�siÂ�cally caÂ�pable of exÂ�pressÂ�ing an unÂ�stopÂ�pable enÂ�ergy and deÂ�terÂ�miÂ�naÂ�tion (the analÂ�ogy with Bond reÂ�quires no comÂ�ment). .€.€. The rhythÂ�mic patÂ�tern Â�sounds like a marÂ�tial forÂ�mula: a simÂ�ple trumÂ�pet sigÂ�nal simÂ�iÂ�lar to a “call to arms” or “charge!” At the same time, the Â�electric guiÂ�tar gives a modÂ�ern urban mood to it and an inÂ�soÂ�lent tone to the overÂ�all patÂ�tern. InÂ�deed, there is the coÂ�exÂ�isÂ�tence of a conÂ�formÂ�ist, Â�strict side with an unÂ�conÂ�venÂ�tional, unÂ�preÂ�dictÂ�able one (as the proÂ�tagÂ�oÂ�nist is.) [There is also] a sense of Â�self-satisfaction deÂ�rivÂ�ing from his own omÂ�nipÂ�oÂ� tence, which can be heard both in the contraÂ�punÂ�tal writÂ�ing .€.€.—which is like an irÂ�reÂ�pressÂ�ible exÂ�troÂ�verÂ�sion of difÂ�ferÂ�ent comÂ�poÂ�nents—and in the harÂ�monic strucÂ�ture .€.€. whose Â�chords sound like a celÂ�eÂ�braÂ�tory Â�chorus (Bond’s preÂ�rogÂ�aÂ�tives seem to be out of conÂ�trol but they are nevÂ�erÂ�theÂ�less the exÂ�presÂ�sion and the prodÂ�uct of a comÂ�plex and multiÂ� form governÂ�ment apÂ�paÂ�raÂ�tus).26

AnÂ�other comÂ�parÂ�iÂ�son can be made with Luke’s theme (“Main Title”) from Star Wars. The theme opens with the Â�perfect-fifth upÂ�ward leap Â�played by the trumÂ�pets—the Â�perfect-fifth upÂ�ward leap being anÂ�other of Â�Williams’s idioÂ�matic Â�traits typÂ�iÂ�cally emÂ�ployed to deÂ�pict heroÂ�ism, as in SuperÂ�man. The folÂ�lowÂ�ing downÂ� ward tripÂ�let of conÂ�tigÂ�uÂ�ous notes is like a run beÂ�fore the Â�minor-seventh jump to the high Â�B-flat. The high Â�B-flat is susÂ�tained for two beats Â�across two measÂ�ures— as to deÂ�pict a susÂ�tained heÂ�roic efÂ�fort—and the Â�minor-seventh introÂ�ducÂ�ing it is a Â�larger interÂ�val than the fifth.27 Thus such a comÂ�biÂ�naÂ�tion—Â�minor-seventh jump and susÂ�tained high Â�B-flat—sigÂ�nifies a vicÂ�toÂ�riÂ�ous achieveÂ�ment. From Â�B-flat, the meÂ�lodic line goes down to F—a Â�perfect-fourth downÂ�ward leap—which is the inÂ�verÂ�sion of the upÂ�ward perÂ�fect fifth. The tripÂ�let and the Â�minor-seventh leap are reÂ�stated, and the theme Â�closes with a tripÂ�let that Â�brings the music to rest on the secÂ�ond deÂ�gree (C). Â�Luke’s theme Â�speaks of heroÂ�ism and vicÂ�toÂ�riÂ�ous high achieveÂ�ments, which are conÂ�firmed twice by the repÂ�eÂ�tiÂ�tion of the Â�minor-seventh jump. Not a sinÂ�gle note deÂ�scends below the startÂ�ing point (B-flat above the midÂ�dle C) from which the heÂ�roic meÂ�lodic jourÂ�ney has begun.

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Transcription of John Williams, “Main Title” (mm. 3–10), from Star Wars: Suite for Orchestra (© 1977 BMI), published by Bantha Music and Warner-Tamerlane Publishing Corp., administered by Warner-Tamerlane Publishing Corp., printed by Hal Leonard, “John Williams Signature Edition,” 044900057 [Used in compliance with the U.S. Copyright Act, Section 107].

In the InÂ�diÂ�ana Jones theme, the heÂ�roic Â�traits are also Â�present, but their naÂ�ture is more unÂ�cerÂ�tain and Â�ironic, and the overÂ�all tone is less idealÂ�ized and a litÂ�tle more bragÂ�gart. Here, the theme does not open with a Â�perfect-fifth upÂ�ward leap—Â�Williams’s tradeÂ�mark for “pure heroÂ�ism.” It opens with a Â�cheeky dotÂ�ted Â�rhythm folÂ�lowed by a Â�perfect-fourth leap to the tonic. The Â�perfect-fourth leap, unÂ�like the Â�perfect-fifth leap (from the tonic to the domÂ�iÂ�nant), Â�sounds like a cloÂ�sure (the reÂ�turn to the tonic) Â�rather than a start (sepÂ�arÂ�aÂ�tion from the tonic.) The music seems to be sayÂ�ing: “Here it is, I have heÂ�roÂ�iÂ�cally comÂ�pleted my misÂ�sion.” HowÂ�ever, as the film reÂ�peatÂ�edly demÂ�onÂ�strates, Jones is not at all inÂ� falÂ�lible and inÂ�deÂ�structÂ�ible. In a scene where MarÂ�ion Â�starts kissÂ�ing and cudÂ�dling Jones on the bed—after a day of jeopÂ�ardy faced toÂ�gether—Â�rather than seeÂ�ing a pasÂ�sionÂ�ate love scene, we see Jones fallÂ�ing Â�asleep, achÂ�ing and exÂ�hausted. The narÂ�raÂ�tion is Â�sharply Â�ironic in showÂ�ing us not a hero that is alÂ�ways elÂ�eÂ�gant and Â�well-groomed as Bond, but a man covÂ�ered in mud, Â�scratches, and Â�bruises who typÂ�iÂ�cally manÂ�ages to get himÂ�self out of trouÂ�ble quite clumÂ�sily. At the beÂ�ginÂ�ning of RaidÂ�ers, when Jones puts a bag of sand on the seÂ�curÂ�ity mechÂ�aÂ�nism on which the idol is Â�placed in order to block the trigÂ�ger, he Â�smiles Â�proudly for havÂ�ing Â�shrewdly Â�avoided the anÂ�cient alarm Â�system. “I made it,” his smile seems to say. soon turns into fear when he reÂ�alizes that he has misÂ�calÂ�cuÂ� His self-satisfaction Â� lated, and the bag is not heavy Â�enough to stop the deÂ�vice. He canÂ�not but fall back on a hasty and Â�rather unÂ�heÂ�roic Â�flight. SimÂ�iÂ�larly, in the leitÂ�moÂ�tiv, after the first Â�perfect-fourth leap (“I made it!”) the meÂ�lodic line contraÂ�dicts it by going down a minor Â�seventh, even below the startÂ�ing note. Then the openÂ�ing dotÂ�ted Â�rhythm is reÂ�peated but stops after a minor secÂ�ond (the minor secÂ�ond being the smallÂ�est move in the scale). As with the film narÂ�raÂ�tion, the music also takes Â�Jones’s heroÂ�ism ironÂ�iÂ�cally down a peg or two. NoneÂ�theÂ�less, Jones is stubÂ�born and not inÂ�clined to givÂ�ing up altoÂ�gether: we exÂ�pect him to win in the end. InÂ�deed,

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the melÂ�ody goes on, reÂ�peatÂ�ing the dotÂ�ted Â�rhythm startÂ�ing from a Â�higher note (G) and jumpÂ�ing up to the high F. It is a betÂ�ter reÂ�sult, but still not Â�enough: this jump to the high F is a Â�diminished-fifth leap, that is “inÂ�comÂ�plete heroÂ�ism,” if we take the Â�perfect-fifth leap as the muÂ�siÂ�cal equivÂ�aÂ�lent of heroÂ�ism. The next muÂ�siÂ�cal gesÂ�ture reÂ�states the dotÂ�ted Â�rhythm, startÂ�ing from A—a poÂ�siÂ�tion Â�higher than the preÂ�viÂ�ous G startÂ�ing point—folÂ�lowed by three conÂ�tigÂ�uÂ�ous notes on the scale, Â�played Â�well-marked, as to sugÂ�gest Â�Jones’s deÂ�terÂ�miÂ�naÂ�tion to Â�achieve his goal. The melÂ�ody reÂ�prises from the inÂ�itial poÂ�siÂ�tion (E), reÂ�peatÂ�ing the dotÂ�ted Â�rhythm and the Â�fourth leap. This time, howÂ�ever, the line conÂ�tinÂ�ues its rise Â�through conÂ�tigÂ�uÂ�ous notes, repÂ�liÂ�catÂ�ing an ocÂ�tave Â�higher the same notes preÂ�viÂ�ously heard as an Â�ironic gesÂ�ture of deÂ�feat, now transÂ�formed into a sucÂ�cessÂ�ful proÂ�gresÂ�sion, which stops on the high F that had been preÂ�viÂ�ously Â�reached “imÂ�perÂ�fectly” Â�through the Â�diminished-fifth leap. At the moÂ�ment in which the high F is fiÂ�nally Â�achieved, the harÂ�mony Â�presents a Â�bright chord on the Â�flattened-second deÂ�gree: this has the funcÂ�tion of stressÂ�ing in an emÂ�phatic way the conÂ�quest of that poÂ�siÂ�tion. Then, there are two bars in which the trumÂ�pets do not play in uniÂ�son as they have done so far but in vigÂ�orÂ�ous Â�chords and perÂ�formÂ�ing four leaps covÂ�erÂ�ing a major sixth, soundÂ�ing even more heÂ�roic than the heÂ�roic perÂ�fect fifth. It is a Â�tongue-in-cheek deÂ�picÂ�tion of the heÂ�roic gesÂ�ture, a swagÂ�gerÂ�ing celÂ�eÂ�braÂ�tion of vicÂ�tory after many deÂ�feats. “You know the kind of thing .€.€. a heÂ�roic theme that Â�swells when Â�things are going well for our hero, the kind of music that makes the auÂ�diÂ�ence want to cheer,” said Â�Williams.28

Transcription of John Williams, “Indiana Jones’s A Theme” (mm. 3–12), from Raiders March (© 1981 BMI), published by Bantha Music and Ensign Music Corp., administered by Ensign Music Corp., printed by Hal Leonard, “John Williams Signature Edition,” 044900015 [Used in compliance with the U.S. Copyright Act, Section 107].

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That this leitÂ�moÂ�tiv is in the march form, as in SuperÂ�man and Star Wars, is a furÂ�ther neoÂ�clasÂ�siÂ�cal eleÂ�ment beÂ�cause, as Â�Williams comÂ�ments, it Â�evokes memÂ�oÂ�ries of and feelÂ�ings for the past: [ T ]his isn’t a peÂ�riod of time many peoÂ�ple asÂ�soÂ�ciate with march music. That seems to beÂ�long to Â�Sousa’s peÂ�riod, but I must enjoy writÂ�ing Â�marches. One Â�friend I have Â�worked with for years has said, “John’s happy to write a march at the drop of the foot.” Of Â�course each of my Â�marches was writÂ�ten to meet some muÂ�siÂ�cal film reÂ�quireÂ�ments. .€.€. A good march does get the blood up, and it might take a Â�clever musiÂ�colÂ�oÂ� gist or soÂ�ciÂ�olÂ�oÂ�gist or comÂ�biÂ�naÂ�tion of the two to exÂ�plain why this is true. .€.€. One of the most sigÂ�nifÂ�iÂ�cant asÂ�pects of a march is the nosÂ�talÂ�gia inÂ�volved. In a way it might be simÂ�iÂ�lar to baseÂ�ball in that everyÂ�one who goes to a game surÂ�renÂ�ders a part of conÂ�temÂ�poÂ�rary life. .€.€. The ballÂ�park takes us back to the eras of our parÂ�ents, grandÂ�parÂ�ents, and Â�greatgrandparents, who had a very difÂ�ferÂ�ent sense of time. I beÂ�lieve the days Â�seemed to be Â�longer beÂ�cause the pace was Â�slower. If peoÂ�ple had three hours to kill, they went to a ballÂ�park, ate hot dogs, and Â�waited for someÂ� body to hit the ball, knowÂ�ing it might never hapÂ�pen. Today peoÂ�ple go to the ballÂ�park and surÂ�renÂ�der to a kind of reÂ�gresÂ�sion that leads back to an earÂ�lier time in this counÂ�try. I think that the Sousa march and the Â�swingy march—the kind of Â�marches the Bill FineÂ�gan and Glenn Â�Miller bands Â�played—go to some place in the Â�American soul and are part of what deÂ�fines us as a naÂ�tion.29

A furÂ�ther note on the InÂ�diÂ�ana Jones theme: FolÂ�lowÂ�ing the aesÂ�thetÂ�ics of the seÂ�riÂ�als, when the main theme is introÂ�duced for the first time (at the end of the openÂ�ing South Â�American JunÂ�gle seÂ�quence) it is imÂ�meÂ�diÂ�ately preÂ�sented in its outÂ�right naÂ�ture of heÂ�roic theme, withÂ�out folÂ�lowÂ�ing the clasÂ�siÂ�cal traÂ�diÂ�tion reÂ�quirÂ� ing a gradÂ�ual introÂ�ducÂ�tion of the proÂ�tagÂ�oÂ�nist and his evÂ�oÂ�luÂ�tion over the Â�course of the narÂ�raÂ�tive. A comÂ�parÂ�iÂ�son with Star Wars and SuperÂ�man can make the point Â�clearer. In both cases the main theme is preÂ�sented in the openÂ�ing credÂ�its as an anÂ�ticÂ�iÂ�paÂ�tion of the muÂ�siÂ�cal goal to be Â�reached; we hear it again much later but only when the proÂ�tagÂ�oÂ�nist has atÂ�tained a cerÂ�tain deÂ�gree of evÂ�oÂ�luÂ�tion on the “heroÂ�ism scale.” In Star Wars, after the openÂ�ing title seÂ�quence, we hear the main theme again when we see Luke on TaÂ�tooine for the first time. The narÂ�raÂ� tion tells us here that the “Main Title” theme is Â�Luke’s leitÂ�moÂ�tiv, but it is Â�played as a horn solo, and then reÂ�prised by the woodÂ�winds in a light orÂ�chesÂ�traÂ�tion— still an “imÂ�maÂ�ture” verÂ�sion. Only when Luke resÂ�cues PrinÂ�cess Leia from the

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Â�prison and, purÂ�sued by the imÂ�peÂ�rial Â�guards, Â�crosses a chasm with her in his arms, we now hear his leitÂ�moÂ�tiv Â�played heÂ�roÂ�iÂ�cally by the trumÂ�pets: Luke has taken the first step toÂ�ward his heÂ�roic maÂ�turÂ�ity. SimÂ�iÂ�larly, we hear the SuperÂ�man theme again, Â�played by the trumÂ�pets, when Clark Kent Â�emerges from the spirÂ�iÂ� tual reÂ�treat of the “ForÂ�tress of SolÂ�iÂ�tude,” no Â�longer a youngÂ�ster and ready to be a superÂ�hero. As for InÂ�diÂ�ana Jones, the narÂ�raÂ�tion does not show the evÂ�oÂ�luÂ�tion he has made to beÂ�come what he is now but introÂ�duces him diÂ�rectly as he alÂ�ready is: a Â�shrewd hero (see chap. 10). MoreÂ�over, Â�Luke’s and Â�Superman’s leitÂ�moÂ�tivs are preÂ�sented in the openÂ�ing credÂ�its and only later asÂ�soÂ�ciated with a parÂ�ticÂ�uÂ�lar charÂ�acÂ�ter. ThereÂ�fore, they are also perÂ�ceived as the sigÂ�naÂ�ture muÂ�siÂ�cal theme of the film in a more proÂ�nounced way and as muÂ�siÂ�cal equivÂ�aÂ�lents of the idea of the Hero in genÂ�eral, Â�besides the parÂ�ticÂ�uÂ�lar heÂ�roes feaÂ�tured in those films.30 On the Â�contrary, in RaidÂ�ers the main theme is not preÂ�sented in the openÂ�ing title seÂ�quence, but it alÂ�ways apÂ�pears when InÂ�diÂ�ana Jones shows up. UnÂ�doubtÂ�edly, it has ended up with being asÂ�soÂ�ciated with the film in the minds of the viewÂ�ers, but it is priÂ� marÂ�ily InÂ�diÂ�ana Â�Jones’s “perÂ�sonal” leitÂ�moÂ�tiv. Again, RaidÂ�ers is not about the Â�Hero’s jourÂ�ney but about a Â�hero’s jourÂ�neys; the music has to repÂ�reÂ�sent not HeroÂ�ism but one type of heroÂ�ism. This may also exÂ�plain why the Â�Williams-trademark heÂ�roic Â�perfect-fifth upÂ�ward leap, which is the basis of Â�Luke’s and Â�Superman’s leitÂ�moÂ�tivs, is not used for InÂ�diÂ�ana Jones. InÂ�diÂ�ana Jones also has anÂ�other theme (feaÂ�tured in the RaidÂ�ers March as the “B Theme”), which is Â�linked not so much to the main charÂ�acÂ�ter as to his reckÂ�less Â�stunts. The InÂ�diÂ�ana Jones leitÂ�moÂ�tiv preÂ�viÂ�ously disÂ�cussed apÂ�pears in the films orÂ�chesÂ�trated in more subÂ�tle ways as well—for inÂ�stance, for woodÂ�winds with an emÂ�oÂ�tive funcÂ�tion. The best exÂ�amÂ�ple is perÂ�haps the warm cello renÂ�diÂ�tion that can be heard at the end of InÂ�diÂ�ana Jones and the Last CruÂ�sade when Â�Jones’s Â�father holds out his hand to pull his son out of the rift into which he is about to fall. On the Â�contrary, the secÂ�ond theme, usuÂ�ally Â�played by brass, is employed in acÂ�tion Â�scenes—“Indy 2.” It is akin to “Indy 1” as it opens with the same dotÂ�ted Â�rhythm and has the same alÂ�terÂ�naÂ�tion of upÂ�ward heÂ�roic leaps and downÂ�ward reÂ�treats.

Transcription of John Williams, “Indiana Jones’s B Theme” (mm. 28–32), from Raiders March (© 1981 BMI), published by Bantha Music and Ensign Music Corp., administered by Ensign Music Corp., printed by Hal Leonard, “John Williams Signature Edition,” 044900015 [Used in compliance with the U.S. Copyright Act, Section 107].

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“Marion’s Theme” acts as the Â�film’s love theme and reÂ�calls those of the clasÂ�siÂ�cal HolÂ�lyÂ�wood. It is Â�played by viÂ�oÂ�lins or Â�flutes (“feÂ�male” inÂ�struÂ�ments) and Â�sounds outÂ�right “roÂ�manÂ�tic” Â�thanks to the openÂ�ing major-sixth Â� emoÂ�tional leap to the whole note, the lanÂ�guishÂ�ing rhythÂ�mic dilÂ�aÂ�taÂ�tion given by a tripÂ�let of quarÂ�ter notes—three notes Â�played on two beats—and the stretchÂ�ing of the meÂ�lodic line creatÂ�ing an efÂ�fect of longÂ�ing, which is typÂ�iÂ�cal of the roÂ�manÂ�tic diÂ�alect.31 Â�Williams comÂ�mented, “I used to love those old roÂ�manÂ�tic Â�themes in WarÂ�ner Bros. films like Now, VoyÂ�ager. For the love story Â�between InÂ�diÂ�ana Jones and MarÂ�ion I Â�thought that the music could be like one of those ’30s Â�themes and that would Â�contrast well with the humor and silÂ�liÂ�ness, even if it is inÂ�apÂ�proÂ�priÂ�ate emoÂ�tionÂ�ally.”32 The harÂ�mony is chroÂ�matic and more comÂ�plex if comÂ�pared to the leitÂ�moÂ�tiv of InÂ�diÂ�ana Jones, and Â�serves to add to the tough MarÂ�ion charÂ�acÂ�ter a gloss of femÂ�iÂ�nine charm, which she may lack: here the HolÂ�lyÂ�wood muÂ�siÂ�cal cliÂ�chés of femÂ�iÂ�nine Â�strings and senÂ�tiÂ�menÂ�tal music are proÂ�jected onto the charÂ�acÂ� ter in order to make her apÂ�pear more femÂ�iÂ�nine. It also Â�creates a muÂ�siÂ�cal Â�contrast with Â�Jones’s “masÂ�cuÂ�line” theme and gives body to that sense of nosÂ�talÂ�gia for their lost love that is Â�barely menÂ�tioned by the film narÂ�raÂ�tion.

Transcription of John Williams, “Marion’s Theme” (mm. 64–71), from The Adventures of Indiana Jones (© 1981 BMI ), published by Bantha Music, administered by Warner-Tamerlane Publishing Corp., printed by Hal Leonard, “John Williams Signature Edition,” 04490826 [Used in compliance with the U.S. Copyright Act, Section 107].

FiÂ�nally, the last major leitÂ�moÂ�tiv is the one asÂ�soÂ�ciated with the Ark.33 It is a brief motif whose dyÂ�namic range and color goes from the muted trumÂ�pets in low regÂ�isÂ�ter Â�backed by treÂ�molo viÂ�oÂ�lins when the Ark is menÂ�tioned for the first time to the brass forÂ�tisÂ�simo with Â�chorus when the Ark is Â�opened. The mysÂ�terÂ�iÂ�ous and omÂ�iÂ�nous tone of the Ark leitÂ�moÂ�tiv is given by both the Â�minor-mode harÂ� monic inÂ�stabilÂ�ity Â�between disÂ�tant keys (B-flat minor and E minor, in the transcripÂ� tion reÂ�proÂ�duced below) and the naÂ�ture of the meÂ�lodic interÂ�vals. The motif moves downÂ�ward Â�within a perÂ�fect fifth from F to Â�B-flat, Â�within which can be found the “dreaded’’ Â�augmented-fourth interÂ�val—the triÂ�tone. Once conÂ�sidÂ�ered a “forÂ�bidÂ�den” disÂ�soÂ�nant interÂ�val Â�called diÂ�aboÂ�lus in musÂ�ica (the devil in music),

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typ�i�cally it has been as�so�ciated with dis�turb�ing, om�i�nous �events.34 The Ark is a mag�nif�i�cent and pow�er�ful ob�ject, but it is also a treach�er�ous and �deadly one, and the leit�mo�tiv is built in such a way as to pre�fig�ure this �doubly, dan�ger�ous na�ture.

Transcription of John Williams, “The Ark’s Motif [tentative title],” from the Raiders of the Lost Ark film score (© 1981 BMI), published by Bantha Music (ear transcription from the film’s soundtrack) [Used in compliance with the U.S. Copyright Act, Section 107].

In the next chapÂ�ter we will take a Â�thorough look at how Â�Williams’s score opÂ�erÂ�ates Â� within the film.

10 Raid�ers of the Lost Ark Anal�y�sis T he Re�tur n o f Ma x �S t e i n e r

OpenÂ�ing: A South American Â� JunÂ�gle Like all the chapÂ�ters of the seÂ�ries, the film opens with the ParÂ�aÂ�mount logo, a mounÂ�tain, which disÂ�solves onto a visÂ�uÂ�ally simÂ�iÂ�lar form.1 In this case, the ParÂ�aÂ� mount mounÂ�tain beÂ�comes a real mounÂ�tain, the proÂ�file of which is then Â�blocked off by the enÂ�trance of a charÂ�acÂ�ter donÂ�ning a feÂ�dora hat and comÂ�ing into the frame facÂ�ing away from the camÂ�era. We find out later that the man with the hat is the proÂ�tagÂ�oÂ�nist. At the moÂ�ment, we can only recÂ�ogÂ�nize in him the typÂ�iÂ�cal “exÂ�plorer type.” ViewÂ�ers in 1981 were faÂ�milÂ�iar neiÂ�ther with InÂ�diÂ�ana Jones nor with HarÂ�riÂ�son Ford, who at that time was not as well known as he is today. The man is leadÂ�ing an exÂ�peÂ�diÂ�tion in the junÂ�gle; with a superÂ�imÂ�posed title, the narÂ�raÂ� tion inÂ�forms us that we are in “South AmerÂ�ica, 1936.” We know the time, the place, and we are alÂ�ready in the midst of an adÂ�venÂ�ture. This openÂ�ing is strikÂ�ing for one eleÂ�ment that difÂ�ferÂ�enÂ�tiates it from clasÂ�siÂ�cal films and from the other two neoÂ�clasÂ�siÂ�cal modÂ�els, Star Wars and SuperÂ�man. In the clasÂ�siÂ�cal peÂ�riod, the openÂ�ing title seÂ�quence was a fixed presÂ�ence and had some reÂ�curÂ�ring feaÂ�tures.2 The names of the cast and crew were shown on a

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backÂ�ground and with graphÂ�ics that anÂ�ticÂ�iÂ�pated some narÂ�raÂ�tive Â�themes or visÂ�ual moÂ�tifs of the film—like the Â�falcon’s image in The MalÂ�tese FalÂ�con ( John HuÂ�ston, 1941). MoreÂ�over, there used to be a litÂ�tle muÂ�siÂ�cal overÂ�ture preÂ�sentÂ�ing the main muÂ�siÂ�cal Â�themes of the score: stickÂ�ing to our MalÂ�tese FalÂ�con exÂ�amÂ�ple, the openÂ�ing tiÂ�tles are acÂ�comÂ�paÂ�nied by Â�Adolph Â�Deutsch’s mysÂ�terÂ�iÂ�ous and menÂ�acÂ�ing music. NeoÂ�clasÂ�siÂ�cal films like Star Wars and SuperÂ�man begin with a memÂ�orÂ�able Â�extradiegetic title seÂ�quence that Â�serves as a frame to the film narÂ�raÂ�tive. SuperÂ�man even has a metaÂ�linÂ�guÂ�isÂ�tic proÂ�logue that bares its Â�comic-book orÂ�iÂ�gin. Star Wars does not have clasÂ�siÂ�cal openÂ�ing tiÂ�tles—cast, crew, and so on—but has an openÂ�ing seÂ�quence anyÂ�way, tellÂ�ing the backÂ�story Â�through crawlÂ�ing tiÂ�tles of a strikÂ�ing visÂ�ual imÂ�pact. Even Jaws, which is the least Â�overtly neoÂ�clasÂ�siÂ�cal of these three films, has a memÂ�orÂ�able openÂ�ing title seÂ�quence. In all these cases, the music Â�brings the Â�viewer into the film, startÂ�ing its overÂ�all Â�macro-emotive funcÂ�tion of uniÂ�fyÂ�ing the narÂ�raÂ�tive. Oddly Â�enough, a neoÂ�clasÂ�siÂ�cal film like RaidÂ�ers has no exÂ�tradÂ�ieÂ�getic openÂ�ing title seÂ�quence and no muÂ�siÂ�cal overÂ�ture. Â�George Lucas exÂ�plained: “The idea was that inÂ�stead of startÂ�ing off the film slow, we would start off fast. The whole thing in seÂ�riÂ�als is that they alÂ�ways reÂ�capped what hapÂ�pened beÂ�fore. I Â�didn’t wanna make it that much of a seÂ�rial. So I said, ‘The fun part is if we take the last epiÂ�sode or last film, and start at the cliÂ�max.’ You take that—the best part of a movie you Â�haven’t seen—then stop, then you start a new movie 15 to 20 minÂ�utes in. It was kind of an outÂ�raÂ�geous idea at the time.”3 FolÂ�lowÂ�ing the aesÂ�thetÂ�ics of seÂ�riÂ�als, RaidÂ�ers was not deÂ�signed as a sinÂ�gle, Â�stand-alone film but as a porÂ�tion of a Â�larger seÂ�ries of adÂ�venÂ�tures, not only open to more epiÂ�sodes to come feaÂ�turÂ�ing InÂ�diÂ�ana Jones,4 but also in conÂ�tiÂ�nuÂ�ity with the past films with Harry Â�Steele, Alan QuarÂ�terÂ�main, TarÂ�zan, and othÂ�ers. So, we are deÂ�libÂ�erÂ�ately Â�thrown into the midÂ�dle of the acÂ�tion. As soon as the ParÂ�aÂ�mount logo disÂ�solves onto the real mounÂ�tain, the music Â�starts to acÂ�comÂ�pany the exÂ�peÂ�diÂ� tion. First of all, it deÂ�notes the exÂ�otic loÂ�caÂ�tion, using cliÂ�chéd perÂ�cusÂ�sion inÂ�struÂ� ments typÂ�iÂ�cally asÂ�soÂ�ciated with the idea of wildÂ�erÂ�ness and unÂ�civÂ�ilÂ�ized loÂ�cales. The susÂ�pense Â�builds Â�through a very slow Â�barely tonal melÂ�ody for flute in low regÂ�isÂ�ter and susÂ�tained Â�high-pitched disÂ�soÂ�nant notes of the strings, Â� creatÂ�ing a sense of anxÂ�iety due to the music staÂ�sis.5 Next, a naÂ�tive who is takÂ�ing part in the exÂ�peÂ�diÂ�tion finds an efÂ�figy of a threatÂ�enÂ�ing deity beÂ�hind the vegÂ�eÂ�taÂ�tion and flees in terÂ�ror, causÂ�ing the deÂ�serÂ�tion of the other naÂ�tives as well. The music emÂ�phaÂ�sizes the frightÂ�enÂ�ing disÂ�covÂ�ery with a starÂ�tling disÂ�soÂ�nant trumÂ�pets Â�stinger in perÂ�fect synÂ�chronÂ�izaÂ�tion. It is alÂ�ready clear that we Â�should exÂ�pect from the score a promÂ�iÂ�nent use of the Â�oldfashioned Â�Mickey-Mousing techÂ�nique. InÂ�deed, Â�shortly after that, anÂ�other exÂ� plicit Â�synch-point—a muted trumÂ�pets sforÂ�zando and a Â�tam-tam rub—diÂ�rects our

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atÂ�tenÂ�tion to a poiÂ�soned dart stuck in a Â�nearby tree. When Â�Satipo, one of the Â� guides, says conÂ�cernÂ�edly that the HoÂ�viÂ�tos (a danÂ�gerÂ�ous local tribe, we infer) are probÂ�ably on their trail, the diÂ�alogue underÂ�scorÂ�ing Â�presents menÂ�acÂ�ing, Â�lowpitched tromÂ�bones minor Â�chords. The asÂ�soÂ�ciÂ�aÂ�tion Â�between Â�low-pitched tromÂ� bones minor Â�chords and “vilÂ�lains” will be a reÂ�curÂ�ring idea throughÂ�out the film. This asÂ�soÂ�ciÂ�aÂ�tion of the minor mode with draÂ�matic Â�events and the low regÂ�isÂ�ter with darkÂ�ness and menÂ�ace are old muÂ�siÂ�cal conÂ�venÂ�tions.6 It is also a Â�wellestablished cliÂ�ché in film music, alÂ�ready used in the siÂ�lent era.7 For brevÂ�ity, henceÂ�forth these Â�chords will be Â�called “villains’ Â�chords.” The exÂ�peÂ�diÂ�tion party arÂ�rives at a river, and the other guide treachÂ�erÂ�ously tries to shoot the man with the hat: a Â�low-pitched turn of the contraÂ�basses is Â�brought out to anÂ�ticÂ�iÂ�pate the man’s crimÂ�iÂ�nal inÂ�tent. The man with the hat hears the gun hamÂ�mer clickÂ�ing and with a rapid whip crack—highÂ�lighted by a trumÂ�pets burst of reÂ�peatÂ�ing notes—he disÂ�arms him and makes him flee. Then, the man with the hat Â�emerges from the shadÂ�ows with a menÂ�acÂ�ing look in his eyes; here we see his face for the first time. When he comes out of the shadÂ�ows, a Â�marked downÂ�ward scale of tromÂ�bones minor Â�chords is heard, which inÂ�creases the menÂ�acÂ�ing naÂ�ture of his look. InterÂ�estÂ�ingly, the Â�villains’ Â�chords are used here for the man with the hat. We do not know anyÂ�thing yet about his inÂ�tenÂ�tions and naÂ�ture, and the music plays on this amÂ�biÂ�guÂ�ity, choosÂ�ing to use those Â�chords inÂ�stead of the Â�character’s leitÂ�moÂ�tiv. The two reÂ�mainÂ�ing memÂ�bers of the exÂ�peÂ�diÂ�tion—Â�Satipo and the man with the hat—arÂ�rive at the treasÂ�ure cave. The music texÂ�ture gets thinÂ�ner to make room for the diÂ�alogue Â�between the two men. They enter the cave, the music beÂ�comÂ�ing alÂ�most a backÂ�ground noise–like atÂ�mosÂ�pheric patÂ�ina: Â�low-pitched piano notes, soft Â�tam-tam roll, and Â�high-pitched clusÂ�ter efÂ�fects of the viÂ�oÂ�lins creatÂ�ing a reÂ�verÂ�berÂ�atÂ�ing “cavÂ�ernÂ�ous” sound.8 The muÂ�siÂ�cal texÂ�ture Â�presents Â�sparse piÂ�aÂ�nisÂ�simo moveÂ�ments by the Â�strings: Â�low-pitched treÂ�molo chroÂ�matic Â�scales, contraÂ�basses and viÂ�oÂ�lins pizÂ�ziÂ�cato. They do not corÂ�reÂ�spond to any visÂ�ible moveÂ� ment yet but seem to sugÂ�gest the presÂ�ence of an unÂ�known someÂ�thing, movÂ�ing Â�off-screen. As anÂ�ticÂ�iÂ�pated by the music, a horÂ�rified Â�Satipo Â�points at someÂ�thing on the shoulÂ�ders of the man with the hat. A forÂ�tisÂ�simo bow slap by the contraÂ�basses is heard in synÂ�chroÂ�nism with the cut to the man with the hat, reÂ�vealÂ�ing that he is covÂ�ered in taÂ�ranÂ�tuÂ�las. This muÂ�siÂ�cal gesÂ�ture is folÂ�lowed by a creepÂ�ing, alÂ�most aleÂ�aÂ�tory high-pitched Â� viÂ�oÂ�lins pizÂ�ziÂ�cato, which mimÂ�ics the moveÂ�ment of the legs of the spiÂ�ders and emoÂ�tionÂ�ally heightÂ�ens the Â�viewer’s shudÂ�der of reÂ�vulÂ�sion at the sight of the spiÂ�ders on the Â�protagonist’s neck. Soon, Â�Satipo reÂ�alizes that many more taÂ�ranÂ�tuÂ�las are on his shoulÂ�ders too. The emÂ�oÂ�tive funcÂ�tion of music here is to deÂ�pict Â�Satipo’s reÂ�pulÂ�sion, which is acÂ�comÂ�plished Â�through an upÂ�ward

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viÂ�oÂ�lins glisÂ�sando of Â�high-pitched disÂ�soÂ�nant Â�chords, a muÂ�siÂ�cal equivÂ�aÂ�lent of a “shiver runÂ�ning down the spine.” Once they get rid of the spiÂ�ders, the two move on to the treasÂ�ure room. The music—with a prevÂ�aÂ�lent spaÂ�tial perÂ�cepÂ�tive funcÂ�tion—plays throughÂ�out the whole seÂ�quence, catchÂ�ing each acÂ�tion.9 The music also has an emÂ�oÂ�tive funcÂ�tion: a Â�strings treÂ�molo Â�creates tenÂ�sion over the fate of Â�Satipo being on the verge of the botÂ�tomÂ�less pit and a slow atoÂ�nal Â�strings arÂ�pegÂ�gio proÂ�jects its tonal unÂ�cerÂ�tainty onto the imÂ�ages, makÂ�ing the sucÂ�cess of the exÂ�peÂ�diÂ�tion feel unÂ�cerÂ�tain.10 In order to take the Â�golden idol away from its pedÂ�esÂ�tal, the man with the hat has to reÂ�move it withÂ�out trigÂ�gerÂ�ing the Â�weight-activated seÂ�curÂ�ity mechÂ�aÂ�nism, and to do so he has deÂ�vised a plan to Â�swiftly subÂ�stiÂ�tute it with an Â�equally heavy bag of sand. The atoÂ�nal arÂ�pegÂ�gios are superÂ�seded by Â�equally unÂ�cerÂ�tain harÂ�monic proÂ�gresÂ�sions, a dyÂ�namic cresÂ�cendo and a thickÂ�enÂ�ing of inÂ�struÂ�menÂ�taÂ�tion. Music is now gainÂ�ing moÂ�menÂ�tum and buildÂ�ing the cinÂ�eÂ�matic susÂ�pense. When the man Â�quickly reÂ�places the idol with the bag, the muÂ�siÂ�cal proÂ�gresÂ�sion stops with a rapid upÂ�ward scale duÂ�pliÂ�catÂ�ing the moveÂ�ment of his hand. EveryÂ�thing seems to have gone fine. HowÂ�ever, a susÂ�tained Â�high-pitched Â�strings note can still be heard—not a good omen. InÂ�deed, in spite of the sand bag the pedÂ�esÂ�tal of the idol lowÂ�ers—wrong Â�weight!—and the cave beÂ�gins to colÂ�lapse. The man with the hat is Â�forced to make a hasty reÂ�treat, acÂ�comÂ�paÂ�nied by hecÂ�tic music charÂ�acÂ�terÂ�ized by rapid Â�high-pitched reÂ�peatÂ�ing notes of the trumÂ�pets when a rollÂ�ing boulÂ�der Â�chases the man with the hat. Here, the main funcÂ�tion is temÂ�poÂ�ral perÂ�cepÂ�tive: the music emÂ�phaÂ�sizes the pace of the frenÂ�zied esÂ�cape and supÂ�ports the Â�speedy Â�rhythm of the edÂ�itÂ�ing. The man with the hat manÂ�ages to esÂ�cape and jumps out of the cave at the very last minÂ�ute, the disÂ�loyal and Â�greedy Â�Satipo havÂ�ing found a deÂ�served death. The music acÂ�comÂ�paÂ�nies the hasty, final rush of the reÂ�treat with a cresÂ�cendo chord Â�played forÂ�tisÂ�simo by the whole orÂ�chesÂ�tra. The chord stops Â�abruptly and makes way for a contrastÂ�ing siÂ�lence when we unÂ�exÂ�pectÂ�edly see the menÂ�acÂ�ing HoÂ�viÂ�tos waitÂ�ing outÂ�side and surÂ�roundÂ�ing the man with the hat.11 The HoÂ�viÂ�tos are led by BelÂ�loq, a treasÂ�ure Â�hunter and archÂ�enÂ�emy of the man with the hat, whose name is fiÂ�nally reÂ�vealed: “Dr. Jones,” as BelÂ�loq calls him. BelÂ�loq takes the idol away from Jones and inÂ�cites the HoÂ�viÂ�tos to kill him. The music, which has been siÂ�lent for only Â�fifty-nine secÂ�onds, reÂ�sumes to proÂ�vide acÂ�comÂ�paÂ�niÂ�ment to Jones’s Â� esÂ�cape. The muÂ�siÂ�cal piece opens with a sinÂ�isÂ�ter horn motif Â�played as BelÂ�loq Â�laughs wickÂ�edly. So far, the music has mainÂ�tained a sort of amÂ�biÂ�guÂ�ity about the naÂ�ture of the man with the hat. The narÂ�raÂ�tion has now reÂ�vealed his name and in the preÂ�viÂ�ous Â�scenes has shown that he is not only a grave robÂ�ber but also a man of prinÂ�ciÂ�ples: after all, he saved Â�Satipo from fallÂ�ing into the botÂ�tomÂ�less pit. MoreÂ�over, now we know that BelÂ�loq is the real vilÂ�lain.

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AcÂ�cordÂ�ing to the black/white ManÂ�iÂ�chaeÂ�ism of the popÂ�uÂ�lar HolÂ�lyÂ�wood cinÂ�ema, if BelÂ�loq is the vilÂ�lain, then Jones must be the hero. The music conÂ�firms this inÂ�ferÂ�ence, emÂ�phaÂ�sizÂ�ing Â�Belloq’s laugh with a dark horn motif. Jones is reÂ�vealed as the hero of the narÂ�raÂ�tive, but what kind of hero is he? The music does not acÂ�comÂ�pany his esÂ�cape from the HoÂ�viÂ�tos with a powÂ�erÂ� ful rhythÂ�mic secÂ�tion or vigÂ�orÂ�ous acÂ�tion music, but with a bumÂ�bling Â�strings pizÂ�ziÂ�cato, awkÂ�ward stacÂ�cato acÂ�cents by muted tromÂ�bones, and funny gesÂ�tures of the picÂ�colo clarÂ�iÂ�net. The music casts a comic emoÂ�tional overÂ�tone onto the chase, givÂ�ing an Â�ironic image of Jones, a reÂ�sourceÂ�ful and brave adÂ�venÂ�turer but quite far from being the traÂ�diÂ�tional inÂ�falÂ�lible hero. When Jones Â�swings on a vine to reach the seaÂ�plane that is waitÂ�ing for him but inÂ�stead Â�plunges into the river, we hear the main Jones leitÂ�moÂ�tiv (“Indy 1”) for the first time, Â�played by the trumÂ�pets, with only its first four bars reÂ�peated twice; the full theme will be Â�stated only much later. An upÂ�ward Â�high-pitched trumÂ�pets gesÂ�ture celÂ�eÂ�brates the sucÂ�cess of the dareÂ�devil reÂ�treat. Â�Jones’s plane fiÂ�nally flies away from the hosÂ�tile HoÂ�viÂ�tos. The narÂ�raÂ�tion Â�taunts him again, downÂ�playÂ�ing his heÂ�roic Â�status: Jones is rumÂ�pled, Â�soaked Â�through, and his feÂ�dora now reÂ�semÂ�bles a Â�bowl-shaped wet rag. Then he reÂ�alizes with horÂ�ror that a pyÂ�thon is crawlÂ�ing on his legs and Â�shouts to the pilot, alÂ�most whimÂ�perÂ�ing, that he hates Â�snakes. ( Jones’s repÂ�tile phoÂ�bia is introÂ�duced as a gag, but once again it is also a set up that will have its pay off later in the seÂ�quence of the Well of Souls.) The pilot reÂ�asÂ�sures him by tellÂ�ing him that it is RegÂ�gie, his pet pyÂ�thon, and inÂ�vites Jones to be a man: “Come on, show a litÂ�tle backÂ�bone! Will ya?” The music acÂ�comÂ�paÂ�nies the scene preÂ�sentÂ�ing for the first time the secÂ�onÂ�dary InÂ�diÂ�ana Jones leitÂ�moÂ�tiv (“Indy 2”) durÂ�ing the pyÂ�thon gag. As we have seen, “Indy 2” will be used throughÂ�out the film to underÂ�line the heroÂ�ism of Â�Jones’s feats. Here the muÂ�siÂ�cal irony is given by the presÂ�enÂ�taÂ�tion of the heÂ�roic motif over a gag unÂ�veilÂ�ing one of Â�Jones’s weak spots, thus stressÂ�ing once again his falÂ�lible, comÂ�ically human side. Then, “Indy 1” is taken up by the trumÂ�pets when we see the plane flyÂ�ing into the sunÂ�set, and the epiÂ�sode set in the South Â�American junÂ�gle is over. A diÂ�minÂ�ished coda for Â�strings with a caÂ�dence reÂ�solvÂ�ing to the tonic reÂ�inÂ�forces the cloÂ�sure efÂ�fect and Â�bridges the cut to the esÂ�tabÂ�lishÂ�ing shot that opens the next scene: the ausÂ�tere exÂ�teÂ�rior of a colÂ�lege. At Home: GetÂ�ting Ready for a New MisÂ�sion We soon disÂ�cover anÂ�other facet of Dr. Jones: his secÂ�ond life as an arÂ�chaeÂ�olÂ�ogy proÂ�fesÂ�sor. Two governÂ�ment ofÂ�fiÂ�cers come to see Dr. Jones: they inÂ�form him

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and Brody, the dean of the colÂ�lege, that the Nazis are on the trail of the Ark of the CovÂ�eÂ�nant. Jones opens a bulky book to show the ofÂ�fiÂ�cers what the arÂ�tiÂ�fact is exÂ�pected to look like. As soon as the book is Â�opened, we hear a “pedal point,” a susÂ�tained Â�low-pitched note of the contraÂ�basses that conÂ�veys a sense of Â�threat and unÂ�easiÂ�ness to the scene. This is anÂ�other clasÂ�siÂ�cal muÂ�siÂ�cal cliÂ�ché: the Â�lowpitched pedal point deÂ�notes a pendÂ�ing Â�threat and as such it is emÂ�ployed throughÂ� out the film. When Jones shows an ilÂ�lusÂ�traÂ�tion of the Ark with lightÂ�ning bolts comÂ�ing out of it to exÂ�terÂ�miÂ�nate the enemy arÂ�mies, we hear for the first time the Ark motif, emergÂ�ing over the pedal point. In film music, orÂ�chesÂ�traÂ�tion is as imÂ�porÂ�tant and sigÂ�nifÂ�iÂ�cant as the melÂ�ody and harÂ�mony. The Ark motif is Â�played by muted trumÂ�pets, Â�backed by a voÂ�calÂ�izÂ�ing feÂ�male choir and treÂ�molo viÂ�oÂ�lins: the treÂ�molo gives a shivÂ�erÂ�ing sense of Â�threat to the melÂ�ody inÂ�diÂ�catÂ�ing that the Ark is a powÂ�erÂ�ful and danÂ�gerÂ�ous obÂ�ject inÂ�deed. The use of the mute in the trumÂ�pets aptly repÂ�reÂ�sents the laÂ�tent power of the Ark. In the scene in which the Ark is fiÂ�nally found, its leitÂ�moÂ�tiv will be Â�played withÂ�out any mute: from that moÂ�ment on the menÂ�ace will be a real one and the power of the Ark liÂ�able to be unÂ� leashed at any moÂ�ment. As for the voÂ�calÂ�izÂ�ing feÂ�male choir, it is an interÂ�estÂ�ing muÂ�siÂ�cal Â�choice that foreÂ�tells what will be found inÂ�side the Ark. The scene Â�closes with “Indy 1” Â�played inÂ�terÂ�rogÂ�aÂ�tively by a clarÂ�iÂ�net Â�backed by a Â�low-pitched pedal point: Jones is going to be inÂ�volved in a danÂ�gerÂ�ous new quest. The next scene moves to Â�Jones’s house and shows him packÂ�ing for the exÂ�peÂ�diÂ�tion, with Brody payÂ�ing a visit. The first thing to do is reÂ�trieve the Ra meÂ�dalÂ�lion, the key to the exact loÂ�caÂ�tion of the Ark. This means that Jones has to get in touch with MarÂ�ion. Just beÂ�fore Jones menÂ�tions her name to Brody, the music introÂ�duces Â�Marion’s theme, Â�played by the flute. The narÂ�raÂ�tion anÂ�ticÂ�iÂ�pates that we will soon meet the herÂ�oÂ�ine. Brody reÂ�minds Jones that MarÂ�ion will be the smallÂ�est of his probÂ�lems and adÂ�vises him to be careÂ�ful when dealÂ�ing with the Ark. Here, the music—folÂ�lowÂ�ing the clasÂ�siÂ�cal diÂ�alogue underÂ�scorÂ�ing techÂ�nique— moves from Â�Marion’s leitÂ�moÂ�tiv to the Ark’s, Â�played again by omÂ�iÂ�nous muted trumÂ�pets. This furÂ�ther presÂ�enÂ�taÂ�tion of the Ark motif is not only funcÂ�tional in emÂ�phaÂ�sizÂ�ing the danÂ�ger menÂ�tioned by Brody but is also useÂ�ful to Â�strengthen the idenÂ�tifiÂ�caÂ�tion of this muÂ�siÂ�cal motif with the Ark and fix it in the Â�viewers’ memÂ�ory. Jones emÂ�barks on a plane, acÂ�comÂ�paÂ�nied by “Indy 1” in a minor mode: a new risky adÂ�venÂ�ture is about to begin. Then, the music Â�points our atÂ�tenÂ�tion to a Â�black-clad pasÂ�senÂ�ger who spies on Jones from beÂ�hind a magÂ�aÂ�zine: the use of the Â�villains’ Â�chords imÂ�meÂ�diÂ�ately idenÂ�tifies the naÂ�ture of the charÂ�acÂ�ter. In the folÂ�lowÂ�ing Â�air-travel monÂ�tage, the music gives coÂ�heÂ�sion and links the unÂ�foldÂ�ing imÂ�ages, until the anÂ�iÂ�mated line on the map (as in CasÂ�aÂ�blanca) Â�reaches a red dot:

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Nepal. ImÂ�meÂ�diÂ�ately, ethÂ�nic colÂ�ors and manÂ�nered orienÂ�talÂ�ism are added to the music: bells, gongs, and a hint of penÂ�taÂ�tonic Â�scales, folÂ�lowÂ�ing a clasÂ�siÂ�cal and typÂ�iÂ�cally SteiÂ�neÂ�resque use of ethÂ�nic muÂ�siÂ�cal cliÂ�chés or Â�quotes of naÂ�tional anÂ�thems to set the loÂ�cale. Nepal: MeetÂ�ing MarÂ�ion and ReÂ�trievÂ�ing the MeÂ�dalÂ�lion Jones meets a reÂ�sentÂ�ful MarÂ�ion in her tavÂ�ern. It is interÂ�estÂ�ing to note that MarÂ�ion is preÂ�sented withÂ�out her theme; we shall disÂ�cover why later. When Jones Â�states that he will come again the next day and Â�leaves the tavÂ�ern, MarÂ�ion pulls the meÂ�dalÂ�lion out of her neckÂ�line. We hear a sinÂ�uÂ�ous theme: the melÂ�ody is chroÂ�matic and is Â�played by a solo EnÂ�glish horn—both of these Â�choices give the melÂ�ody a MidÂ�dle EastÂ�ern flaÂ�vor conÂ�sisÂ�tent with the Â�medallion’s EgypÂ�tian orÂ�iÂ�gin. FurÂ�therÂ� more, some Â�traits in the melÂ�ody are akin to the Ark motif, and in this way the music reÂ�minds us of the conÂ�necÂ�tion Â�between the two arÂ�tiÂ�facts. After MarÂ�ion has put the meÂ�dalÂ�lion away, the door opens and some Â�notvery-friendly-looking thugs led by a sinÂ�isÂ�ter Â�black-clad man—remÂ�iÂ�nisÂ�cent of the slimy crimÂ�iÂ�nals Â�played by Peter Lorre—enter the tavÂ�ern. The music acÂ�comÂ� paÂ�nies this enÂ�trance with the Â�villains’ Â�chords, Â�strongly markÂ�ing their downÂ�ward move and acÂ�cenÂ�tuÂ�atÂ�ing the disÂ�soÂ�nant Â�seventh at the botÂ�tom of the chord in the manÂ�ner of Â�Steiner. The downÂ�ward move of the muÂ�siÂ�cal line emÂ�phatÂ�iÂ�cally ends on the Â�close-up of Toht, the Â�black-clad Nazi—“He is the worst of all,” the music seems to be sayÂ�ing. This downÂ�ward tromÂ�bones proÂ�gresÂ�sion is folÂ�lowed by a Â�low-pitched pedal point supÂ�portÂ�ing a snare drum rhythÂ�mic patÂ�tern and marÂ�tial reÂ�peatÂ�ing notes Â�played piano by the trumÂ�pets. Toht is not wearÂ�ing a Nazi uniÂ�form, but we can readÂ�ily imÂ�aÂ�gine that he is one of them; yet the music, in acÂ�corÂ�dance with the “exÂ�cesÂ�sively obÂ�viÂ�ous” clasÂ�siÂ�cal style, makes sure that we underÂ�stand Â�Toht’s naÂ�ture. Toht melÂ�lifÂ�luÂ�ously asks MarÂ�ion about the meÂ�dalÂ�lion. MarÂ�ion, in reÂ�sponse, puffs the smoke of her cigÂ�arÂ�ette into Â�Toht’s face. The cigÂ�aÂ� rÂ�ette puff is duÂ�pliÂ�cated by a Â�high-pitched upÂ�ward scale by the harp and the ceÂ�lesta. Here Â�Williams is Â�overtly quotÂ�ing a faÂ�mous epiÂ�sode of Â�Steiner’s Â�MickeyMousing. In The InÂ�former ( John Ford, 1935), Katie, the reÂ�lucÂ�tant prosÂ�tiÂ�tute, is Â�puffed some smoke into her face by a poÂ�tenÂ�tial cusÂ�tomer, the acÂ�tion being Â�scored by Â�Steiner with the very same muÂ�siÂ�cal gesÂ�ture. Toht opts for Â�strong-arm tacÂ�tics and threatÂ�ens MarÂ�ion with a Â�red-hot poker: a piercÂ�ing chroÂ�matic upÂ�ward moveÂ�ment by the trumÂ�pets marks the enÂ�trance of the fireÂ�brand into the frame from the lower Â�off-screen zone. The trumÂ�pets cresÂ�cendo, risÂ�ing proÂ�porÂ�tionÂ�ally with the apÂ�proach of the fireÂ�brand toÂ�ward Â�Marion’s face, is sudÂ�denly interÂ�rupted

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by Â�Jones’s whip crack that disÂ�arms Toht. The muÂ�siÂ�cal Â�Mickey-Mousing Â�closely folÂ�lows the acÂ�tion and culÂ�miÂ�nates in an upÂ�ward scale by the trumÂ�pets duÂ�pliÂ�catÂ�ing the visÂ�ual upÂ�ward moveÂ�ment of the Â�flames propÂ�aÂ�gatÂ�ing from a curÂ�tain igÂ�nited by the fireÂ�brand that has been Â�tossed away, here reÂ�prisÂ�ing the asÂ�soÂ�ciÂ�aÂ�tion of the Â�bright sound of the trumÂ�pets with fire. A cresÂ�cendo with Â�strings treÂ�molo and triÂ�anÂ�gle trill anÂ�nounces the batÂ�tle. When we hear the first gunÂ� shot, the music stops and the seÂ�quence proÂ�ceeds withÂ�out music. When the fight is over and the vilÂ�lains moÂ�menÂ�tarÂ�ily deÂ�feated, the music reÂ�sumes on MarÂ�ion tellÂ�ing Jones that he will have the meÂ�dalÂ�lion proÂ�vided she beÂ�comes his busiÂ� ness partÂ�ner, and now we hear the openÂ�ing bar of the Â�medallion’s theme. DurÂ�ing the folÂ�lowÂ�ing Â�travel monÂ�tage, “Indy 1” is preÂ�sented in major mode— the first stage of the adÂ�venÂ�ture has been sucÂ�cessÂ�fully comÂ�pleted, Jones has the meÂ�dalÂ�lion—and is folÂ�lowed by Â�Marion’s theme—MarÂ�ion has Â�joined him in the adÂ�venÂ�ture. (Mis)AdÂ�venÂ�tures in Cairo Arabic-like chroÂ�matic music acÂ�comÂ�paÂ�nies the visit to Â�Sallah’s house and the introÂ�ducÂ�tion of the capÂ�uÂ�chin monÂ�key that will acÂ�comÂ�pany MarÂ�ion and Jones on the Â�streets of Cairo. Then Jones sets eyes on MarÂ�ion—she has disÂ�missed her masÂ�cuÂ�line Â�clothes and is now wearÂ�ing more femÂ�iÂ�nine apÂ�paÂ�rel—and we hear Â�Marion’s theme. On Â�closer obÂ�serÂ�vaÂ�tion, “Marion’s Theme” is not acÂ�tuÂ�ally her leitÂ�moÂ�tiv but Â�Jones’s love theme for her. As we have seen, the theme is not Â�played when MarÂ�ion is introÂ�duced—she is alone in that scene—but only in the Â�scenes in which she is with Jones, or in those in which Jones is thinkÂ�ing of her. In the next seÂ�quence, Jones and MarÂ�ion are takÂ�ing a Â�stroll in the Â�streets of Cairo—inÂ�struÂ�menÂ�tal Â�Arabic-sounding dieÂ�getic music can be heard.12 Â�Besides setÂ�ting the “local color,” the dieÂ�getic music Â�serves here to deÂ�fine the poÂ�siÂ�tion of the charÂ�acÂ�ters in space. The point of highÂ�est volÂ�ume is the Â�square, but the same music can be heard also from the room in which the vilÂ�lains are preÂ�parÂ�ing to atÂ�tack: thus the music loÂ�cates the room in the enÂ�viÂ�rons of the Â�square. A difÂ�ferÂ�ent vocal dieÂ�getic music is Â�present in the scene under the arÂ�cade Â�between the thug with the monÂ�key and the Nazis, sepÂ�arÂ�atÂ�ing the inÂ�door arÂ�cade space from the outÂ�door Â�square space. The Â�non-diegetic music reÂ�sumes; we hear the Â�villains’ Â�chords when one of the Nazis apÂ�pears under an arch, and the dieÂ�getic music gradÂ�uÂ�ally tails out. A susÂ�pended disÂ�soÂ�nant harÂ�mony inÂ�creases the susÂ�pense: unÂ�like the viewÂ�ers, Jones and MarÂ�ion are unÂ�aÂ�ware that they are about to be asÂ�saulted. When two local killÂ�ers—anÂ�nounced by a timÂ�pani roll cresÂ�cendo—start the atÂ�tack, a balÂ�letic muÂ�siÂ�cal

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seÂ�quence beÂ�gins. Â�Williams exÂ�plains: “I look at it as a kind of muÂ�siÂ�cal numÂ�ber that has a beÂ�ginÂ�ning, a midÂ�dle and an end, and try to calÂ�cuÂ�late a seÂ�ries of temÂ�pos, and a seÂ�ries of changÂ�ing temÂ�pos. I will try to deÂ�sign it alÂ�most in the same way as you would a balÂ�letic numÂ�ber, which may conÂ�tribÂ�ute a cerÂ�tain asÂ�pect of fun and adÂ�venÂ�turÂ�ousÂ�ness in this HarÂ�riÂ�son Ford charÂ�acÂ�ter. The music may sound seÂ�riÂ�ous but it’s not Â�really, it’s more theatÂ�riÂ�cally conÂ�ceived and hopeÂ�fully alÂ�ways has an asÂ�pect of fun or even camp about it.”13 The music keeps up the fight pace (temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion), puncÂ� tuÂ�ates each acÂ�tion and piece of narÂ�raÂ�tive inÂ�forÂ�maÂ�tion (spaÂ�tial perÂ�cepÂ�tive funcÂ� tion), and gives the seÂ�quence a comic overÂ�tone Â�through the use of huÂ�morÂ�ous Â�Prokofiev-like melÂ�oÂ�dies (micro-emotive funcÂ�tion). Â�Mickey-Mousing is glarÂ�ing: when the narÂ�raÂ�tion cuts on the vilÂ�lains, tromÂ�bones minor Â�chords are Â�played; when MarÂ�ion stuns a Â�killer with a fryÂ�ing pan, a downÂ�ward scale by Â�strings and piano comÂ�ically underÂ�lines his fall; when the monÂ�key Â�searches for MarÂ�ion, coÂ�meÂ�dic pizÂ�ziÂ�cato viÂ�oÂ�lins puncÂ�tuÂ�ate the acÂ�tion; when the vilÂ�lains Â�abruptly stop and turn back beÂ�cause they have loÂ�cated Marion’s Â� hidÂ�ing place, a theatÂ�riÂ�cal tromÂ�bones sforÂ�zando acts as a Â�stinger to mark their reÂ�acÂ�tion; when an Arab inÂ�timÂ�iÂ�datÂ�ingly branÂ�dishes a scimÂ�iÂ�tar, his apÂ�pearÂ�ance is draÂ�matÂ�iÂ�cally Â�stressed by brass minor Â�chords, while an orienÂ�tal motif for horn—puncÂ�tuÂ�ated by exÂ�hiÂ�biÂ�tionÂ� isÂ�tic reÂ�peatÂ�ing Â�chords—acÂ�comÂ�paÂ�nies his spinÂ�ning the scimÂ�iÂ�tar with threatÂ�enÂ�ing skill; when Jones in turn looks at him unÂ�imÂ�presÂ�sedly and quite conÂ�desÂ�cendÂ�ingly, Â�strings pizÂ�ziÂ�cato acÂ�cenÂ�tuÂ�ates the comÂ�ical efÂ�fect of Â�Jones’s unÂ�exÂ�pected reÂ�acÂ�tion; the muÂ�siÂ�cal Â�phrase Â�closes reÂ�solvÂ�ing to the tonic when Jones simÂ�ply Â�shoots him down with his gun. MarÂ�ion is Â�trapped into a big basÂ�ket, abÂ�ducted, and Â�loaded onto a truck. Jones Â�shoots down the truck Â�driver to resÂ�cue MarÂ�ion: an exÂ�uÂ�berÂ�ant trumÂ�pet fanÂ�fare Â�stresses the heÂ�roic act. UnÂ�forÂ�tuÂ�nately, the death of the Â�driver Â�causes the overÂ�turnÂ�ing of the truck and its exÂ�ploÂ�sion: Â�Jones’s heÂ�roic act has (supÂ�posÂ�edly) Â�killed MarÂ�ion. This is what Jones beÂ�lieves and what the narÂ�raÂ�tion tries to make us beÂ�lieve as well. DraÂ�matic Â�chords and the desÂ�perÂ�ate Â�minor-mode renÂ�diÂ�tion of Â�Marion’s theme by Â�strings Â�topped by a piercÂ�ing sforÂ�zando final note by the horns “maÂ�nipÂ�uÂ�late” our emoÂ�tion and beÂ�lief about what we have just Â�watched. The music calms down and leads us into the next scene, in which Jones sits alone at a bar table while tryÂ�ing to Â�soothe his grief with alÂ�coÂ�hol, like Rick in CasÂ�aÂ�blanca. Â�Marion’s theme is Â�played mournÂ�fully by the woodÂ�winds. When two Nazis arÂ�rive—we recÂ�ogÂ�nize them as the peoÂ�ple beÂ�hind the asÂ�sault—to take Jones with them, the Â�villains’ Â�chords are Â�played Â�softly by the basÂ�soons and not by the more menÂ�acÂ�ing tromÂ�bones. In terms of muÂ�siÂ�cal form, this makes the music more homoÂ�geÂ�neÂ�ous, since all the inÂ�struÂ�ments used here are woodÂ�winds.

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From a narÂ�raÂ�tive point of view, music may imply that Â�Jones’s grief makes everyÂ� thing else of no imÂ�porÂ�tance to him, as his suiÂ�ciÂ�dal atÂ�tiÂ�tude seems to conÂ�firm in the next diÂ�alogue scene: “Do you want to talk to God? Let’s go see Him toÂ�gether. I’ve got nothÂ�ing betÂ�ter to do.” Later, SalÂ�lah takes Jones to visit an old sage, to deÂ�ciÂ�pher the inÂ�scripÂ�tion on the meÂ�dalÂ�lion. The scene beÂ�gins with a muezÂ�zin chant heard in the disÂ�tance, then enÂ�ters a Â�low-pitched pedal point by the contraÂ�basses, inÂ�diÂ�catÂ�ing that a Â�threat is loomÂ�ing. InÂ�deed, we see the thug with the monÂ�key sneakÂ�ing into the room, acÂ�comÂ�paÂ�nied by an ArÂ�aÂ�bic motif for EnÂ�glish horn. A turn by the Â�flutes Â�points our atÂ�tenÂ�tion to the apÂ�pearÂ�ance of a red botÂ�tle from his Â�sleeve and a Â�high-pitched viÂ�oÂ�lin trill marks the man pourÂ�ing a poiÂ�son over some dates in a bowl. In the meanÂ�while, Jones and SalÂ�lah are enÂ�gaged in a conÂ�verÂ�saÂ�tion with their host. When the old sage menÂ�tions “The HeÂ�brew God,” wind sudÂ�denly beÂ�gins to blow Â�through the open winÂ�dow, swingÂ�ing the lamps in the room. BeÂ�neath the sound of the wind, “noise-like” music can be perÂ�ceived: viÂ�oÂ�lins playÂ�ing arÂ�tiÂ�fiÂ�cial harÂ�monÂ�ics in Â�super-acute regÂ�isÂ�ter and Â�tam-tam rollÂ�ing piÂ�aÂ�nisÂ�simo. One of the Â�themes of the film is the loss of faith, arÂ�chaeÂ�oÂ�logÂ�iÂ�cal in a narÂ�row sense, and reÂ�liÂ�gious in a Â�broader one. In the conÂ�verÂ�saÂ�tion scene after Â�Marion’s “death,” BelÂ�loq tells Jones that they are not so difÂ�ferÂ�ent from each other: “ArÂ�chaeÂ�olÂ�ogy is our reÂ�liÂ�gion, yet we have both falÂ�len from the purer faith.” In the first act of the film, Jones tells Brody, who has just Â�warned him to beÂ�ware of the powÂ�ers of the Ark, “I don’t beÂ�lieve in magic or superÂ�stiÂ�tious hocus pocus. I’m after a find of inÂ�credÂ�ible hisÂ�torÂ�iÂ�cal sigÂ�nifÂ�iÂ�cance and Â�you’re talkÂ�ing about the booÂ�geyÂ�man!” At the beÂ�ginÂ�ning of the film, we see Jones as a grave robÂ�ber, plunderÂ�ing a temÂ�ple whose finds will be sold to Â�Brody’s muÂ�seum. Â�Jones’s arÂ�chaeÂ�oÂ�logÂ�iÂ�cal faith is inÂ� deed simÂ�iÂ�lar to Â�Belloq’s: it is just an exÂ�citÂ�ing Â�search of obÂ�jects havÂ�ing hisÂ�torÂ�iÂ�cal and ecoÂ�nomic value; obÂ�jects that have been deÂ�prived of their origÂ�iÂ�nal, deepÂ�est culÂ�tural/reÂ�liÂ�gious sigÂ�nifÂ�iÂ�cance. Jones Â�equals reÂ�liÂ�gion and faith to magic and superÂ�stiÂ�tion. For him, the Ark is just an obÂ�ject of inÂ�esÂ�timÂ�able value and a deÂ� sirÂ�able prey. The mysÂ�terÂ�iÂ�ous Ark motif has alÂ�ready sugÂ�gested that the Ark does posÂ�sess some kind of superÂ�natÂ�uÂ�ral power. Here, the sudÂ�den wind blowÂ�ing when the HeÂ�brew God is named is a furÂ�ther sigÂ�nal in this sense. The mysÂ�terÂ�iÂ� ous music hidÂ�den beÂ�neath the sound of the wind sugÂ�gests the presÂ�ence of God: as the Bible says, “a sound of a genÂ�tle blowÂ�ing.”14 In this scene the music, Â�besides havÂ�ing the emÂ�oÂ�tive funcÂ�tion of inÂ�creasÂ�ing the conÂ�cern for this Â�strange pheÂ�nomÂ�eÂ�non, also has the cogÂ�niÂ�tive funcÂ�tion of proÂ�vidÂ�ing a clue as to how the faith theme will be an imÂ�porÂ�tant one in the deÂ�velÂ�opÂ�ment of the narÂ�raÂ�tive.

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After the wind epiÂ�sode, still in the old Â�sage’s house, we see SalÂ�lah sing a GilÂ�bert and SulÂ�liÂ�van song to celÂ�eÂ�brate the sucÂ�cessÂ�ful deÂ�ciÂ�pherÂ�ing of the meÂ�dalÂ� lion, while Jones takes a date from the bowl and Â�throws it in the air to swalÂ�low it up.15 We see a Â�slow-motion deÂ�tail of the date floatÂ�ing in the air. Â�Sallah’s song stops Â�abruptly, and a timÂ�pani roll amÂ�plifies the perÂ�cepÂ�tion of time diÂ�laÂ�tion given by the slow moÂ�tion. The timÂ�pani roll ends with a sharp hit perÂ�fectly in synch with Â�Sallah’s hand catchÂ�ing the date in midÂ�air, inÂ�stants beÂ�fore it falls into Â�Jones’s mouth. PiercÂ�ing Â�chords by the viÂ�oÂ�lins acÂ�comÂ�pany SalÂ�lah turnÂ�ing his head to point at someÂ�thing on the floor. The Â�chords conÂ�tinue on the cut to the monÂ�key lying dead—we have seen it eatÂ�ing a date earÂ�lier in the scene. The scene ends with a Â�high-angled full shot showÂ�ing a ceilÂ�ing fan roÂ�tatÂ�ing in the foreÂ� ground and the monÂ�key Â�corpse on the carÂ�pet in the backÂ�ground. The music duÂ�pliÂ�cates the moveÂ�ment of the fan Â�blades with fast cirÂ�cuÂ�lar turns by the ceÂ�lesta. DigÂ�ging Up the Ark Once the preÂ�cise Â�height of the staff on which the meÂ�dalÂ�lion must be inÂ�serted has been obÂ�tained, Jones can fiÂ�nally sneak into the exÂ�caÂ�vaÂ�tion site and enter the map room, which Â�houses a miniÂ�ature repÂ�lica of the anÂ�cient town of Tanis. When sun enÂ�ters the map room, the meÂ�dalÂ�lion is supÂ�posed to chanÂ�nel its rays onto the repÂ�lica to inÂ�diÂ�cate the spot in which the Ark is burÂ�ied. As soon as Jones goes down into the room, a long muÂ�siÂ�cal seÂ�quence beÂ�gins. It Â�starts with the Ark motif, Â�played by Â�flutes in the lower regÂ�isÂ�ter and muted trumÂ�pets, Â�backed by the harp and a Â�low-pitched pedal point by the contraÂ�basses. The score Â�closely folÂ�lows the Â�cross-cutting upon which the seÂ�quence is built, alÂ�terÂ�natÂ�ing Â�between the inÂ�side of the map room (where the Ark motif is heard) and the outÂ�side where SalÂ�lah keeps watch over the enÂ�trance: here the music is milÂ�iÂ�taÂ�risÂ�tic, with rhythÂ�mic Â�snare-drum patÂ�terns and Â�minor-mode tromÂ�bones fanÂ�fares. The Â�crosscutting music helps to furÂ�ther sepÂ�arÂ�ate and make a comÂ�parÂ�iÂ�son Â�between the two sets: the inner EgypÂ�tian room, where a superÂ�natÂ�uÂ�ral power is hidÂ�den, and the outÂ�side Nazi camp, where a Â�worldly power is Â�flaunted. Jones deÂ�ciÂ�phers the inÂ�scripÂ�tions over the repÂ�lica to find out where the pole must be inÂ�serted. The music reÂ�prises those atoÂ�nal arÂ�pegÂ�gios that we have alÂ�ready heard when Jones was tryÂ�ing to byÂ�pass the traps in the South Â�American temÂ�ple at the beÂ�ginÂ�ning of the film. When Jones fiÂ�nally finds out which is the right hole, an upÂ�ward chord proÂ�gresÂ�sion folÂ�lows Jones turnÂ�ing his head toÂ�ward the enÂ�trance of the room. The narÂ�raÂ�tion cuts to the deÂ�tail of the Â�bright sunÂ�light startÂ�ing to filÂ�ter Â�through and the proÂ�gresÂ�sion reÂ�solves to a piercÂ�ing brass chord Â�played right on the edÂ�itÂ�ing cut. When Jones inÂ�serts the pole, the Ark motif Â�starts over, Â�played

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forte by the full orÂ�chesÂ�tra, with a voÂ�calÂ�izÂ�ing feÂ�male choir risÂ�ing from the orÂ�chesÂ�tral texÂ�ture and comÂ�ing to the fore in the secÂ�ond reÂ�prise of the theme. (NoÂ�tice that here, again, feÂ�male Â�voices Â�emerge from the inÂ�struÂ�menÂ�tal texÂ�ture of the Ark motif.) An orÂ�chesÂ�tral cresÂ�cendo of harÂ�monic proÂ�gresÂ�sions reÂ�solves to the tonic when the sun hits the meÂ�dalÂ�lion and a beam ilÂ�luÂ�miÂ�nates the buÂ�rial spot. SalÂ�lah helps Jones climb out of the room. Jones wanÂ�ders Â�around the camp disÂ�guised as an Arab—coÂ�herÂ�ently, we hear a “disÂ�guised” Â�Arabic-like verÂ�sion of “Indy 1” Â�played in minor mode by the EnÂ�glish horn—and enÂ�ters a tent. InÂ�side he finds MarÂ�ion alive, and a Â�stinger folÂ�lowed by a Â�Steiner-like muÂ�siÂ�cal pause underÂ�lines his surÂ�prise. Jones is Â�dressed in an Arab outÂ�fit and his face is covÂ�ered: for this reaÂ�son the music Â�presents omÂ�iÂ�nous Â�low-pitched notes. The music here is foÂ�cusÂ�ing our emoÂ�tion on MarÂ�ion, who has not recÂ�ogÂ�nized him and fears that the Â�stranger may have evil deÂ�signs on her. When Jones unÂ�covÂ�ers his face, Â�Marion’s theme is Â�played libÂ�erÂ�atÂ�ingly. HowÂ�ever, the muÂ�siÂ�cal Â�phrase is soon susÂ�pended by an inÂ�terÂ�rogÂ�aÂ�tive modÂ�ulaÂ�tion: Jones has just reÂ�alÂ�ized that freeÂ�ing MarÂ�ion means disÂ�closÂ�ing his presÂ�ence in the camp and jeopÂ�ardÂ�izÂ�ing the reÂ�covÂ�ery of the Ark. Â�Between MarÂ�ion and the Ark, Jones Â�chooses the Ark and, after tryÂ�ing to exÂ�plain his moÂ�tive, he Â�leaves her inÂ�side the tent. With the help of SalÂ�lah and a group of digÂ�gers, Jones Â�starts workÂ�ing on the site inÂ�diÂ�cated on the repÂ�lica. When the upper trapÂ�door opens, SalÂ�lah and Jones look down into the dark pit—the “Well of Souls.” The score Â�presents a Â�highpitched chroÂ�matic scale by treÂ�molo viÂ�oÂ�lins, a “creepÂ�ing” music gesÂ�ture, quite fitÂ� ting, as we are about to see. InÂ�deed, SalÂ�lah asks Jones why the floor is movÂ�ing. They throw a torch down to botÂ�tom of the well—the fall is duÂ�pliÂ�cated by a downÂ�ward flute scale—and reÂ�alÂ�ize that the chamÂ�ber is Â�crammed with poiÂ�sonÂ�ous Â�snakes. The music Â�presents slow glisÂ�sando clusÂ�ters by the viÂ�oÂ�lins with the emÂ�oÂ�tive funcÂ�tion of heightÂ�enÂ�ing the reÂ�pulÂ�sive imÂ�ages of the repÂ�tiles. We hear Â�highpitched cirÂ�cuÂ�lar woodÂ�winds Â�scales, mimÂ�ickÂ�ing the Â�snakes coilÂ�ing up. The narÂ�raÂ� tion cuts back to Jones, who pulls his head out of the trapÂ�door and lies down, deÂ�pressed: “Snakes. Why did it have to be Â�snakes?” The music once again mocks the hero, with a comÂ�ical downÂ�ward tromÂ�bones glisÂ�sando. Here is the Â�pay-off of the gag of WegÂ�gie the pyÂ�thon in the first act: that epiÂ�sode was not only a comic reÂ�lief but also Â�served to inÂ�form us of Â�Jones’s phoÂ�bia. The narÂ�raÂ�tion cuts to the tent where MarÂ�ion is imÂ�prisÂ�oned. BelÂ�loq enÂ�ters and unÂ�binds her. He soon Â�proves to be Â�well-behaved and Â�friendly. We underÂ� stand that he wants to flatÂ�ter and seÂ�duce her in order to obÂ�tain inÂ�forÂ�maÂ�tion on the meÂ�dalÂ�lion .€.€. and maybe someÂ�thing else—after all, BelÂ�loq is Â�French and, as we have seen, stereoÂ�types Â�abound in the film. BelÂ�loq ofÂ�fers her a tray with food

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and water. MarÂ�ion Â�glances at a knife among the cutÂ�lery on the tray: the music Â� points our atÂ�tenÂ�tion to the poÂ�tenÂ�tial Â�weapon with a Â�bright triÂ�anÂ�gle tinÂ�kle, sugÂ� gestÂ�ing Â�Marion’s schemÂ�ing Â�thoughts. A Â�low-pitched pedal point plays under the whole scene and inÂ�creases the susÂ�pense over Â�Marion’s fate and the sucÂ�cess of her esÂ�cape, deÂ�spite the tone of the conÂ�verÂ�saÂ�tion being Â�friendly and reÂ�laxed. When BelÂ�loq Â�presents her with a white dress and asks her to wear it, a roÂ�manÂ�tic gesÂ�ture of the viÂ�oÂ�lins underÂ�lines the gift. MarÂ�ion goes beÂ�hind the room diÂ�vider and BelÂ�loq peeps at her reÂ�flecÂ�tion in a mirÂ�ror while she is takÂ�ing off her brasÂ�siere. The music reÂ�peats the roÂ�manÂ�tic gesÂ�ture of the Â�strings, with an added upÂ�ward woodÂ�winds trill to mark the growÂ�ing exÂ�citeÂ�ment of the man. A Â�stronger trill acÂ�comÂ�paÂ�nies MarÂ�ion comÂ�ing out from beÂ�hind the Â�screen and disÂ�playÂ�ing herÂ�self wearÂ�ing the dress. The scene Â�closes with MarÂ�ion putÂ�ting her old dress on the table to hide the knife: the music Â�switches to low regÂ�isÂ�ter again. As preÂ�viÂ� ously hapÂ�pened, Â�Marion’s theme never apÂ�pears in this scene—and simÂ�iÂ�larly will not in the next two—conÂ�firmÂ�ing that it is the love theme Â�between Jones and MarÂ�ion, Â�rather than Â�Marion’s own leitÂ�moÂ�tiv. The enÂ�tire night seÂ�quence is based on a Â�cross-cutting Â�between the Well of Souls and Â�Belloq’s tent. In the Well of the Souls the music conÂ�tinÂ�ues to enÂ�hance the sense of disÂ�gust for the repÂ�tiles and to duÂ�pliÂ�cate their creepÂ�ing, coilÂ�ing moveÂ� ments. A few exÂ�amÂ�ples: when Jones lands in front of a cobra, muted tromÂ�bones inÂ�crease the comÂ�ical efÂ�fect of Â�Jones’s disÂ�gusted griÂ�mace with a slow upÂ�ward glisÂ�sando. When we see a Â�close-up of the cobra, we hear an upÂ�ward arÂ�pegÂ�gio, which reÂ�calls that of the shark motif in Jaws—not for tuba and horns but for flute and oboe, reÂ�mindÂ�ing us of snake charmÂ�ers. In the tent, the seÂ�ducÂ�tion goes on, and BelÂ�loq fills two Â�glasses with a Â�strong liqÂ�uor. He wants to get MarÂ�ion drunk in order to obÂ�tain the inÂ�forÂ�maÂ�tion he needs. The susÂ�penseÂ�ful Â�low-pitched pedal point is still there. UnÂ�like BelÂ�loq, we know that MarÂ�ion is an exÂ�peÂ�riÂ�enced Â�drinker. A light viÂ�oÂ�lins pizÂ�ziÂ�cato acÂ�comÂ�paÂ�nies the toast, and a bold turn of the clarÂ�iÂ�nets underÂ�lines BelÂ�loq swalÂ�lowÂ�ing his glass with a smirk on his face. MarÂ�ion anÂ�swers by empÂ�tyÂ�ing her glass at a sinÂ�gle Â�stroke, and a turn of the Â�flutes anÂ�swers to the clarÂ�iÂ�nets. A pizÂ�ziÂ�cato comÂ�ically emÂ�phaÂ�sizes Â�Belloq’s surÂ�prise. This time it is Â�Marion’s turn to fill the Â�glasses, and we reÂ�alÂ�ize that she is alÂ�ready leadÂ�ing the game. The score Â�closes the scene with the Â�low-pitched pedal point, still reÂ�mindÂ�ing us that, alÂ�though Â�partly comic, Â�Marion’s plan is a risky one. In the folÂ�lowÂ�ing tent scene, the Â�low-pitched pedal point is gone. The two conÂ�testÂ�ants are both drunk, apÂ�parÂ�ently. MarÂ�ion goes on pourÂ�ing the liqÂ�uor. Funny gesÂ�tures by the clarÂ�iÂ�nets and tromÂ�bones mimic the unÂ�coÂ�orÂ�diÂ�nated moveÂ�ments of the Â�drunks. SudÂ�denly, MarÂ�ion grabs the knife from the table and Â�points it at BelÂ�loq: a Â�low-pitched Â�stinger Â�stresses the surÂ�prisÂ�ing

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twist. Â�Belloq’s reÂ�acÂ�tion is a fit of laughÂ�ter, and MarÂ�ion does the same while she backs away toÂ�ward the exit. We hear again comÂ�ical gesÂ�tures in the score, but the Â�low-pitched pedal point reÂ�emerges so as to warn us of an imÂ�pendÂ�ing danÂ�ger. A Â�close-up shows BelÂ�loq lookÂ�ing at the enÂ�trance to the tent: his smile fades from his face. MarÂ�ion bangs Â�against Toht, blockÂ�ing the exit beÂ�hind her, and the Â�villains’ Â�chords mark his apÂ�pearÂ�ance. When Toht picks up his bag and pulls out a menÂ�acÂ�ing black obÂ�ject with chain inÂ�serts, a draÂ�matic brass Â�low-pitched cresÂ�cendo heightÂ�ens the susÂ�pense and seems to conÂ�firm our imÂ�presÂ�sion that we are about to see a torÂ�ture scene. When the obÂ�ject is reÂ�vealed to be simÂ�ply a Â�hanger for Â�Toht’s coat, the comic efÂ�fect given by the sudÂ�den contraÂ�dicÂ�tion of our exÂ�pecÂ�taÂ� tions is enÂ�hanced by the deÂ�flatÂ�ing of the muÂ�siÂ�cal cresÂ�cendo. ProÂ�verÂ�biÂ�ally, the mounÂ�tain has Â�brought forth a mouse. In the meanÂ�time, SalÂ�lah has Â�joined Jones, and the two lift the Ark out of a large stone sarÂ�cophÂ�aÂ�gus. As soon as the proÂ�file of the obÂ�ject Â�emerges, the Ark motif is Â�stated by the horns, to which unÂ�muted trumÂ�pets playÂ�ing forte are added when the Ark comes comÂ�pletely out of the sarÂ�cophÂ�aÂ�gus. EarÂ�lier, the Ark was hidÂ�den—muted trumÂ�pets—and now the obÂ�ject has been Â�brought to light and its power is a real Â�threat. When the Ark is Â�placed into a Â�wooden crate, we hear a disÂ�turbÂ�ing atoÂ�nal voÂ�calÂ�izÂ�ing feÂ�male choir. LosÂ�ing the Ark/GetÂ�ting the Ark/ LosÂ�ing the Ark Again A new day has come and BelÂ�loq, out of the tent, noÂ�tices the clanÂ�desÂ�tine exÂ�caÂ�vaÂ� tion and sumÂ�mons all the solÂ�diers. In the Well of Souls, SalÂ�lah is climbÂ�ing to the exit acÂ�comÂ�paÂ�nied by a spirÂ�ited verÂ�sion of the Ark motif. When it is Â�Jones’s turn to grasp the rope, the rope falls back into the Well—a dyÂ�namic cresÂ�cendo by the trumÂ�pets duÂ�pliÂ�cates the fallÂ�ing moveÂ�ment. When the rope Â�touches the Â�ground, the cresÂ�cendo stops and Â�leaves room to a Â�low-pitched pedal point. AnÂ�other cresÂ�cendo acÂ�comÂ�paÂ�nies the upÂ�ward Â�whip-pan to the top, which stops on the image of BelÂ�loq tauntÂ�ingly greetÂ�ing from above: “Hello!” A piano note by the tromÂ�bones Â�serves as a coda for the Â�tailing-out of the music to make room for the unÂ�acÂ�comÂ� paÂ�nied diÂ�alogue. The music Â�starts again draÂ�matÂ�iÂ�cally when Toht arÂ�rives and Â�throws MarÂ�ion into the Well. Â�Mickey-Mousing Â�closely duÂ�pliÂ�cates the folÂ�lowÂ�ing Â�events, such as Â�Marion’s fall; MarÂ�ion clingÂ�ing to the teeth of an AnÂ�uÂ�bis; a tooth of the Â�statue crackÂ�ing; a snake coilÂ�ing up inÂ�side the shoe that MarÂ�ion has lost durÂ�ing the fall; the tooth fiÂ�nally breakÂ�ing apart; Â�Marion’s fallÂ�ing into Â�Jones’s arms; and her landÂ�ing in front of the cobra. The Nazis take the Ark, and the two are Â�locked into the Well, apÂ�parÂ�ently senÂ�tenced to death.

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To flee the place, Jones underÂ�stands that he has to tear down one of the walls. The music Â�starts with a rhythÂ�mic patÂ�tern exÂ�pressÂ�ing Â�Jones’s deÂ�terÂ�miÂ�naÂ� tion and Â�Mickey-Mousing marks the acÂ�tion. Jones Â�climbs onto one of the huge AnÂ�uÂ�bis statÂ�ues, makes the Â�statue swing, and manÂ�ages to deÂ�tach it from its base, causÂ�ing it to fall and land on the wall, deÂ�molÂ�ishÂ�ing it—the trumÂ�pets play “Indy 1” while Jones “rides” the fallÂ�ing Â�statue. In the folÂ�lowÂ�ing scene, Jones tries to get hold of an airÂ�plane and enÂ�gages in a fistÂ�fight with a meÂ�chanic. Again the music Â�treats the acÂ�tion as a balÂ�let. The fists are emÂ�phaÂ�sized by trumÂ�pets stingÂ�ers and woodÂ�winds runs, while a brass osÂ�tiÂ�nato Â�serves as rhythÂ�mic drive Â�across the acÂ�tion—the brass osÂ�tiÂ�nato also reÂ�calls the roÂ�tatÂ�ing proÂ�pelÂ�lers of the plane, which are an extra pendÂ�ing danÂ�ger that will play a key role in the outÂ�come of the fight. Jones has Â�knocked down the meÂ�chanic and is now climbÂ�ing on the wing to get rid of the pilot. UnÂ�forÂ�tuÂ�nately, he is Â�stopped by anÂ�other, much more roÂ�bust meÂ�chanic who inÂ�sists that he step down from the wing and have a fist fight. The rhythÂ�mic osÂ�tiÂ�nato stops and gives way to a Â�middle-register pedal point by the horns, on which the oboe and clarÂ�iÂ�net play a weary Â�minor-mode verÂ�sion of “Indy 1.” This reÂ�inÂ�forces the ironÂ�iÂ� cal image of the hero reÂ�lucÂ�tantly givÂ�ing the Â�brawny meÂ�chanic a tired nod, as if to ask him to be alÂ�lowed some time to climb down from the wing. Once on the Â�ground, the muÂ�siÂ�cal osÂ�tiÂ�nato sudÂ�denly reÂ�sumes when Jones, with a trick, disÂ�tracts the man and unÂ�fairly kicks the rival Â�between the legs. The meÂ�chanic takes the blow—and the othÂ�ers to folÂ�low—as if he were inÂ�deÂ�structÂ�ible. MeanÂ�while, MarÂ�ion Â�knocks out the pilot, who colÂ�lapses onto the conÂ�trol stick, thus makÂ�ing the plane move in cirÂ�cles. When the conÂ�trol stick lowÂ�ers, a new muÂ�siÂ�cal secÂ�tion beÂ�gins, servÂ�ing as a frame for the subÂ�epiÂ�sode of the seÂ�quence. Now Jones must not only get rid of the burly meÂ�chanic but also pay atÂ�tenÂ�tion to not being Â�crushed by the Â�wheels of the airÂ�craft or being cut to ribÂ�bons by its roÂ�tatÂ�ing proÂ� pelÂ�lers. There is more: a wing Â�strikes a Â�tanker truck causÂ�ing a leak from which fuel beÂ�gins to spill out onto the tarÂ�mac; a Â�high-pitched flute trill foÂ�cuses our atÂ�tenÂ� tion on this narÂ�raÂ�tive event that will trigÂ�ger a chain reÂ�acÂ�tion. Jones sees a gun on the Â�ground and runs toÂ�ward it; we hear the trumÂ�pets startÂ�ing to play “Indy 1.” When the meÂ�chanic Â�blocks his way to the gun, the meÂ�lodic line of “Indy 1” is sudÂ�denly diÂ�verted by an Â�abrupt modÂ�ulaÂ�tion. When MarÂ�ion sees a milÂ�iÂ�tary truck passÂ�ing by, we hear for the first time a Â�minor-mode march, which will be henceÂ�forth asÂ�soÂ�ciated with the Nazis. If Jones had to deal with sinÂ�gle enÂ�eÂ�mies like BelÂ�loq, Toht, or some Nazis in ciÂ�vilÂ�ian Â�clothes geÂ�nerÂ�iÂ�cally Â�marked by the Â�villains’ Â�chords, now he has to steal the Ark from the WehrÂ�macht itÂ�self. MarÂ�ion uses the airÂ�craft maÂ�chine gun to shoot the truck and other apÂ�proachÂ�ing enÂ�eÂ�mies. HowÂ�ever, in the shootÂ�ing some fuel cans exÂ�plode, causÂ�ing a fire. A shot of the

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fuel flowÂ�ing onto the runÂ�way is highÂ�lighted by fast and flowÂ�ing Â�strings Â�scales. Jones reÂ�alizes that MarÂ�ion is Â�locked in the cockÂ�pit and that the airÂ�plane could exÂ�plode at any minÂ�ute. He Â�climbs onto the fuÂ�seÂ�lage, acÂ�comÂ�paÂ�nied by a heÂ�roic verÂ�sion of “Indy 1” Â�played by the trumÂ�pets. HowÂ�ever, the melÂ�ody stops again after four bars: the meÂ�chanic has Â�climbed on the plane and diÂ�verts Jones from resÂ�cuÂ�ing MarÂ�ion. The fistÂ�fight conÂ�tinÂ�ues on the plane, Â�backed by draÂ�matic Â�Mickey-Mousing. The fuel is now about to reach the fire, and the music emÂ�phaÂ�sizes the danÂ�ger with an alarmÂ�ing Â�high-pitched trill of the woodÂ�winds. The seemÂ�ingly inÂ�vinÂ�cible meÂ�chanic gets acÂ�ciÂ�denÂ�tally Â�killed by the airÂ�plane proÂ�pelÂ�lers—a conÂ�venÂ�ient narÂ�raÂ�tive turn to elimÂ�iÂ�nate the Â�mighty opÂ�poÂ�nent. Jones is now free to save MarÂ�ion, a Â�last-minute resÂ�cue beÂ�fore the plane exÂ�plodes. “Indy 1” Â�played by horns acÂ�comÂ�paÂ�nies the resÂ�cue, stopÂ�ping at the Â�fourth bar and reÂ�peatÂ�ing the same half Â�phrase twice. Jones and MarÂ�ion meet SalÂ�lah, surÂ�prised and happy to see them alive. SalÂ�lah inÂ�forms Jones that the Ark was Â�loaded onto a truck to be taken away. The next seÂ�quence shows Jones chasÂ�ing the truck on horseÂ�back. Once again, the long muÂ�siÂ�cal seÂ�quence (7'44") Â�treats the chase like a balÂ�let. The unÂ�inÂ�terÂ�rupted muÂ�siÂ�cal acÂ�comÂ�paÂ�niÂ�ment, Â�besides creatÂ�ing a uniÂ�fied perÂ�cepÂ�tion of the frenÂ�zied edÂ�itÂ�ing of the seÂ�quence, supÂ�ports the acÂ�tion with exÂ�tenÂ�sive Â�Mickey-Mousing emÂ�bedÂ�ded in a reÂ�lentÂ�less osÂ�tiÂ�nato. DurÂ�ing the seÂ�quence the score also deÂ�velÂ�ops and Â�weaves cells of the varÂ�iÂ�ous leitÂ�moÂ�tivs, and Â�switches from one to the other, diÂ�rectÂ�ing our atÂ�tenÂ�tion to the varÂ�iÂ�ous reÂ�lated charÂ�acÂ�ters—for exÂ�amÂ�ple, the “Nazi march” when we see the conÂ�voy esÂ�cortÂ�ing the Ark, and “Indy 1” over the shots of Jones ridÂ�ing his horse. In this seÂ�quence we hear “Indy 2” for the secÂ�ond time in the film, after its ironÂ�iÂ�cal use in the inÂ�itial Â�python-on-the-airplane gag. This time, “Indy 2” acÂ�comÂ�paÂ�nies an epiÂ�sode in which Jones does “show a litÂ�tle backÂ�bone”: the theme is used when Jones takes posÂ�sesÂ�sion of the truck and rams the Nazi car; when Jones—after havÂ�ing being Â�thrown in front of the movÂ�ing truck and Â�dragged under the veÂ�hiÂ�cle—skillÂ�fully sucÂ�ceeds in climbÂ�ing back on board; when Jones takes back conÂ�trol of the truck and Â�pushes the Nazi car off the road. ArÂ�rivÂ�ing in Cairo, Jones hides the truck in a safe place. The sucÂ�cess of the misÂ�sion is celÂ�eÂ�brated by the horns playÂ�ing “Indy 1,” but still limÂ�ited to the half Â�phrase: the batÂ�tle is won, the war not yet. Jones, MarÂ�ion, and the Ark emÂ�bark on CapÂ�tain Â�Katanga’s ship. After havÂ�ing been burÂ�ied alive, alÂ�most Â�beaten to death by a stout meÂ�chanic and Â�thrown out of a speedÂ�ing truck, Jones—covÂ�ered in Â�bruises and Â�scratches—can fiÂ�nally lie down and take some rest. MarÂ�ion takes care of him; from dressÂ�ing his Â�wounds, the acÂ�tion soon proÂ�gresses to kissÂ�ing. We first hear Â�Marion’s theme for solo Â�flutes when she ofÂ�fers to take care of the Â�beaten man. Then, the theme is reÂ�peated by

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the Â�flutes Â�backed by the Â�strings. A cell of Â�Marion’s theme Â�warmly Â�played by celÂ�los is heard when it is clear that the nurse is about to beÂ�come the lover. When MarÂ�ion Â�kisses Jones on the lips, the theme is reÂ�stated by the viÂ�oÂ�lins, and then the full orÂ�chesÂ�tra soars with a pasÂ�sionÂ�ate cresÂ�cendo leadÂ�ing to a reÂ�peated sweepÂ�ing arÂ�pegÂ�gio in tripÂ�let Â�rhythm. SudÂ�denly, the cresÂ�cendo stops and the music deÂ�flates: Jones has falÂ�len Â�asleep. The score has Â�created a sort of muÂ�siÂ�cal coÂ�iÂ�tus interÂ�rupÂ�tus. The comic efÂ�fect of this scene is obÂ�tained by Â�firstly buildÂ�ing exÂ�pecÂ�taÂ�tions—Â�through the use of roÂ�manÂ�tic, pasÂ�sionÂ�ate muÂ�siÂ�cal cliÂ�chés like the love theme by Â�strings, the thickÂ�enÂ�ing of the inÂ�struÂ�menÂ�taÂ�tion, the yearnÂ�ing efÂ�fect of the tripÂ�let Â�rhythm—and then frusÂ�tratÂ�ing those exÂ�pecÂ�taÂ�tions, which proÂ�vokes laughÂ�ter servÂ�ing as an emoÂ�tional outÂ�let.16 The image of the sleepÂ�ing Jones is not only acÂ�comÂ�paÂ�nied by a muÂ�siÂ�cal deÂ�flaÂ�tion but also by a delÂ�iÂ�cate motif Â�played piano by the ceÂ�lesta, imÂ�iÂ�tatÂ�ing a music box that winds down, as the final notes of a lulÂ�laby. The narÂ�raÂ�tion takes us to the cargo hold in the Â�ship’s hull, where the Ark is Â�stowed. A slow trackÂ�ing shot moves forÂ�ward to the Â�wooden crate, Â�marked with a Nazi swasÂ�tika. An inÂ�sert shot shows a mouse beÂ�havÂ�ing oddly, as if afÂ�fected by an inÂ�visÂ�ible force. The trackÂ�ing shot comÂ�pletes its moveÂ�ment and stops on the deÂ�tail of the swasÂ�tika, which is sudÂ�denly Â�burned out by some heat emÂ�aÂ�natÂ�ing from the inÂ�side. As in the scene in which a mysÂ�terÂ�iÂ�ous wind blew Â�through the house of the Arab sage, here we perÂ�ceive again some muÂ�siÂ�cal presÂ�ence beÂ�neath the Â�low-frequency noise of the ship enÂ�gines. The next mornÂ�ing, the ship is Â�seized by a Nazi Â�U-boat; they reÂ�trieve the Ark and kidÂ�nap MarÂ�ion. Jones has manÂ�aged to hide, and KaÂ�tanga jusÂ�tifies his abÂ�sence by tellÂ�ing the Nazis that he Â�killed him to keep MarÂ�ion for himÂ�self. The Nazis Â�search the ship withÂ�out findÂ�ing Jones, so they beÂ�lieve Â�Katanga’s story and go back to their subÂ�maÂ�rine. InÂ�deed, even KaÂ�tanga and his men have no idea where Jones might be. Then the music Â�presents “Indy 2” Â�played by the Â�strings, as to anÂ�ticÂ�iÂ�pate that a feat of heroÂ�ism is about to take place. InÂ�deed, one of Â�Katanga’s men looks overÂ�board and says, “I found him,” pointÂ�ing at someÂ� thing Â�off-screen. The music duÂ�pliÂ�cates his pointÂ�ing gesÂ�ture with a woodÂ�winds run, which leads to a cut to Jones climbÂ�ing onto the Â�U-boat. ReachÂ�ing the upper deck, Jones saÂ�lutes KaÂ�tanga and his men, acÂ�comÂ�paÂ�nied for the first time by the comÂ�plete Â�phrase of “Indy 1”—inÂ�cludÂ�ing the “show-off modÂ�ulaÂ�tion”17— in the form of an exÂ�uÂ�berÂ�ant march, with its bold Â�major-sixth leaps emÂ�phaÂ�sizÂ�ing the Â�cheers of KaÂ�tanga and his crew. Here, the music celÂ�eÂ�brates the hero and disÂ�tracts us from thinkÂ�ing about the imÂ�plauÂ�sibilÂ�ity of Jones swimÂ�ming toÂ�ward and climbÂ�ing onto a Â�U-boat. In such moÂ�ments, the music has the scope of diÂ�vertÂ�ing our atÂ�tenÂ�tion from the narÂ�raÂ�tive logic and diÂ�rectÂ�ing it to the specÂ�tacÂ�uÂ�lar

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and emoÂ�tional qualÂ�ities of the scene. The efÂ�fect is Â�achieved by Â�Williams’s typÂ�iÂ�cal techÂ�nique of “gradÂ�ual disÂ�cloÂ�sure of the main theme” disÂ�cussed in chapÂ�ter 7.18 After reÂ�curÂ�rent presÂ�enÂ�taÂ�tions of the first semiÂ�phrase only, “Indy 1” is heard here in its enÂ�tirety for the first time. The recÂ�ogÂ�niÂ�tion of a faÂ�milÂ�iar melÂ�ody fiÂ�nally heard in its full form has a reÂ�sultÂ�ing efÂ�fect of gratÂ�ifiÂ�caÂ�tion that atÂ�taÂ�ches to the visÂ�ual, and the music also proÂ�jects onto the scene a sense of coÂ�herÂ�ence deÂ�rivÂ�ing from the coÂ�heÂ�sion of the score—thus maskÂ�ing the weakÂ�ness of the narÂ�raÂ�tive logic. OpenÂ�ing the Ark The Â�U-boat arÂ�rives at some MedÂ�iÂ�terÂ�raÂ�nean isÂ�land and docks in a hidÂ�den milÂ�iÂ�tary base. Jones disÂ�emÂ�barks and spies on MarÂ�ion and BelÂ�loq from beÂ�hind some Â�crates. We hear “Indy 1” Â�played by the clarÂ�iÂ�nets and Â�flutes in low regÂ�isÂ�ter, Â�backed by the Â�low-pitched pedal point by the contraÂ�basses. Two pizÂ�ziÂ�cato notes by the contraÂ�basses pinÂ�point a solÂ�dier in a long shot being sudÂ�denly Â�pulled away beÂ�hind some Â�crates. HavÂ�ing Â�knocked him out, Jones Â�steals his uniÂ�form. DurÂ�ing the gag in which Jones disÂ�covÂ�ers that the uniÂ�form is too tight for him, the comic efÂ�fect is strengthÂ�ened by “Indy 1” Â�played by the clarÂ�iÂ�net and reÂ�prised in Â�canon-like imÂ�iÂ�taÂ�tion by Â�ironic contraÂ�basses pizÂ�ziÂ�cato. “Indy 1” is then interÂ� rupted when a solÂ�dier arÂ�rives. His legs threatÂ�enÂ�ingly enter the Â�on-screen space and Â�create a Â�frame-in-the-frame of Â�Jones’s face. A Â�minor-mode tromÂ�bones chord and marÂ�tial reÂ�peatÂ�ing notes by the trumÂ�pets acÂ�comÂ�pany his unÂ�exÂ�pected arÂ�riÂ�val. The solÂ�dier does not recÂ�ogÂ�nize the imÂ�posÂ�tor and beÂ�lieves he is just a Â�shabby reÂ�cruit. He yells in GerÂ�man, evÂ�iÂ�dently orÂ�derÂ�ing Jones to tidy up. Jones plays along, smilÂ�ing emÂ�barÂ�rassedly and provÂ�ing his comÂ�pliÂ�ance by combÂ�ing his hair. The music Â�presents a comic verÂ�sion of “Indy 1” Â�backed by viÂ�oÂ�lins pizÂ�ziÂ�cato. The gag ends when Jones sudÂ�denly kicks the solÂ�dier down, Â�catches his hat in midÂ�air, and dons it: an upÂ�ward run by the clarÂ�iÂ�nets comÂ�ically duÂ�pliÂ�cates his catch. Then, Jones minÂ�gles efÂ�fortÂ�lessly with other solÂ�diers, and—in case viewÂ�ers might have Â�missed someÂ�thing—the music draws our atÂ�tenÂ�tion to his presÂ�ence among the Nazis by preÂ�sentÂ�ing a cell of “Indy 1” Â�played by a solo clarÂ�iÂ�net as he Â�passes by. In the next seÂ�quence, the Ark is Â�brought into a gorge. The Ark motif arÂ� ranged as a Â�minor-mode march acÂ�comÂ�paÂ�nies the solÂ�diers on the trek. Jones is at the tail of the line of solÂ�diers: the music inÂ�diÂ�cates his presÂ�ence with “Indy 1” Â�played by the horns. Jones Â�breaks away from the conÂ�voy and hides beÂ�hind some Â�crates: a harp glisÂ�sando reÂ�inÂ�forces our perÂ�cepÂ�tion of his Â�abrupt moveÂ�ment and also Â�serves as a muÂ�siÂ�cal Â�bridge to the reÂ�prise of the Ark motif when the

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narÂ�raÂ�tion cuts to the next shot. Jones apÂ�pears on an upper ridge sayÂ�ing “Hello!” and threatÂ�ens the solÂ�diers below with a baÂ�zooka. His elÂ�eÂ�vated poÂ�siÂ�tion mirÂ�rors the preÂ�viÂ�ous scene with BelÂ�loq lookÂ�ing down from the trapÂ�door of the Well of Souls and simÂ�iÂ�larly sayÂ�ing “Hello.” A tellÂ�ing cresÂ�cendo preÂ�cedes Â�Jones’s apÂ�pearÂ� ance, and a thinÂ�ning of the music makes room for Â�Jones’s cue, while a Â�stinger emÂ�phaÂ�sizes the surÂ�prise of the solÂ�diers. The music inÂ�conÂ�spicÂ�uÂ�ously tails out under the diÂ�alogue. In a gorge, the Ark is Â�placed on a stone altar, Â�around which we see Toht, the WehrÂ�macht coloÂ�nel, and BelÂ�loq, who is Â�dressed as an anÂ�cient HeÂ�brew Â�priest. BeÂ�fore them, solÂ�diers are filmÂ�ing the event with Â�swastika-branded camÂ�eÂ�ras. Jones and MarÂ�ion are on the side of the gorge opÂ�poÂ�site the altar, tied to a pole. At the beÂ�ginÂ�ning of the scene, wind blowÂ�ing Â�through the gorge can be deÂ�tected: we can hear the Â�wind’s whisÂ�per and see Â�Belloq’s Â�clothes move. The score does not Â�present the Ark motif but inÂ�stead a Â�high-pitched pedal point by the Â�strings and some chroÂ�matic Â�oriental-flavored gesÂ�tures by the woodÂ�winds. After BelÂ�loq has utÂ�tered some ritÂ�ual forÂ�muÂ�las, the Ark is Â�opened. DisÂ�apÂ�pointÂ�ingly, inÂ�stead of wonÂ�derÂ�ful treasÂ�ures and the TabÂ�lets of Law, the Ark conÂ�tains nothÂ�ing but sand. The coloÂ�nel Â�raises a handÂ�ful of sand, which beÂ�gins to slide Â�through his finÂ�gers. The music emÂ�phaÂ�sizes the sand slidÂ�ing with silÂ�very Â�high-pitched notes by the piano, harp, and the casÂ�cadÂ�ing sound of the Mark Tree.19 This muÂ�siÂ�cal Â�choice reÂ�calls a scene in The TreasÂ�ure of the Â�Sierra Madre ( John HuÂ�ston, 1948) in which Â�Steiner’s music Â�stresses the pourÂ�ing of gold dust into scale pans in the same way: for that gold dust Dobbs (HumÂ�phrey BoÂ�gart) will lose his life. Here, there seems to be not only a tribÂ�ute to Â�Steiner but also an anÂ�ticÂ�iÂ�paÂ�tion of what will soon hapÂ�pen to BelÂ�loq and his comÂ�rades: like Dobbs, they will lose their lives beÂ�cause of an inÂ�efÂ�fable treasÂ�ure. SudÂ�denly, the electriÂ�cal equipÂ�ment mysÂ�terÂ�iÂ�ously beÂ�gins to break down: the Ark motif enÂ�ters Â�played by the trumÂ�pets. A weird light apÂ�pears from the botÂ�tom of the Ark; fog Â�starts to bilÂ�low out of it and Â�envelop the area. Jones looks at the omÂ�iÂ�nous pheÂ�nomÂ�ena in astonÂ�ishÂ�ment and urges MarÂ�ion to keep her eyes Â�squeezed shut. SpirÂ�its with beauÂ�tiÂ�ful femÂ�iÂ�nine faces come out of the Ark and start to float Â�around, with Â�fast-flowing Â�strings runs duÂ�pliÂ�catÂ�ing the Â�spirits’ Â�flight. The muÂ�siÂ�cal Â�choice of the anÂ�gelic voÂ�calÂ�izÂ�ing feÂ�male choir often heard under the Ark motif is now clear: the music was anÂ�ticÂ�iÂ�patÂ�ing what would emÂ�aÂ�nate from the Ark. The Nazis stare at the fasÂ�ciÂ�natÂ�ing spirÂ�its that sudÂ�denly turn into Death AnÂ�gels. Bolts of lightÂ�ning Â�spring out from the Ark and Â�strike each solÂ�dier to the Â�ground. BelÂ�loq, the coloÂ�nel, and Toht Â�scream in terÂ�ror and exÂ�plode, imÂ�plode, and liqÂ�uefy, reÂ�specÂ�tively. Â�Flames Â�envelop the enÂ�tire gorge, deÂ�stroyÂ�ing everyÂ�thing in it. A colÂ�umn of fire rises up to the sky and then reÂ�turns into the

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Ark, on which the lid fiÂ�nally falls. The only surÂ�viÂ�vors are Jones and MarÂ�ion: God’s Fire has Â�spared their lives as it hapÂ�pened to Lot durÂ�ing the deÂ�strucÂ�tion of Sodom and GoÂ�morÂ�rah.20 Once again, the music in this scene repÂ�reÂ�sents the presÂ�ence of God. While preÂ�viÂ�ously it was an alÂ�most unÂ�noÂ�ticeÂ�able presÂ�ence hidÂ�den beÂ�neath the wind sound and the Â�ship’s enÂ�gine, now God’s power is unÂ�leashed and his presÂ�ence evÂ�iÂ�dent. Â�Williams said: “For the openÂ�ing of the Ark, I Â�wanted to try and evoke a bibÂ�liÂ�cal atÂ�mosÂ�phere.”21 He cerÂ�tainly sucÂ�ceeded. DurÂ�ing the terÂ�rible deÂ�mise of BelÂ�loq, the coloÂ�nel, and Toht, the score Â�states a perÂ�empÂ�tory horn motif, which may be Â�called “The Wrath of God Motif ”:

Transcription of John Williams, “The Wrath of God Motif [tentative title],” from the Raiders of the Lost Ark film score (© 1981 BMI ), published by Bantha Music (ear transcription from the film’s soundtrack) [Used in compliance with the U.S. Copyright Act, Section 107].

This horn motif has an anÂ�cient flaÂ�vor given by muÂ�siÂ�cal interÂ�vals that can be Â�played using the natÂ�uÂ�ral harÂ�monÂ�ics of the inÂ�struÂ�ments.22 MoreÂ�over, the ShoÂ�far—one type of anÂ�cient horn—is the ram’s horn used in JewÂ�ish litÂ�urgy and menÂ�tioned sevÂ�eral times in the Bible. In the book of ExÂ�oÂ�dus the very sound of the horn inÂ�diÂ�cates the presÂ�ence of God: “There was Â�thunder, lightÂ�ning and a thick cloud on the mounÂ�tain. Then a shoÂ�far blast Â�sounded so Â�loudly that all the peoÂ�ple in the camp tremÂ�bled. .€.€. Mount Sinai was Â�enveloped in smoke, beÂ�cause AdoÂ�nai deÂ�scended onto it in fire—its smoke went up like the smoke from a furÂ�nace, and the whole mounÂ�tain shook viÂ�oÂ�lently. As the sound of the shoÂ�far grew Â�louder and Â�louder .€.€.”23 Jones, who preÂ�viÂ�ously proÂ�fessed not to beÂ�lieve in superÂ�stiÂ�tion and magic, disÂ�covÂ�ers a superÂ�natÂ�uÂ�ral facet of life that he had never conÂ�sidÂ�ered. The Â�themes of (arÂ�chaeÂ�oÂ�logÂ�iÂ�cal) faith and (reÂ�liÂ�gious) Faith, introÂ�duced since the first act as an open quesÂ�tion, find here a posÂ�sible anÂ�swer. Maybe this exÂ�peÂ�riÂ�ence has Â�taught Jones that the arÂ�chaeÂ�oÂ�logÂ�iÂ�cal finds are not just troÂ�phies to win and sell, but are symÂ�bols that must be reÂ�spected. In life there is much more than what one can see, feel, and touch. Set free by the DiÂ�vine Fire, Jones and MarÂ�ion emÂ�brace each other, and we hear Â�Marion’s theme, which Â�closes the scene and the adÂ�venÂ�ture with an auÂ�thenÂ�tic caÂ�dence (V–I) and a slow upÂ�ward harp arÂ�pegÂ�gio. All ended well .€.€. but

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maybe not. On the cut leadÂ�ing to the epiÂ�logue, the muÂ�siÂ�cal line goes up a half step, contraÂ�dictÂ�ing the cloÂ�sure efÂ�fect of the auÂ�thenÂ�tic caÂ�dence. EpiÂ�logue There is still someÂ�thing pendÂ�ing: What will beÂ�come of the Ark? In WashÂ�ingÂ�ton, Jones is inÂ�formed by some buÂ�reauÂ�crats that the relic is being kept in a safe place and studÂ�ied by their qualÂ�ified “top men,” which exÂ�cludes him. OutÂ�side the buildÂ�ing, MarÂ�ion asks him the reaÂ�son for his disÂ�apÂ�pointÂ�ment. Jones inÂ�sults the buÂ�reauÂ�crats: “They don’t know what Â�they’ve got there.” MarÂ�ion tries to cheer him up: “But I know what I’ve got here.” She inÂ�vites him to go for a drink toÂ�gether. Again, we hear Â�Marion’s theme. Jones ofÂ�fers his arm to her, and Â�Marion’s theme is reÂ�prised by the Â�strings—viÂ�oÂ�lins and celÂ�los, feÂ�male and male. The lost Ark has been found and lost again, but durÂ�ing this adÂ�venÂ�ture Jones has reÂ�trieved someÂ�thing else: a lost love. This scene conÂ�firms our preÂ�viÂ�ous claim that MarÂ�ion does not have her “own” theme. Â�Marion’s theme is acÂ�tuÂ�ally the proÂ�jecÂ�tion onto her of Â�Jones’s love for her—the roÂ�manÂ�tic idealÂ�izaÂ�tion of the beÂ�loved woman.24 From this perÂ�specÂ�tive, the music can also Â�prompt a femÂ�iÂ�nist interÂ�preÂ�taÂ�tion: in the paÂ�triÂ�arÂ�chal HolÂ�lyÂ�wood cinÂ�ema the woman is only a pasÂ�sive obÂ�ject of deÂ�sire and “gaze” for the male proÂ�tagÂ�oÂ�nists, in this case Jones and BelÂ�loq.25 ThereÂ�fore, even if she is the Â�film’s Â�co-protagonist, she does not have an idenÂ�tity of her own—that is, her own muÂ�siÂ�cal theme—as the male lead has.26 What has hapÂ�pened to the Ark? This is the last narÂ�raÂ�tive quesÂ�tion still left open. While Jones will probÂ�ably never know, the omÂ�niÂ�scient narÂ�raÂ�tion proÂ�vides the viewÂ�ers with the anÂ�swer, as in CitÂ�iÂ�zen Kane (Orson Â�Welles, 1941). We are shown that the Ark is Â�locked in an anonÂ�yÂ�mous crate and Â�stored in a huge wareÂ� house full of idenÂ�tiÂ�cal Â�crates. ProbÂ�ably the Ark will evenÂ�tuÂ�ally get lost again. The Ark motif acÂ�comÂ�paÂ�nies the Ark being Â�pushed on a trolÂ�ley Â�through the Â�stacks of Â�crates. InterÂ�estÂ�ingly, in the CD album this final track Â�closes with a cresÂ�cendo leadÂ�ing to a forte auÂ�thenÂ�tic caÂ�dence by the full orÂ�chesÂ�tra: thus, the piece Â�closes Â�sharply. In the film, on the Â�contrary, the closÂ�ing tonic chord is cut and the cresÂ�cendo is overÂ�lapped by a suite startÂ�ing exÂ�actly at the beÂ�ginÂ�ning of the end credÂ�its and acÂ�comÂ�paÂ�nyÂ�ing their crawl.27 The cut of the closÂ�ing tonic chord and the sudÂ�den shift to “Indy 1,” the “sigÂ�naÂ�ture tune” of the seÂ�ries, seems to avoid a sharp cloÂ�sure of the film narÂ�raÂ�tive, which is in line with the lack of openÂ�ing tiÂ�tles in this film—the openÂ�ing tiÂ�tles being the other Â�strong eleÂ�ment that typÂ�iÂ�cally Â�frames a film narÂ�raÂ�tive. FolÂ�lowÂ�ing the aesÂ�thetÂ�ics of seÂ�riÂ�als once again, the narÂ�raÂ�tion seems to reÂ�ject a sharp cloÂ�sure efÂ�fect as if it were tellÂ�ing us that the adÂ�venÂ�tures of InÂ�diÂ�ana Jones are not over.

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Ian Freer comÂ�mented: “[F]ew conÂ�cerns are Â�closer to SpielÂ�berg than film lore,

and it is this reÂ�spect and pasÂ�sion for the craft that gives RaidÂ�ers its soul. InÂ�deed, what ulÂ�tiÂ�mately sepÂ�arÂ�ates RaidÂ�ers from the acÂ�tion pack is afÂ�fecÂ�tion, not only for the genÂ�res and staÂ�ples it is parÂ�oÂ�dyÂ�ing but for the sheer deÂ�light in yarn spinÂ�ning. The mark of all great cinÂ�ema, RaidÂ�ers joyÂ�ously reÂ�afÂ�firms why we love moÂ�vies in the first place.”28 The score is a funÂ�daÂ�menÂ�tal eleÂ�ment of the vinÂ�tage qualÂ�ity of this film.29 The use of cliÂ�chés, techÂ�niques, and diÂ�alects from the past is dealt with by Â�Williams with simÂ�iÂ�lar reÂ�spect and pasÂ�sion for the film music craft and with an equal fondÂ�ness for the past masÂ�terÂ�pieces. “To disÂ�cern a ’30s mood and exÂ�press it isn’t like doing a pasÂ�tiche. A pasÂ�tiche is not that difÂ�fiÂ�cult. What is not easy is takÂ�ing it a stage furÂ�ther and doing the real thing, with some sinÂ�cerÂ�ity,” says Â�Williams.30 The RaidÂ�ers score maÂ�nipÂ�uÂ�lates the perÂ�cepÂ�tion of cinÂ�eÂ�matic time by supÂ�portÂ�ing the Â�rhythm of Â�cutting and heightÂ�enÂ�ing the pace of the Â�staged acÂ�tions. It fulÂ�fills a Â�micro-emotive funcÂ�tion not only givÂ�ing the Â�proper roÂ�mance to love Â�scenes but also stressÂ�ing the sense of reÂ�vulÂ�sion for Â�snakes and other unÂ�pleasÂ�ant imÂ�ages, or addÂ�ing furÂ�ther comÂ�edy and irony to the gags. It also perÂ�forms a Â�macro-emotive funcÂ�tion, since it makes the narÂ�raÂ�tive seem more coÂ�heÂ�sive and its epiÂ�sodic naÂ�ture more uniÂ�fied. In a careÂ�ful analÂ�yÂ�sis, this exÂ�troÂ�verted and ilÂ�lusÂ�traÂ�tive score reÂ�veals to fulÂ�fill an imÂ�porÂ�tant cogÂ�niÂ�tive funcÂ�tion as well: it sugÂ�gests the presÂ�ence of God and outÂ�lines the Â�stages of deÂ�velÂ�opÂ�ment of the theme of Faith. A good Â�classical-style score is not Â�merely “plasÂ�terÂ�ing moÂ�vies with bits of what we know, Â�rather than reÂ�vealÂ�ing an unÂ�seen diÂ�menÂ�sion,” as many critÂ�ics of Â�Williams and HolÂ�lyÂ�wood music in genÂ�eral claim. Above all, the RaidÂ�ers score is “an obÂ�ject lesÂ�son in how to mirÂ�ror Â�screen acÂ�tion in memÂ�orÂ�able music.”31 Its core is preÂ�cisely the clasÂ�siÂ�cal spaÂ�tial perÂ�cepÂ�tive funcÂ�tion—Â�Mickey-Mousing, stingÂ�ers, and leitÂ�moÂ�tivs—fulÂ�filled at many difÂ�ferÂ�ent levÂ�els and with such a virÂ�tuÂ�osÂ�ity and inÂ�venÂ�tiveÂ�ness that RaidÂ�ers of the Lost Ark can be said to be one of the finÂ�est exÂ�amÂ�ples of neoÂ�clasÂ�siÂ�cal film Â�scores, as John Â�Williams can be said to be the greatÂ�est heir to Max Â�Steiner.

11 Be�yond the Films C o n �duc�to r Jo hn �W i lli a m s

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ach year in Â�spring, Â�Boston’s SymÂ�phony Hall underÂ�goes a major transÂ�for Â�maÂ�tion. The rows of seats on the main floor are reÂ�placed with taÂ�bles; the walls are Â�decked with flowÂ�ers and lit in cheerÂ�ful colÂ�ors. The orÂ�chesÂ�tra plays light symÂ�phonic Â�pieces spanÂ�ning from faÂ�mous opera overÂ�tures to seÂ�lecÂ�tions from opÂ�erÂ�etÂ�tas, balÂ�let Â�suites, Â�American Â�marches, stanÂ�dard songs, conÂ�cert exÂ�tracts, and symÂ�phonic arÂ�rangeÂ�ments from the latÂ�est BroadÂ�way hits. ConÂ�certs take place in an eaÂ�syÂ�goÂ�ing, inÂ�forÂ�mal atÂ�mosÂ�phere: one can lisÂ�ten to the music while sipÂ�ping a glass of wine, drinkÂ�ing a pint of beer, or enÂ�joyÂ�ing one of the many sandÂ�wiches and Â�plates ofÂ�fered on the menu. It is the anÂ�nual Pops seaÂ�son in BosÂ�ton. The conÂ�cert proÂ�grams may be light in conÂ�tent, but they are solid with reÂ�spect to perÂ�forÂ�mance qualÂ�ity. InÂ�deed, the memÂ�bers of the BosÂ�ton Pops OrÂ�chesÂ�tra come from the rosÂ�ter of the BosÂ�ton SymÂ�phony, one of AmerÂ�ica’s top orÂ�chesÂ�tras. The BosÂ�ton Pops plays in BosÂ�ton each year from May Â�through June and again in DeÂ�cemÂ�ber for the “HolÂ�iÂ�day Pops” seaÂ�son.1 The BosÂ�ton Pops OrÂ�chesÂ�tra The Â�orchestra’s misÂ�sion is to Â�bridge the gap Â�between the clasÂ�siÂ�cal and the popÂ�uÂ�lar repÂ�erÂ�toires, and to introÂ�duce the conÂ�certÂ�goÂ�ing cusÂ�tom and the sound of a symÂ�phony orÂ�chesÂ�tra to wide auÂ�diÂ�ences. Â�Founded in 1885, the BosÂ�ton Pops has beÂ�come one of AmerÂ�ica’s most imÂ�porÂ�tant muÂ�siÂ�cal inÂ�stiÂ�tuÂ�tions, a world 183

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amÂ�basÂ�saÂ�dor of Â�American culÂ�ture, and perÂ�haps one of the most Â�widely known orÂ�chesÂ�tras beÂ�cause of its exÂ�tenÂ�sive presÂ�ence on teleÂ�viÂ�sion, radio, and in the Â�record marÂ�ket. In 1929, after sevenÂ�teen EuÂ�roÂ�peans holdÂ�ing the title, for the first time an Â�American-born orÂ�chesÂ�tra memÂ�ber was apÂ�pointed Â�conductor-in-residence: the BosÂ�tonÂ�ian Â�thirty-five-year-old viÂ�oÂ�linÂ�ist ArÂ�thur FiedÂ�ler (1894–1979). He would bring wideÂ�spread fame to the orÂ�chesÂ�tra and forge its unÂ�misÂ�takÂ�able idenÂ�tity; he had leadÂ�erÂ�ship, enÂ�thuÂ�siasm for popÂ�uÂ�lar music makÂ�ing, and an open, unÂ�prejÂ�uÂ� diced mind interÂ�ested in the poÂ�tenÂ�tial value of every kind of music: “There’s nothÂ�ing wrong with playÂ�ing light music. You don’t alÂ�ways read MilÂ�ton, ShakeÂ� speare, and SchoÂ�penÂ�hauer. You can enjoy Mark Twain.”2 DurÂ�ing his alÂ�most Â�fifty-year tenÂ�ure from 1930 to his death in 1979, he reÂ�inÂ�vented and transÂ�formed the BosÂ�ton Pops into what they are now: an Â�American inÂ�stiÂ�tuÂ�tion and perÂ�haps the most faÂ�mous orÂ�chesÂ�tra in the world. DurÂ�ing its first five Â�decades, the orÂ�chesÂ�tra was simÂ�ply known as “the orÂ�chesÂ�tra of the pops conÂ�certs,” that is, the BosÂ�ton SymÂ�phony playÂ�ing popÂ�uÂ�lar proÂ�grams, and the orÂ�chesÂ�tra was Â�mostly a local inÂ�stiÂ�tuÂ�tion. In 1935 FiedÂ�ler signed Â� a Â�conÂ�tract with RCA VicÂ�tor and Â�ushered the orÂ�chesÂ�tra into the Â�record marÂ�ket, launchÂ�ing a long seÂ�ries of sucÂ�cessÂ�ful reÂ�leases. For the ocÂ�caÂ�sion the orÂ�chesÂ�tra was chrisÂ�tened “BosÂ�ton Pops OrÂ�chesÂ�tra.”3 DurÂ�ing the years, Â�Fiedler’s BosÂ�ton Pops alÂ�bums would sell a total of close to fifty milÂ�lion copÂ�ies. FiedÂ�ler also piÂ�oÂ�neered the multiÂ�meÂ�dia exÂ�panÂ�sion. He Â�launched local live radio broadÂ�casts in 1952, which exÂ�panded to reach naÂ�tional difÂ�fuÂ�sion in 1962. In 1967 the Pops moved to teleÂ�viÂ�sion, and from 1969 to 2004 it was feaÂ�tured in a regÂ�uÂ�lar, naÂ�tionÂ�ally aired TV proÂ�gram, EveÂ�ning at Pops; with about 250 epiÂ�sodes in those Â�thirty-five years, it made the BosÂ�ton Pops the only orÂ�chesÂ�tra in the world with such a visÂ�ibilÂ�ity.4 On 4 July 1929 FiedÂ�ler had Â�launched the free outÂ�door EsÂ�plaÂ�nade ConÂ�certs on Â�Boston’s Â�Charles River EsÂ�plaÂ�nade, a traÂ�diÂ�tion he carÂ�ried on anÂ�nuÂ�ally with inÂ�creasÂ�ing sucÂ�cess. The 4th of July 1976 conÂ�cert—celÂ�eÂ�bratÂ�ing the biÂ�cenÂ�tenÂ�nial of the DecÂ�larÂ�aÂ�tion of InÂ�deÂ�penÂ�dence—had an atÂ�tenÂ�dance of more than four hunÂ�dred thouÂ�sand peoÂ�ple, markÂ�ing the Â�record for the largÂ�est auÂ�diÂ�ence for a symÂ�phonic conÂ�cert at that time.5 FiedÂ�ler took over the traÂ�diÂ�tional Pops Â�three-part proÂ�gram and reÂ�furÂ�bished it by asÂ�signÂ�ing, as in a Â�well-balanced menu, preÂ�cise muÂ�siÂ�cal charÂ�acÂ�ters, and “nuÂ�triÂ�tional facÂ�tors” to each secÂ�tion. The first part inÂ�cluded the clasÂ�sics of the symÂ�phonic repÂ�erÂ�toire: overÂ�tures, balÂ�let Â�suites, symÂ�phonic poems, and the like. The cenÂ�tral part feaÂ�tured a soÂ�loÂ�ist from eiÂ�ther clasÂ�siÂ�cal music (perÂ�formÂ�ing parts of some conÂ�certo with the orÂ�chesÂ�tra) or from popÂ�uÂ�lar music (preÂ�sentÂ�ing some songs acÂ�comÂ�paÂ�nied by the orÂ�chesÂ�tra). The third part was the site of the truly

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popÂ�uÂ�lar repÂ�erÂ�toire, which would close the proÂ�gram with Â�bright Â�marches or vaudeÂ�ville and BroadÂ�way songs in orÂ�chesÂ�tral arÂ�rangeÂ�ments. FiedÂ�ler exÂ�panded the clasÂ�siÂ�cal EuÂ�roÂ�pean repÂ�erÂ�toire to inÂ�clude much more Â�American music. Â�Besides preÂ�sentÂ�ing the then Â�brand-new comÂ�poÂ�siÂ�tions of Â�George GershÂ�win and addÂ�ing more Â�pieces by AmerÂ�ica’s “March King” John Â�Philip Sousa, FiedÂ�ler also comÂ�misÂ�sioned new Â�pieces from comÂ�paÂ�triot comÂ�posÂ�ers, such as Leroy AnÂ�derÂ�son (1908–75). In the third part of the proÂ�grams, FiedÂ�ler showÂ�cased the most popÂ�uÂ�lar and Â�up-to-date music. He Â�opened the door of symÂ�phonic conÂ�certs to the BroadÂ�way muÂ�siÂ�cal repÂ�erÂ�toire, which inÂ�creasÂ�ingly took the place of traÂ�diÂ�tional seÂ�lecÂ�tions from opÂ�eras and opÂ�erÂ�etÂ�tas, and to jazz, feaÂ�turÂ�ing such artÂ�ists as Ella FitzÂ�geÂ�rald, Dizzy GilÂ�lesÂ�pie, Benny GoodÂ�man, and LiÂ�oÂ�nel HampÂ�ton, all of whom perÂ�formed on the SymÂ�phony Hall stage durÂ�ing the FiedÂ�ler years. In the last two Â�decades of his tenÂ�ure, FiedÂ�ler also venÂ�tured into the field of the Â�younger Â�generation’s pop music, preÂ�sentÂ�ing orÂ�chesÂ�tral arÂ�rangeÂ�ments of the Â�Beatles’ curÂ�rent songs and even of disco-music Â� hits. His sucÂ�cess had beÂ�come an inÂ�disÂ�pensÂ�able asset for the fiÂ�nances of the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra (BSO): in Â�Fiedler’s reign, the Pops seaÂ�son—lastÂ�ing two/ three Â�months—Â�brought in Â�one-third of the total revÂ�eÂ�nues of the BosÂ�ton SymÂ� phony OrÂ�chesÂ�tra Inc.6 On 10 July 1979, FiedÂ�ler died at the age of Â�eighty-five, havÂ�ing conÂ�ducted his beÂ�loved Pops for a stagÂ�gerÂ�ing fifty years, until two Â�months beÂ�fore his death. The BSO manÂ�ageÂ�ment had to face a dauntÂ�ing, alÂ�most imÂ�posÂ�sible task: to find a sucÂ�cesÂ�sor to this Â�iconic figÂ�ure. John Â�Williams from HolÂ�lyÂ�wood After a Â�lengthy Â�search for canÂ�diÂ�dates and a painsÂ�takÂ�ing short listÂ�ing, on 9 JanÂ� uÂ�ary 1980 the HolÂ�lyÂ�wood comÂ�poser John Â�Williams was apÂ�pointed as the nineÂ� teenth Â�conductor-in-residence of the BosÂ�ton Pops OrÂ�chesÂ�tra. Â�Williams was the least exÂ�peÂ�riÂ�enced in conÂ�cert conÂ�ductÂ�ing among the frontÂ�runÂ�ners, havÂ�ing led only a few conÂ�certs at that time and being Â�mostly a Â�recording-stage conÂ�ducÂ�tor. AcÂ�cordÂ�ing to Â�Williams, this might have been one of the reaÂ�sons why he was evenÂ�tuÂ�ally choÂ�sen: “I Â�started conÂ�ductÂ�ing only out of Â�self-defense. .€.€. I felt I could get what I Â�wanted [with my music] more Â�quickly than some conÂ�ducÂ�tors workÂ�ing in the film stuÂ�dios. I cerÂ�tainly never had an amÂ�biÂ�tion or studÂ�ied to be a pubÂ�lic perÂ�former as a conÂ�ducÂ�tor. .€.€. [N]obody could sucÂ�cessÂ�fully sucÂ�ceed ArÂ�thur FiedÂ�ler, and some proÂ�fesÂ�sional conÂ�ducÂ�tors might acÂ�tuÂ�ally damÂ�age his or her own caÂ�reer by tryÂ�ing. .€.€. I had nothÂ�ing to lose, and I could gain the joy of exÂ�peÂ�riÂ�encÂ�ing a live auÂ�diÂ�ence, which we don’t have in the stuÂ�dio.”7 ModÂ�esty

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aside, this was Â�hardly the main reaÂ�son. AlÂ�though litÂ�tle exÂ�peÂ�riÂ�enced, Â�Williams Â� scored the highÂ�est grade among the Â�short-listed conÂ�ducÂ�tors in the asÂ�sessÂ�ment quesÂ�tionÂ�naires Â�filled in by the Â�orchestra’s memÂ�bers.8 In May 1979 Â�Williams had perÂ�formed twice with the BosÂ�ton Pops as one of the Â�season’s guest conÂ�ducÂ�tors, and those two conÂ�cert apÂ�pearÂ�ances had probÂ�ably been quite imÂ�presÂ�sive to the musiÂ�cians. One of the major isÂ�sues of comÂ�plaints among the orÂ�chesÂ�tra memÂ�bers in Â�Fiedler’s last years was the deÂ�clinÂ�ing muÂ�siÂ�cal qualÂ�ity of his arÂ�rangeÂ�ments of pop maÂ�teÂ�rial. In his apÂ�pearÂ�ances as guest conÂ�ducÂ�tor, Â�Williams Â�showed his comÂ�mand of both the clasÂ�siÂ�cal and the popÂ�uÂ�lar repÂ�erÂ�toire (the caÂ�nonic MoÂ�zart Horn ConÂ�certo No. 2 in E Flat, K. 417 and the traÂ�diÂ�tional Irish “LonÂ�donÂ�derry Air”); the Â�higher qualÂ�ity of his own arÂ�rangeÂ�ments (his own ExÂ�cerpts from FidÂ�dler on the Roof disÂ�played a virÂ�tuÂ�oso viÂ�oÂ�lin part); and, of Â�course, the enorÂ�mous poÂ�tenÂ� tial that his faÂ�mous film music had in atÂ�tractÂ�ing a wider and Â�younger auÂ�diÂ�ence (exÂ�cerpts from SuperÂ�man, Star Wars, and Close EnÂ�counÂ�ters of the Third Kind ).9 In the peak of the neoÂ�clasÂ�siÂ�cal trend that he Â�launched, Â�Williams’s sucÂ�cess in bringÂ�ing back the Â�old-fashioned symÂ�phonic sound to mass auÂ�diÂ�ences was a major facÂ�tor in signÂ�ing him for the BosÂ�ton post. One comÂ�menÂ�taÂ�tor obÂ�served: “PerÂ�haps the most forÂ�tuÂ�nate reÂ�sult of Â�Williams’ later movie Â�scores is the way in which they exÂ�posed the genÂ�eral movie auÂ�diÂ�ence to the symÂ�phonic sound. In this way, he is simÂ�iÂ�lar to FiedÂ�ler, whose teleÂ�vised perÂ�forÂ�mances with the BosÂ�ton Pops Â�brought symÂ�phonic sound to the TV Â�masses.”10 This was the first time in which a promÂ�iÂ�nent and Â�highly sucÂ�cessÂ�ful HolÂ�lyÂ�wood comÂ�poser was given the leadÂ�erÂ�ship of such an imÂ�porÂ�tant muÂ�siÂ�cal inÂ�stiÂ�tuÂ�tion.11 The inÂ�itial reÂ�acÂ�tions to Â�Williams’s apÂ�pointÂ�ment were genÂ�erÂ�ally posÂ�iÂ�tive, some even enÂ�thuÂ�siasÂ�tic. For inÂ�stance, this was the reÂ�acÂ�tion of André PreÂ�vin, then Â�conductor-in-residence of the LonÂ�don SymÂ�phony: AnyÂ�body who Â�thinks John Â�Williams is just a HolÂ�lyÂ�wood musiÂ�cian is comÂ�pletely wrong. He is such a good musiÂ�cian, so Â�thorough, so comÂ� pletely Â�schooled. John is Â�damned forÂ�tuÂ�nate at this stage of his caÂ�reer that the job at the Pops Â�should open. .€.€. At the same time, the Pops is lucky that John is availÂ�able. He is a Â�first-class piÂ�aÂ�nist, and he knows a terÂ�rific Â�amount of music. .€.€. He can make superÂ�laÂ�tive arÂ�rangeÂ�ments of pop maÂ�teÂ�riÂ�als, and he can edit, fix, hanÂ�dle anyÂ�thing that comes up in someÂ�one Â�else’s arÂ�rangeÂ�ment, make it betÂ�ter, and all in a matÂ�ter of minÂ�utes. .€.€. He is also a very efÂ�fiÂ�cient conÂ�ducÂ�tor; the Â�players of the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra, who have reÂ�corded sevÂ�eral film Â�scores with him, are full of adÂ�miÂ�raÂ�tion. They say Â�there’s no nonÂ�sense about him, that he knows what he wants and he knows how to get it.12

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Jaws proÂ�ducer David Brown comÂ�mented upon Â�Williams’s elecÂ�tion: “His apÂ�pointÂ�ment to the Pops lends great presÂ�tige to the enÂ�tire movie inÂ�dusÂ�try.”13 SimÂ�iÂ�larly, the reÂ�views of his inÂ�auÂ�guÂ�ral BosÂ�ton conÂ�cert on 29 April 1980 were Â�largely faÂ�vorÂ�able: “A new era began toÂ�night for the BosÂ�ton Pops OrÂ�chesÂ�tra as John Â�Williams, the Â�award-winning film comÂ�poser who was named the Pops conÂ�ducÂ�tor three Â�months ago to sucÂ�ceed the late ArÂ�thur FiedÂ�ler, put down his baton at the end of his first pubÂ�lic perÂ�forÂ�mance and was Â�greeted with a susÂ�tained roar of apÂ�plause. .€.€. ‘PeoÂ�ple Â�wanted to love him,’ PaÂ�triÂ�cia KavÂ�aÂ�naugh, an artÂ�ist from Â�nearby GlouÂ�cester, said. .€.€. ‘They Â�couldn’t disÂ�like him if they had tried. He was fanÂ�tasÂ�tic.’”14 HowÂ�ever, this tresÂ�passÂ�ing from the comÂ�merÂ�cial film music into the “saÂ�cred” conÂ�cert hall terÂ�riÂ�toÂ�ries did not pass unÂ�noÂ�ticed by some “culÂ�tural guarÂ�dians” who chasÂ�tised the outÂ�raÂ�geous afÂ�front. The most bitÂ�ter reÂ�acÂ�tion came from JorÂ�dan N. WhiteÂ�law, proÂ�ducer of the TV seÂ�ries EveÂ�ning at SymÂ�phony, who comÂ�mented: “Williams made no imÂ�presÂ�sion on me whatÂ�soever. His music Â�shouldn’t hapÂ�pen to a dog.”15 The BosÂ�ton Pops post was a Â�unique Â�chance for Â�Williams to adÂ�vance a furÂ�ther step in his efÂ�fort to reÂ�vive the clasÂ�siÂ�cal HolÂ�lyÂ�wood music. From such a preÂ�stigÂ�ious poÂ�dium, he could conÂ�tribÂ�ute in creatÂ�ing a canon of HolÂ�lyÂ�wood music and disÂ�semiÂ�nate the best Â�pieces in live conÂ�certs, radio and TV broadÂ� casts, and orÂ�chesÂ�tral alÂ�bums. Â�Williams had the ocÂ�caÂ�sion to crack the “iron curÂ�tain” that had been keepÂ�ing film music out of conÂ�cert proÂ�grams on the Â�grounds of prejÂ�uÂ�diÂ�cial Â�points. Film music can be a Â�source of leÂ�gitÂ�iÂ�mate music and an imÂ�porÂ�tant repÂ�erÂ�toire from which symÂ�phonic Â�pieces can be drawn for symÂ�phonic popÂ�uÂ�lar proÂ�grams as those of the BosÂ�ton Pops. In the first press conÂ�ferÂ�ence, Â�Williams deÂ�scribed his plans for the Pops and the goals that he Â�wanted to Â�achieve, one of which was that “It is posÂ�sible that I can bring presÂ�tige to the best film music by preÂ�sentÂ�ing it in a conÂ�cert forÂ�mat. Only one half of one perÂ�cent of the music writÂ�ten in the nineÂ�teenth cenÂ�tury is anyÂ�thing we ever hear today; Â�surely there must be at least that perÂ�centÂ�age of good music writÂ�ten for films.”16 To give film music a betÂ�ter recÂ�ogÂ�niÂ�tion did not simÂ�ply mean to inÂ�crease the Â�amount of film music in conÂ�cert proÂ�grams—FiedÂ�ler proÂ�grammed film music too—but it meant to have a more atÂ�tenÂ�tive care for qualÂ�ity. FiedÂ�ler used to Â�choose film music writÂ�ten in a pop lanÂ�guage, someÂ�thing akin to the pop song repÂ�erÂ�toire. He Â�looked for someÂ�thing acÂ�cessÂ�ible that could fit the third part of the proÂ�grams, reÂ�served for what he Â�called “gumÂ�drops.”17 FiedÂ�ler preÂ�ferred new Â�pieces with a reÂ�cent sucÂ�cessÂ�ful perÂ�forÂ�mance in the Â�easy-listening Â�record Â�charts such as “Lara’s Theme” from Dr. ZhiÂ�vago (David Lean, 1965, music by MauÂ�rice Jarre); the theme from Love Story (ArÂ�thur Â�Hiller,

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1970, music by FranÂ�cis Lai); “Gonna Fly Now” from Rocky ( John G. AvildÂ�sen, 1976, music by Bill Conti); the sirÂ�taki from Zorba the Greek (MiÂ�halis KakÂ�oÂ�gianÂ�nis, 1964, music by Mikis TheoÂ�dorÂ�aÂ�kis)—or marÂ�ketÂ�able songs feaÂ�tured in a Â�film’s sound track—“The Way We Were” (lyrÂ�ics by Alan and MarÂ�iÂ�lyn BergÂ�man, music by MarÂ�vin HamÂ�lisch, from The Way We Were, SidÂ�ney PolÂ�lack, 1973) and “RainÂ�drops Keep FallÂ�in’ on My Head,” (lyrÂ�ics by Hal David, music by Burt BachÂ�aÂ�rach, from Butch CasÂ�sidy, Â�George Roy Hill, 1969) for two promÂ�iÂ�nent ocÂ�curÂ�rences. After the unÂ�precÂ�eÂ�dented sales of the Star Wars symÂ�phonic album, from 1978 on, there was an obÂ�viÂ�ous inÂ�crease in the quanÂ�tity of film music preÂ�sented in the FiedÂ�ler proÂ�grams. There was a Â�slight Â�change in prefÂ�erÂ�ence for Â�pieces that were notÂ�able for being promÂ�iÂ�nent exÂ�amÂ�ples of film music, Â�rather than for being promÂ�iÂ�nent hits in the pop Â�charts. ConÂ�certs feaÂ�turÂ�ing Â�film-music seÂ�lecÂ�tions were held in both the 1978 and the 1979 seaÂ�sons. From a quanÂ�tiÂ�taÂ�tive perÂ�specÂ�tive, in those seaÂ�sons FiedÂ�ler did give more imÂ�porÂ�tance to film music. HowÂ�ever, from a qualÂ�itaÂ�tive perÂ�specÂ�tive, Â�things reÂ�mained unÂ�changed: Â�Fiedler’s prefÂ�erÂ�ence was again for pop lanÂ�guage and Â�easy-listening Â�sounds. ReÂ�gardÂ�less of the orÂ�iÂ�gin of the music, Â�whether from BroadÂ�way, HolÂ�lyÂ�wood, or pop music Â�top-ten Â�charts, FiedÂ�ler would have all the new Â�pieces arÂ�ranged acÂ�cordÂ�ing to his idea of popÂ�uÂ�lar music and conÂ�formed to the stanÂ�dard Pops sound, which in his last years conÂ�sisted of a thick sound eiÂ�ther Â�loudly showy and Â�band-like or Â�old-fashioned and senÂ�tiÂ�menÂ�tally bel canto–like. In 1978, for exÂ�amÂ�ple, FiedÂ� ler proÂ�grammed the main theme from Star Wars not in its origÂ�iÂ�nal orÂ�chesÂ�traÂ� tion but in an arÂ�rangeÂ�ment tiÂ�tled “Theme and Dance [!] from Star Wars”— inÂ�ciÂ�denÂ�tally, anyÂ�one faÂ�milÂ�iar with Star Wars probÂ�ably wonÂ�dered where this “dance” menÂ�tioned in the title could be found in the film. The arÂ�rangeÂ�ment Â�starts with a Â�band-like renÂ�diÂ�tion of the main theme in which the Â�canon-like strucÂ�ture of the openÂ�ing fanÂ�fare was Â�elided, as well as every sign of contraÂ�punÂ�tal writÂ�ing, and spuÂ�riÂ�ous, showy cymÂ�bal Â�clashes were genÂ�erÂ�ously added. Then, an inÂ�conÂ�gruÂ�ous Â�Spanish-sounding Â�bridge is introÂ�duced, leadÂ�ing to a Â�Charlestonlike verÂ�sion of “CanÂ�tina Band,” the dieÂ�getic piece that can be heard in the backÂ�ground durÂ�ing the Mos EisÂ�ley scene in the film.18 In a nutÂ�shell, when FiedÂ�ler chose to play film music, he chose it not as film music but as a subÂ�genre of the Â�up-to-date pop genre fitÂ�ting for the third part of the proÂ�gram. On the Â�contrary, Â�Williams’s apÂ�proach to film music was Â�quality-driven. He would Â�search the Â�film-music repÂ�erÂ�toire not Â�merely to find Â�trendy pop Â�pieces but to find muÂ�siÂ�cally interÂ�estÂ�ing Â�pieces. Film music is seen as an art to be taken more seÂ�riÂ�ously and as a repÂ�erÂ�toire that could proÂ�vide muÂ�siÂ�cally leÂ�gitÂ�iÂ�mate maÂ�teÂ�rial. The first sign of this difÂ�ferÂ�ent view was the placeÂ�ment of film music enÂ�tries in Â�Williams’s proÂ�grams. He began to inÂ�clude Â�film-music Â�pieces in the

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first part, which was traÂ�diÂ�tionÂ�ally reÂ�served for the Â�art-music clasÂ�sics. This apÂ�parÂ�ently inÂ�conÂ�spicÂ�uÂ�ous Â�change acÂ�tuÂ�ally had a groundÂ�breakÂ�ing meanÂ�ing: now film music was put on the same level with conÂ�cert music. The 7 May 1980 conÂ�cert did not open with music from the opera or balÂ�let repÂ�erÂ�toire but with Erich WolfÂ�gang Â�Korngold’s overÂ�ture to The Sea Hawk from his film score for the 1940 MiÂ�chael CurÂ�tiz swashÂ�buckÂ�ler. Â�Williams also apÂ�proached film music with an unÂ�precÂ�eÂ�dented philÂ�oÂ�logÂ�iÂ�cal care. UnÂ�like preÂ�viÂ�ous cases like “Theme and Dance from Star Wars,” Â�Williams preÂ�sented only the origÂ�iÂ�nal verÂ�sions—not only for Â�film-music clasÂ�sics like Â�Korngold’s but also for conÂ�temÂ�poÂ�rary works like those by Jerry GoldÂ�smith.19 If the origÂ�iÂ�nals were not availÂ�able, Â�Williams would comÂ�misÂ�sion new arÂ�rangeÂ�ments based on the Â�author’s origÂ�iÂ�nal orÂ�chesÂ�traÂ� tion reÂ�conÂ�structed from surÂ�vivÂ�ing orÂ�chesÂ�tral parts and from the Â�film’s music track. For exÂ�amÂ�ple, Â�Williams comÂ�misÂ�sioned AlÂ�exÂ�anÂ�der CouÂ�rage to reÂ�conÂ�struct ConÂ�rad Â�Salinger’s origÂ�iÂ�nal orÂ�chesÂ�traÂ�tion of “Singin’ in the Rain” and preÂ�miered the piece on 12 May 1981. CouÂ�rage was one of the top orÂ�chesÂ�traÂ�tors and arÂ�rangÂ�ers that Â�Williams Â�brought along from HolÂ�lyÂ�wood, the othÂ�ers being AnÂ�gela MorÂ�ley, MorÂ�ton SteÂ�vens, Sid Ramin, Eddie Karam, and HerÂ�bert SpenÂ�cer. “ArÂ�tisÂ�tic and CreaÂ�tive DifÂ�ferÂ�ences” Williams’s tenÂ�ure with the BosÂ�ton Pops came—apÂ�parÂ�ently—to an Â�abrupt end after only four years, perÂ�haps beÂ�cause of a prejÂ�uÂ�diÂ�cial atÂ�tiÂ�tude of a few highÂ� brow musiÂ�cians in the orÂ�chesÂ�tra. In a brief press stateÂ�ment on 13 June 1984 Â�Williams anÂ�nounced his resÂ�igÂ�naÂ�tion due to “arÂ�tisÂ�tic and creaÂ�tive difÂ�ferÂ�ences Â�between myÂ�self and the orÂ�chesÂ�tra.”20 What were the reaÂ�sons beÂ�hind the drasÂ�tic deÂ�ciÂ�sion? A Â�widely Â�spread rumor had it that durÂ�ing the reÂ�hearÂ�sal of TuesÂ�day, 12 June, some Â�players in the orÂ�chesÂ�tra had Â�hissed at Â�Williams’s new piece AmerÂ�ica, the Dream Goes On.21 In the folÂ�lowÂ�ing days, more reÂ�ports were pubÂ�lished in the newsÂ�papers, addÂ�ing deÂ�tails about the noÂ�toÂ�riÂ�ous deÂ�motÂ�iÂ�vated and careÂ�less atÂ�tiÂ�tude of the orÂ�chesÂ�tra memÂ�bers durÂ�ing Pops reÂ�hearÂ�sals. It Â�emerged that such low moÂ�rale and bad atÂ�tiÂ�tudes were inÂ�herÂ�ited from and had been conÂ�stant since the last Â�decade of the FiedÂ�ler era.22 FiedÂ�ler was used to his Â�musicians’ unÂ�coopÂ�erÂ�aÂ�tive atÂ�tiÂ�tude and manÂ�aged to stoÂ�iÂ�cally live with it and to get Â�things done anyÂ�way.23 Â�Williams, with a difÂ�ferÂ�ent perÂ�sonÂ�alÂ�ity and senÂ�siÂ�tiveÂ�ness and with difÂ�ferÂ�ent aims, was no Â�longer willÂ�ing to tolÂ�erÂ�ate such unÂ�proÂ�fesÂ�sional manÂ�ners. After apolÂ�oÂ�gies from and meetÂ�ing with the musiÂ�cians, on 3 AuÂ�gust it was anÂ�nounced that Â�Williams had withÂ�drawn his resÂ�igÂ�naÂ�tion and had given an exÂ�plaÂ�naÂ�tion of the reaÂ�sons for his Â�protest. His conÂ�cern, he Â�stated, was not so much the orÂ�chesÂ�tra disÂ�ciÂ�pline as their low moÂ�rale, and the “arÂ�tisÂ�tic and creaÂ�tive

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difÂ�ferÂ�ences” were over the Â�status of popÂ�uÂ�lar music: “The high point of my music year is comÂ�ing to BosÂ�ton. .€.€. To them, it’s playÂ�time, but to me it’s seÂ�riÂ�ous. I Â�wanted to exÂ�press my muÂ�siÂ�cal goals Â�pretty high. It was kind of an atÂ�tiÂ�tuÂ�diÂ�nal disÂ�agreeÂ�ment.”24 Â�Williams then Â�called a numÂ�ber of asÂ�semÂ�blies with the orÂ�chesÂ�tra memÂ�bers. Many conÂ�fessed that they hated FiedÂ�ler and deÂ�spised the poor qualÂ�ity of his music.25 Many were worÂ�ried and Â�thought that playÂ�ing the light repÂ�erÂ�toire could Â�weaken their techÂ�nique and afÂ�fect their skills. Â� As an anÂ�swer to the comÂ� plaints and conÂ�cerns, Â�Williams Â�launched a seÂ�ries of Â�changes to make the orÂ�chesÂ� tra memÂ�bers feel more gratÂ�ified when playÂ�ing in the Pops. Some of the Â�changes were dimÂ�ming the Â�hall’s Â�lights and makÂ�ing the table serÂ�vice durÂ�ing the conÂ�certs less noisy and disÂ�turbÂ�ing by proÂ�vidÂ�ing waitÂ�ers with Â�rubber-soled shoes and the taÂ�bles with soft tops.26 The Â�biggest inÂ�noÂ�vaÂ�tion was a new Â�clause, which would allow BSO Â�players to opt not to play in the Pops, thus transÂ�formÂ�ing the orÂ�chesÂ� tra into a more moÂ�tiÂ�vated and coopÂ�erÂ�aÂ�tive group.27 Â�Williams also carÂ�ried on with his polÂ�icy of feaÂ�turÂ�ing muÂ�siÂ�cally interÂ�estÂ�ing, high qualÂ�ity arÂ�rangeÂ�ments, with reÂ�cipÂ�roÂ�cally satisÂ�fyÂ�ing reÂ�sults: “The Â�biggest Â�thrill I’ve gotÂ�ten out of BosÂ�ton is when some Â�players have come to me after the seaÂ�son and said, ‘That was great, we had a real Â�stretch, and the brass Â�players had a wonÂ�derÂ�ful blow, and we got to TanÂ�gleÂ�wood [BSO’s SumÂ�mer seaÂ�son] in betÂ�ter shape than ever beÂ�fore, beÂ�cause of what the Pops repÂ�erÂ�toire was able to do for us.’ That is the Â�biggest Â�praise I could get.”28 MusiÂ�cians welÂ�comed Â�Williams’s reÂ�conÂ�sidÂ�erÂ�aÂ�tion and were parÂ�ticÂ�uÂ�larly Â�pleased with his inÂ�volveÂ�ment in lisÂ�tenÂ�ing to their comÂ�plaints and proÂ�poÂ�sals, and in tryÂ�ing to acÂ�comÂ�moÂ�date their needs.29 After the 1984 criÂ�sis, Â�Williams led the Pops for anÂ�other nine seaÂ�sons, in which he disÂ�semiÂ�nated the clasÂ�siÂ�cal Â�film-music canon Â�through the PBS TV show EveÂ�ning at Pops, dozÂ�ens of Â�best-selling orÂ�chesÂ�tral alÂ�bums, tours Â�around the Â�United Â�States, and three trips to Japan (1987, 1990, 1993). At the end of the 1993 seaÂ�son, Â�though, Â�Williams left the very deÂ�mandÂ�ing job to conÂ�cenÂ�trate more on comÂ�poÂ�siÂ�tion and priÂ�vate life.30 The BosÂ�ton Globe music Â�critic RichÂ�ard Dyer deÂ�scribed Â�Williams’s overÂ�all conÂ�triÂ�buÂ�tion: “The staÂ�tisÂ�tics on his tenÂ�ure are Â�pretty stagÂ�gerÂ�ing: 13 seaÂ�sons [sic 14], more than 300 conÂ�certs [ca. 600 in fact], six naÂ�tional or interÂ�naÂ�tional tours, 24 Â�premières and comÂ�misÂ�sions, 28 CDs and Â�nearly 50 teleÂ�viÂ�sion shows. Along the way, Â�Williams has Â�brought some of the leadÂ�ing artÂ�ists of sevÂ�eral muÂ�siÂ�cal Â�worlds to the Pops. .€.€. Â�Williams took from FiedÂ�ler what Â�worked: the shape of the proÂ�gram, the mix of music, putÂ�ting the spotÂ�light not only on ceÂ�lebÂ�rities but on memÂ�bers of the orÂ�chesÂ�tra and young musiÂ�cians. Â�Williams imÂ�proved disÂ�ciÂ�pline and moÂ�rale and Â�raised the stanÂ�dard of perÂ�forÂ�mance.”31 Seiji Ozawa, at that time the arÂ�tisÂ�tic diÂ�recÂ�tor and Â�conductor-in-residence of the BosÂ�ton SymÂ�phony, later adÂ�mitÂ�ted that he had been wrong on Â�Williams:

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“Many peoÂ�ple—I was one of them—misÂ�judged him as a comÂ�poser. .€.€. But I found out when I studÂ�ied his Â�pieces. His knowlÂ�edge and backÂ�ground and trainÂ�ing, how he does his music [demÂ�onÂ�strates] a very high stanÂ�dard and deep musiÂ�cianÂ�ship.”32 In the 1994 seaÂ�son Â�Williams Â�agreed to lead the Pops durÂ�ing the tranÂ�siÂ�tion peÂ�riod as its conÂ�ducÂ�tor emerÂ�iÂ�tus, leadÂ�ing most of the conÂ�certs and helpÂ�ing the comÂ�mitÂ�tee as a muÂ�siÂ�cal conÂ�sulÂ�tant in their Â�search for a sucÂ�cesÂ� sor.33 In 1995 Keith LockÂ�hart was named twenÂ�tiÂ�eth Â�conductor-in-residence of the BosÂ�ton Pops, while Â�Williams has since mainÂ�tained a Â�steady reÂ�laÂ�tionÂ�ship with the inÂ�stiÂ�tuÂ�tion, apÂ�pearÂ�ing sevÂ�eral times each year with the title of “BosÂ�ton Pops LauÂ�reate ConÂ�ducÂ�tor.” Williams’s MultiÂ�meÂ�dia ExÂ�periÂ�ments Since his reÂ�tireÂ�ment, Â�Williams has speÂ�cialÂ�ized in multiÂ�meÂ�dia forms of conÂ�cert presÂ�enÂ�taÂ�tion, which has beÂ�come the tradeÂ�mark of his conÂ�certs. Film clips are proÂ�jected onto a big Â�screen above the stage as the orÂ�chesÂ�tra plays the reÂ�lated music live. The reÂ�sultÂ�ing exÂ�peÂ�riÂ�ence is one that comÂ�bines the live music perÂ�forÂ�mÂ� ance with the visÂ�ual or Â�audio-visual Â�pre-recorded meÂ�dium; in these conÂ�certs the sound track is genÂ�erÂ�ally comÂ�pletely disÂ�carded from the proÂ�jected clips, but someÂ�times parts of the diÂ�alogue or sound efÂ�fects are kept and Â�played Â�through the Â�hall’s sound Â�system. Williams has since beÂ�come perÂ�haps the most acÂ�comÂ� plished conÂ�ducÂ�tor of multiÂ�meÂ�dia Â�film-music presÂ�enÂ�taÂ�tions. Film music, perÂ�formed as conÂ�cert piece, proÂ�gresses from an anÂ�cilÂ�lary to a leadÂ�ing role, alÂ�lowÂ�ing the lisÂ�tenÂ�ers to conÂ�cenÂ�trate on the music withÂ�out the disÂ�tracÂ�tions from the imÂ�ages and the other eleÂ�ments of the sound track. On the other hand, in such a setÂ�ting film music loses part of its esÂ�sence. When film music is sepÂ�arÂ�ated from its visÂ�ual counterÂ�part, one canÂ�not fully apÂ�preÂ�ciate the speÂ�cific work beÂ�yond the Â�strictly muÂ�siÂ�cal one. A good film comÂ�poser has to be not only a good musiÂ�cian but also as preÂ�cise as the finÂ�est Â�tailor while “measÂ�urÂ�ing” and “cutting” the music onto the film, and as acute and Â�visual-sensitive as a porÂ�traitÂ�ist while he “paints” on the muÂ�siÂ�cal canÂ�vas what he sees on the Â�screen. ReÂ�storÂ�ing this audioÂ�visÂ�ual Â�coupling in the conÂ�cert halls may prove a good way to enÂ�hance the exÂ�peÂ�riÂ�ence and proÂ�vide a truly “speÂ�cific” conÂ�cert presÂ�enÂ�taÂ�tion of film music. AlÂ�though cases of Â�audio-visual film conÂ�certs have been ocÂ�curÂ�ring since the early nineÂ�ties (e.g., the 1992 David Lean TribÂ�ute at the Royal AlÂ�bert Hall in LonÂ�don conÂ�ducted by MauÂ�rice Jarre), Â�Williams and the BosÂ�ton Pops have been regÂ�uÂ�larly perÂ�formÂ�ing such “multiÂ�meÂ�dia film music” since 1993 with unÂ� matched Â�synch-precision, vaÂ�riety, and flair. On 12 May 1993 in “A Gala CelÂ�eÂ�braÂ�tion for John Â�Williams,” the fareÂ�well conÂ�cert for his last seaÂ�son as

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conÂ�ducÂ�tor of the Pops, Â�Williams Â�launched his exÂ�periÂ�ments and surÂ�passed in qualÂ�ity and virÂ�tuÂ�osÂ�ity the preÂ�viÂ�ous atÂ�tempts. DurÂ�ing the event, he and the HolÂ�lyÂ�wood actor RichÂ�ard DreyÂ�fuss Â�teamed up to treat the auÂ�diÂ�ence with a speÂ�cial surÂ�prise: a demÂ�onÂ�straÂ�tion of how film music works. After a few introÂ� ducÂ�tory words by DreyÂ�fuss, the barÂ�rel chase seÂ�quence from Jaws was Â�screened withÂ�out music. The same footÂ�age was then Â�screened again, but this time with music, perÂ�formed live and in perÂ�fect synch. FolÂ�lowÂ�ing this, a specÂ�tacÂ�uÂ�lar Â�eightminute medÂ�ley of Â�Williams’s most faÂ�mous Â�themes from Star Wars to SuperÂ�man to InÂ�diÂ�ana Jones to E.T. was Â�played, acÂ�comÂ�paÂ�nied by clips from the reÂ�lated films. ParÂ�ticÂ�uÂ�larly specÂ�tacÂ�uÂ�lar are those cases, like the barÂ�rel chase seÂ�quence, in which an enÂ�tire scene or seÂ�quence from a film is preÂ�sented with its origÂ�iÂ�nal score Â�played live. The Â�re-creation of the audioÂ�visÂ�ual Â�coupling that once hapÂ�pened in the conÂ�trolled and seÂ�cluded setÂ�ting of the reÂ�cordÂ�ing stage—where reÂ�takes are posÂ�sible and freÂ�quent in case of lost synÂ�chronÂ�izaÂ�tion—is now reÂ�enÂ�acted in the “unÂ�safe” setÂ�ting of the conÂ�cert stage, beÂ�fore an auÂ�diÂ�ence, withÂ�out the posÂ�sibilÂ�ity of adÂ�justÂ�ing a bad synÂ�chronÂ�izaÂ�tion. Apart from the music, the evocÂ�aÂ� tive imÂ�ages, and the conÂ�sisÂ�tent Â�audio-visual blend, much of the specÂ�tacÂ�uÂ�lar exÂ�peÂ�riÂ�ence is given by the Â�high-wire-stunt qualÂ�ity of such virÂ�tuÂ�oso Â�synch-playing. ExÂ�amÂ�ples from the BosÂ�ton Â�Pops’s proÂ�grams are the FiÂ�nale from E.T., the FlyÂ�ing SeÂ�quence from SuperÂ�man, and a seÂ�ries of dance Â�pieces—the “Singin’ in the Rain” scene, the “I Like MyÂ�self ” Â�roller-skating dance from It’s AlÂ�ways Fair Â�Weather (StanÂ�ley Donen, Gene Kelly, 1955), the Gene Kelly–Jerry Mouse dance from AnÂ�chors Â�Aweigh (George SidÂ�ney, 1945), the “BarnÂ�yard Dance” from Seven Â�Brides for Seven BrothÂ�ers (StanÂ�ley Donen, 1954), Fred Â�Astaire’s ceilÂ�ing dance to the notes of “You’re All the World to Me” from Royal WedÂ�ding (StanÂ�ley Donen, 1951), the NichÂ�oÂ�las Â�Brothers’s tap dance numÂ�bers from OrÂ�chesÂ�tra Wives (Archie Mayo, 1942), Sun ValÂ�ley SereÂ�nade (H. Bruce HumÂ�berÂ�stone, 1941), and Down ArÂ�genÂ�tine Way (IrÂ�ving CumÂ�mings, 1940). DurÂ�ing these multiÂ�meÂ�dia conÂ�cert presÂ�enÂ�taÂ�tions, the orÂ�chesÂ�tra acÂ�comÂ�paÂ�nies seamÂ�lessly the dancers’ Â� moves and hits flawÂ�lessly each Â�synch-point and Â�music-visual twist: genÂ�erÂ�ally the dancÂ�ers dance to the music, but here the music plays to the dancÂ�ers. On 16 March 2002, on the ocÂ�caÂ�sion of the twenÂ�tiÂ�eth anÂ�niÂ�verÂ�sary of E.T. the Â�Extra-Terrestrial, Â�Williams exÂ�tended this exÂ�traorÂ�diÂ�nary multiÂ�meÂ�dia presÂ�enÂ�taÂ�tion to an enÂ�tire film. With the ReÂ�cordÂ�ing Arts OrÂ�chesÂ�tra of Los AnÂ�geles, he conÂ� ducted the full score live throughÂ�out the film, someÂ�thing often perÂ�formed with siÂ�lent films but unÂ�heard of with such a comÂ�plex and muÂ�siÂ�cally rich sound film. AnÂ�other offÂ�spring of Â�Williams’s duÂ�odÂ�eÂ�cenÂ�nial exÂ�periÂ�ments in multiÂ�meÂ�dia is the Star Wars in ConÂ�cert, a multiÂ�meÂ�dia road show simÂ�iÂ�lar in size to big Â�rock-music

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tours. It feaÂ�tures music from the douÂ�ble trilÂ�ogy perÂ�formed by the Royal PhilÂ�harÂ�monic OrÂ�chesÂ�tra and Â�Chorus conÂ�ducted by Dirk Â�Brossé. The packÂ�age is comÂ�pleÂ�mented by Star Â�Wars’s C3-PO AnÂ�tony DanÂ�iels as narÂ�raÂ�tor, proÂ�jected clips from the films, smoke and Â�laser-light efÂ�fects, and a coÂ�herÂ�ently Â�spaceshipshaped stage. Since its debut on 1 OcÂ�toÂ�ber 2009, the show has been sucÂ�cessÂ�fully tourÂ�ing throughÂ�out AmerÂ�ica and EuÂ�rope.34 Williams’s LegÂ�acy After his reÂ�tireÂ�ment, Â�Williams’s inÂ�noÂ�vaÂ�tions and the repÂ�erÂ�toire he built durÂ�ing his tenÂ�ure are still part of the BosÂ�ton Pops conÂ�certs. Film music reÂ�mains a staÂ�ple of the Pops proÂ�grams, as well as multiÂ�meÂ�dia presÂ�enÂ�taÂ�tions. In 2006 a fixed panoÂ�ramic Â�screen—covÂ�erÂ�ing all the Â�length of the stage—was inÂ�stalled in BosÂ�ton SymÂ�phony Hall, reÂ�placÂ�ing the temÂ�poÂ�rary “Film Night” setÂ�ting. Now an inÂ�teÂ�gral “multiÂ�meÂ�dia” part of the Pops stage, the Â�screen is also used by the Â�present Pops conÂ�ducÂ�tor Keith LockÂ�hart for multiÂ�meÂ�dia perÂ�forÂ�mance of Â�non-film-music too, in order to enÂ�hance the exÂ�peÂ�riÂ�ence.35 John Â�Williams’s conÂ�ducÂ�torÂ�ship of the BosÂ�ton Pops and his comÂ�mitÂ�ment to legÂ�iÂ�tiÂ�mize film music in conÂ�certs have had a large inÂ�fluÂ�ence on other orÂ�chesÂ�tras as well. As for other Pops orÂ�chesÂ�tras in the Â�United Â�States, an evÂ�iÂ�dent inÂ�crease in their numÂ�ber and acÂ�tivÂ�iÂ�ties durÂ�ing and parÂ�ticÂ�uÂ�larly folÂ�lowÂ�ing Â�Williams’s tenÂ�ure is evÂ�iÂ�dent.36 In parÂ�ticÂ�uÂ�lar, the CinÂ�cinÂ�nati Pops and the HolÂ�lyÂ�wood Bowl OrÂ�chesÂ�tra—the forÂ�mer Â�launched durÂ�ing the last years of Â�Fiedler’s tenÂ�ure and the latÂ�ter esÂ�tabÂ�lished in the last years of Â�Williams’s—are both very acÂ�tive in the proÂ�moÂ�tion and live presÂ�enÂ�taÂ�tions of film music. The CinÂ�cinÂ�nati Pops (founded in 1977) is secÂ�ond only to the BosÂ�ton Pops as far as teleÂ�viÂ�sion and Â�record-market exÂ�poÂ�sure and interÂ�naÂ�tional repÂ�uÂ�taÂ�tion. Its Â�founder, Erich KunÂ�zel, apÂ�peared Â�thirty-seven times as a guest conÂ�ducÂ�tor of the BosÂ�ton Pops Â�between 1977 and 2009, and folÂ�lowed the BosÂ�tonÂ�ian model Â�closely in his esÂ�tabÂ�lishÂ�ment of the CinÂ�cinÂ�nati Pops. A canÂ�diÂ�date for the BosÂ�ton Pops conÂ�ducÂ�torÂ�ship after Â�Fiedler’s death, KunÂ�zel was conÂ�sidÂ�ered as a sucÂ�cesÂ�sor to John Â�Williams in 1994.37 In 1984 he reÂ�corded his first Â�film-music album Star Â�Tracks, deÂ�voted to Â�Williams’s music for Star Wars, SuperÂ�man, Close EnÂ�counÂ�ters of the Third Kind, RaidÂ�ers of the Lost Ark, and E.T., all in the wake of the comÂ�merÂ�cial sucÂ�cess of Â�Williams and the Â�Pops’s 1980 Â�space-music album Pops in Space.38 In 2005, on the reÂ�lease of the last epiÂ�sode of the secÂ�ond Star Wars trilÂ�ogy, KunÂ�zel conÂ�ducted a seÂ�ries of conÂ�certs cenÂ�tered on Â�Williams’s Â�scores for the six films.39 The HolÂ�lyÂ�wood Bowl OrÂ�chesÂ�tra was Â�founded in 1991, and its conÂ�ducÂ�torÂ� ship given to John MauÂ�ceri, who had regÂ�uÂ�larly apÂ�peared as a guest conÂ�ducÂ�tor

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of the BosÂ�ton Pops (twenty-six times Â�between 1979 and 1994). The main misÂ�sion of the HolÂ�lyÂ�wood Bowl OrÂ�chesÂ�tra was to perÂ�form Pops conÂ�certs at the HolÂ�lyÂ� wood Bowl and to Â�record alÂ�bums with PhilÂ�ips ClasÂ�sics. MauÂ�ceri soon Â�proved to be in line with Â�Williams’s beÂ�lief that each genre of music reÂ�quires reÂ�spect and care, and that film music is a leÂ�gitÂ�iÂ�mate repÂ�erÂ�toire for conÂ�certs. In Â�Mauceri’s first album with the orÂ�chesÂ�tra (HolÂ�lyÂ�wood Â�Dreams), Â�pieces from the Â�art-music repÂ�erÂ�toire are preÂ�sented side by side with film music, with comÂ�posÂ�ers spanÂ�ning from ArÂ�nold SchoenÂ�berg, Igor StraÂ�vinÂ�sky, and SerÂ�gei ProÂ�kofÂ�iev to Â�Williams, Max Â�Steiner, AlÂ�fred NewÂ�man, Erich WolfÂ�gang KornÂ�gold, John Barry, Franz WaxÂ�man, LeÂ�oÂ�nard BernÂ�stein, and even seÂ�lecÂ�tions from The WizÂ�ard of Oz (VicÂ�tor FlemÂ�ing, 1939, music by HarÂ�old Arlen and HerÂ�bert StoÂ�thart). MauÂ�ceri also Â�shares with Â�Williams the same philÂ�oÂ�logÂ�iÂ�cal acÂ�cuÂ�racy and Â�search for the origÂ�iÂ�nals when dealÂ�ing with film music.40 As for minor orÂ�chesÂ�tras, film music has inÂ�creasÂ�ingly beÂ�come a freÂ�quent feaÂ�ture in their proÂ�grams. BeÂ�ginÂ�ning in NoÂ�vemÂ�ber 1991, Film Score Â�Monthly has had a colÂ�umn listÂ�ing all the conÂ�certs feaÂ�turÂ�ing film music all Â�around the world.41 The vaÂ�riety that can be perÂ�ceived readÂ�ing Â�through the isÂ�sues of the magÂ�aÂ�zine is far too wide to be reÂ�ported here, alÂ�though a few cases may be Â�enough to atÂ�test to the betÂ�ter acÂ�cepÂ�tance of film music in conÂ�cert after Â�Williams’s exÂ�amÂ�ple: A Â�film-music conÂ�cert was held durÂ�ing the AtÂ�lanta OlymÂ�pics in 1996, on 26 July;42 a preÂ�stigÂ�ious tribÂ�ute to the clasÂ�siÂ�cal HolÂ�lyÂ�wood comÂ�posÂ�ers was paid by the U.S. Â�Postal SerÂ�vice with the issue of six comÂ�memoraÂ�tive Â�stamps porÂ�trayÂ�ing Max Â�Steiner, Erich WolfÂ�gang KornÂ�gold, AlÂ�fred NewÂ�man, Franz WaxÂ�man, BerÂ�nard HerrÂ�mann, and DiÂ�miÂ�tri TiomÂ�kin in the LegÂ�ends of Â�American Music seÂ�ries, thus acÂ�knowlÂ�edgÂ�ing HolÂ�lyÂ�wood film music as an imÂ�porÂ�tant part of the Â�American herÂ�iÂ�tage;43 on 11 SepÂ�temÂ�ber 2004 MiÂ�chael TilÂ�son Â�Thomas Â�opened the symÂ�phonic seaÂ�son of the San FranÂ�cisco SymÂ�phony OrÂ�chesÂ�tra with a proÂ�gram feaÂ�turÂ�ing BerÂ�nard Â�Herrmann’s suite from VerÂ�tigo (AlÂ�fred HitchÂ�cock, 1958) along with Â�Debussy’s La Mer (1905), Â�Copland’s DanÂ�zón CuÂ�bano (1942), and Â�Gershwin’s An Â�American in Paris (1928).44 Â�Abroad as well, one can obÂ�serve many signs of a “déÂ�tente” in the Â�so-called cold war Â�between apÂ�plied film music and abÂ�soÂ�lute art music. In 1992 Zubin Mehta and the IsÂ�rael PhilÂ�harÂ�monic reÂ�corded Franz Waxman’s Â� CarÂ�men FanÂ�tasy from his film score for HuÂ�moÂ�resque ( Jean NegÂ�uÂ�lesco, 1946); in LonÂ�don, the Royal AcadÂ�emy of Music in colÂ�labÂ�oÂ�raÂ�tion with the BritÂ�ish Film InÂ�stiÂ�tute dedÂ�iÂ�cated the Â�eleventh ediÂ�tion of the “InterÂ�naÂ�tional ComÂ�posÂ�ers FesÂ�tiÂ�val” to film music (16–22 June 1996);45 in 2004 the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra celÂ�eÂ�brated the first cenÂ�tenÂ�nial of the “powÂ�erÂ�ful reÂ�laÂ�tionÂ�ship Â�between music and the moÂ�vies” with an Â�American tour preÂ�sentÂ�ing film music conÂ�certs;46 in Italy, on 10 OcÂ�toÂ�ber

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2004, LeÂ�oÂ�nard RoÂ�senÂ�man conÂ�ducted the Roma SinÂ�foÂ�nietta at the “Parco della MusÂ�ica” in Rome in a proÂ�gram of his own film works; in LeipÂ�zig, GerÂ�many, the preÂ�stigÂ�ious GeÂ�wandÂ�hauÂ�sorÂ�chesÂ�ter Â�played BerÂ�nard Â�Herrmann’s film works on 23 JanÂ�uÂ�ary 1998;47 in Spain, on 4 and 7 NoÂ�vemÂ�ber 1998, Jerry GoldÂ�smith was inÂ�vited to conÂ�duct two conÂ�certs in SeÂ�ville with the Real OrÂ�questa Â�Sinfónica.48 In WarÂ�saw, PoÂ�land, Elmer BernÂ�stein was inÂ�vited to conÂ�duct a conÂ�cert on 25 May 2000 Â�within the “Viva Arts FesÂ�tiÂ�val”;49 and on 8 June 2010 the WieÂ�ner PhilÂ�harÂ�moÂ�niker Â�played a suite from Star Wars along with music by Josef Â�Strauss, Liszt, and Holst durÂ�ing their anÂ�nual “SomÂ�merÂ�nachtsÂ�konÂ�zert” outÂ�door conÂ�cert in the park of the Â�Schönbrunn casÂ�tle. If one reads Â�through the Â�archives of the Â�London’s faÂ�mous BBC Proms, he will noÂ�tice an inÂ�creasÂ�ing presÂ�ence of film music alongÂ�side conÂ�cert Â�pieces from the caÂ�nonÂ�iÂ�cal repÂ�erÂ�toire.50 As for Â�Williams, after his reÂ�tireÂ�ment from the Pops he has reÂ�mained an acÂ�tive conÂ�ducÂ�tor and an inÂ�deÂ�fatÂ�iÂ�gable adÂ�voÂ�cate of film music in conÂ�cert proÂ� grams. He is a regÂ�uÂ�lar guest conÂ�ducÂ�tor for the major Â�American orÂ�chesÂ�tras, and in adÂ�diÂ�tion to his longÂ�time anÂ�nual apÂ�pearÂ�ances at the HolÂ�lyÂ�wood Bowl with the Los AnÂ�geles PhilÂ�harÂ�monic, Â�Williams has enÂ�joyed steadÂ�fast colÂ�labÂ�oÂ�raÂ�tions with the New York PhilÂ�harÂ�monic and the ChiÂ�cago SymÂ�phony, bringÂ�ing film music to those preÂ�stigÂ�ious conÂ�cert Â�stages too. In parÂ�ticÂ�uÂ�lar, beÂ�ginÂ�ning with the 2003/2004 seaÂ�son (cuÂ�riÂ�ously Â�enough, the same seaÂ�son of Â�Williams’s debut at the SymÂ�phony CenÂ�ter in ChiÂ�cago) the ChiÂ�cago SymÂ�phony Â�started a seÂ�ries of reÂ�curÂ�ring Â�events deÂ�voted to film music: “FriÂ�day Night at the MoÂ�vies.”51 In 1996 Â�Williams was inÂ�vited to conÂ�duct a conÂ�cert at the Royal AcadÂ�emy of Music in LonÂ�don; in 1998 he held a Â�film-music comÂ�poÂ�siÂ�tion semiÂ�nar at the reÂ�vered TanÂ�gleÂ�wood Music CenÂ�ter;52 in 2003 he colÂ�labÂ�oÂ�rated with LeÂ�oÂ�nard SlatÂ�kin, the conÂ�ducÂ�tor of the NaÂ�tional SymÂ�phony OrÂ�chesÂ�tra in WashÂ�ingÂ�ton at that time, in the orÂ�ganÂ�izaÂ�tion of a film music fesÂ�tiÂ�val in WashÂ�ingÂ�ton, DC, tiÂ�tled “SoundÂ�track: Music and Film.” The fesÂ�tiÂ�val ran from 21 JanÂ�uÂ�ary to 1 FebÂ�ruÂ�ary and conÂ�sisted of six Â�film-music conÂ�certs, conÂ�ferÂ�ences, and panel disÂ�cusÂ�sions modÂ�erÂ�ated and anÂ�iÂ�mated by SlatÂ�kin and Â�Williams themÂ�selves and by the Â�film-music hisÂ�toÂ�rian Jon BurÂ�linÂ�game and the famed film diÂ�recÂ�tor StanÂ�ley Donen.53 Two conÂ�certs in the seÂ�ries were cenÂ�tered on and conÂ�ducted by Â�Williams. OthÂ�ers conÂ�certs were tiÂ�tled “Music and Film: Made in HolÂ�lyÂ�wood, USA,” which foÂ�cused on the HolÂ�lyÂ�wood clasÂ�siÂ�cal comÂ�posÂ�ers, and “Music and Film: The EuÂ�roÂ�pean AesÂ�thetic,” which dealt with EuÂ�roÂ�pean film comÂ�posÂ�ers like DmiÂ�tri ShosÂ�takÂ�oÂ�vich, Â�William WalÂ�ton, SerÂ�gei ProÂ�kofÂ�iev, and CaÂ�mille Â�Saint-Saëns, this last repÂ�reÂ�sented by his 1908 score for Â�L’Assassinat du duc de Guise. One eveÂ�ning ofÂ�fered the proÂ�jecÂ�tion of MeÂ�tropÂ�oÂ�lis (Fritz Lang, 1927) acÂ�comÂ�paÂ�nied live with a comÂ�piÂ�laÂ�tion score from the clasÂ�siÂ�cal repÂ�erÂ�toire. Of

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parÂ�ticÂ�uÂ�lar interÂ�est was the proÂ�gram “In Synch: How Do They Do It?,” a sort of conÂ�cert/conÂ�ferÂ�ence on the specÂ�iÂ�ficÂ�ities of comÂ�posÂ�ing for films and on the techÂ�niÂ�calÂ�ities of the music/imÂ�ages synÂ�chronÂ�izaÂ�tion, with Â�Williams and SlatÂ�kin givÂ�ing pracÂ�tiÂ�cal demÂ�onÂ�straÂ�tions.54 In 2009 GusÂ�tavo DuÂ�daÂ�mel, the newly apÂ� pointed arÂ�tisÂ�tic diÂ�recÂ�tor of the Los AnÂ�geles PhilÂ�harÂ�monic, inÂ�vited Â�Williams to conÂ�duct three Â�film-music conÂ�certs, in the first part of the symÂ�phonic seaÂ�son, tiÂ�tled “Music from the City of AnÂ�gels,” acÂ�knowlÂ�edgÂ�ing HolÂ�lyÂ�wood film music as a major Los AnÂ�geles conÂ�triÂ�buÂ�tion to the music repÂ�erÂ�toire. In 1993 the BosÂ�ton Globe music Â�critic RichÂ�ard Dyer noted: “The main reaÂ�son Â�Williams took the job in 1980 was to win Â�greater recÂ�ogÂ�niÂ�tion for the arÂ�tisÂ�tic leÂ�gitÂ�iÂ�macy of his life work in film and the life work of many of his colÂ�leagues. Â�Whether he sucÂ�ceeded in that aim (it’s too early to tell), he cerÂ�tainly Â�brought film music out of the backÂ�ground and into the limeÂ�light. Now peoÂ�ple can judge for themÂ�selves. And other pops conÂ�certs all Â�across the counÂ�try have folÂ�lowed his exÂ�amÂ�ple.”55 Â�Twenty years later, it is safe to say that Â�Williams did inÂ�deed sucÂ�ceed in his aim. John Â�Williams’s conÂ�ducÂ�torÂ�ship of the BosÂ�ton Pops has been Â�widely inÂ�fluenÂ� tial in bringÂ�ing the Â�film-music repÂ�erÂ�toire to the fore in conÂ�cert proÂ�grams. As an inÂ�teÂ�gral part of Â�Williams’s comÂ�mitÂ�ment to reÂ�vive the clasÂ�siÂ�cal HolÂ�lyÂ�wood music, this facet of his douÂ�ble life as a comÂ�poser/conÂ�ducÂ�tor has also been semiÂ�nal in the creaÂ�tion and acÂ�knowlÂ�edgÂ�ment of a canon of the HolÂ�lyÂ�wood music clasÂ�sics. What the conÂ�ducÂ�tor Â�Charles GeÂ�rhardt had done in the 1970s in the Â�record marÂ�ket, proÂ�motÂ�ing the HolÂ�lyÂ�wood clasÂ�sics as a leÂ�gitÂ�iÂ�mate repÂ�erÂ�toire for symÂ� phonic alÂ�bums in his sucÂ�cessÂ�ful RCA seÂ�ries ClasÂ�sic Film Â�Scores, Â�Williams did in the 1980s in the conÂ�cert proÂ�grams. ProbÂ�ably no one else has done more to legÂ�iÂ�tiÂ� mize and give film music a betÂ�ter recÂ�ogÂ�niÂ�tion in conÂ�cert halls than John Â�Williams.

Con�clu�sion

I

t seems ap�pro�pri�ate at this point to offer some con�cise re�flec�tions on and ques�tions about �present Hol�ly�wood film �scores. How Has Neo�clas�si�cism In�flu�enced the Music Style in Con�tem�po�rary Cin�ema?

As preÂ�viÂ�ously exÂ�plained, the imÂ�pact of neoÂ�clasÂ�siÂ�cism was quite limÂ�ited. Jeff Smith Â�stated: “And deÂ�spite a major reÂ�viÂ�val in the Â�Korngold-styled Â�scores of John Â�Williams, Â�Romanticism’s hold on film scorÂ�ing was furÂ�ther weakÂ�ened by the inÂ�corÂ�poÂ�raÂ�tion of rock, folk, and soul eleÂ�ments in the 1960s and 1970s, and elecÂ�tronÂ�ics, miniÂ�malÂ�ism, and even New Age eleÂ�ments in the 1980s. By the 1990s, Â�Romantic-styled film music was still being comÂ�posed, but it was Â�merely one styÂ�lisÂ�tic opÂ�tion among many.”1 LaurÂ�ent JulÂ�lier idenÂ�tifies in what he calls “film-concert” a preÂ�domÂ�iÂ�nant charÂ�acÂ�terÂ�isÂ�tic of conÂ�temÂ�poÂ�rary cinÂ�ema, which conÂ�sists in “the preÂ�vailÂ�ing of the sound diÂ�menÂ�sion over the visÂ�ual one: the sound track emÂ�braces the Â�viewer and ocÂ�cuÂ�pies the freÂ�quency specÂ�trum alÂ�most enÂ�tirely; comÂ�ing out from loudÂ�speakÂ�ers, the sound track Â�plunges the auÂ�diÂ�ence into a sound atÂ�mosÂ�phere from which it is imÂ�posÂ�sible to esÂ�cape.”2 Â�Contrary to what could be exÂ�pected, Â�though, the role of music in the conÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood “film-concert” is anyÂ�thing but domÂ�iÂ�nant. Music is unÂ�doubtÂ�edly found in large quanÂ�tities, but it is given a minor role, Â�mostly used as a mere kind of Â�binder of or supÂ�pleÂ�ment to the Â�sound-effect track. DurÂ�ing the clasÂ�siÂ�cal peÂ�riod, the Â�sound-effect track was the third eleÂ�ment of the sound track, less imÂ�porÂ�tant than diÂ�alogue and music, since moÂ�nauÂ�ral 197

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techÂ�nolÂ�ogy and anÂ�aÂ�logÂ�iÂ�cal Â�systems made it inÂ�feaÂ�sible to have many Â�tracks siÂ�mulÂ�taÂ�neÂ�ously in the sound mix.3 In conÂ�temÂ�poÂ�rary cinÂ�ema, howÂ�ever, the Â�soundeffect track holds a promÂ�iÂ�nent poÂ�siÂ�tion in the sound deÂ�sign. This suÂ�preÂ�macy is enÂ�courÂ�aged by the huge poÂ�tenÂ�tial of digÂ�iÂ�tal proÂ�cessÂ�ing and the many techÂ�nolÂ�oÂ� gies of sound difÂ�fuÂ�sion that can Â�create a surÂ�roundÂ�ing and Â�hyper-realistic aural “super-field” not only in theÂ�aÂ�ters but also in home theÂ�aÂ�ters.4 ThereÂ�fore, music itÂ�self has Â�mostly been Â�pushed down to the third, lowÂ�est poÂ�siÂ�tion in the sound track. The comÂ�poser Danny ElfÂ�man, whose Â�scores for BatÂ�man (Tim BurÂ�ton, 1989) and Dick Tracy (WarÂ�ren Â�Beatty, 1990) folÂ�low a neoÂ�clasÂ�siÂ�cal apÂ�proach, is one of those who have comÂ�plained about this pheÂ�nomÂ�eÂ�non: “ConÂ�temÂ�poÂ�rary dubs to my ears are getÂ�ting Â�busier and more Â�shrill every year. The dubÂ�bers acÂ�tuÂ�ally think Â�they’re doing a great job for the music if a cresÂ�cendo or a horn blast ocÂ�caÂ�sionÂ�ally pops Â�through the wall of sound.”5 What Are the ConÂ�seÂ�quences of Music Being Â�Placed Lower Down on the Â�Agenda in Terms of Film Music Style? ConÂ�temÂ�poÂ�rary film music is typÂ�iÂ�cally lackÂ�ing in hues and deÂ�tails; its form has beÂ�come less strucÂ�tuÂ�rally solid and less muÂ�siÂ�cally interÂ�estÂ�ing, and has lost some of the forÂ�mal funcÂ�tions of the preÂ�viÂ�ous Â�styles. In unÂ�even comÂ�peÂ�tiÂ�tion with the Â�sound-effect track and strugÂ�gling to reÂ�sist its hegÂ�eÂ�mony, now music conÂ�cenÂ�trates on the Â�micro-emotive funcÂ�tion (e.g., creatÂ�ing senÂ�tiÂ�menÂ�talÂ�ism in love Â�scenes or anxÂ�iety in horÂ�ror films) and on the temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion (e.g., inÂ�creasÂ�ing the perÂ�cepÂ�tion of fast pace in acÂ�tion Â�scenes Â�through the use of loud perÂ�cusÂ�sions and sharp rhythÂ�mic osÂ�tiÂ�naÂ�tos). The cogÂ�niÂ�tive funcÂ�tion, which reÂ�quires moÂ�ments of acousÂ�tic foreÂ�groundÂ�ing of the music in order to sugÂ�gest theÂ�matic conÂ�noÂ�taÂ�tions or narÂ�raÂ�tive imÂ�pliÂ�caÂ�tions, is Â�barely posÂ�sible with the conÂ�temÂ�poÂ�rary sound mix in which music is, for the most part, Â�drowned out. Even the clasÂ�siÂ�cal Â�macroemotive funcÂ�tion, in which music as a frame sigÂ�nals the bounÂ�darÂ�ies of the narÂ�raÂ� tive, seems to have disÂ�apÂ�peared. This is due to the obÂ�soÂ�lesÂ�cence of Â�opening-title seÂ�quences and their muÂ�siÂ�cal “overÂ�tures” that used to set up the narÂ�raÂ�tive frame: in conÂ�temÂ�poÂ�rary cinÂ�ema, all the tiÂ�tles and credÂ�its tend to be conÂ�cenÂ�trated at the end of the film. In adÂ�diÂ�tion, the leitÂ�moÂ�tiv techÂ�nique, which used to build a theÂ�matic netÂ�work throughÂ�out the film and bind the overÂ�all muÂ�siÂ�cal strucÂ�ture, has been Â�mostly disÂ�carded.6 FiÂ�nally, the use of Â�non-diegetic songs both Â�within the narÂ�raÂ�tive and over the Â�end-titles seÂ�quence for sheer ecoÂ�nomic moÂ�tiÂ�vaÂ�tions— an eleÂ�ment of the modÂ�ern style Â�adopted by the ecÂ�lecÂ�tic style—is cerÂ�tainly a good way to proÂ�mote Â�records but a poor one to give the Â�film’s muÂ�siÂ�cal strucÂ�ture a conÂ�gruÂ�ent closÂ�ing frame.

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As to techÂ�niques and diÂ�alect, the Â�sound-effect track Â�rarely gives Â�enough aural room for leitÂ�moÂ�tivic deÂ�velÂ�opÂ�ment or Â�theme-and-variation treatÂ�ment. In terms of muÂ�siÂ�cal writÂ�ing, in conÂ�temÂ�poÂ�rary film music melÂ�oÂ�dies are esÂ�senÂ�tially homoÂ�phonic, counterÂ�point is alÂ�most exÂ�tinct (there is no need to use such reÂ�fined a techÂ�nique if music is bound to get covÂ�ered by a noisy flood of sound efÂ�fects), and music is often a formÂ�less and superÂ�fiÂ�cial color varÂ�nish or a mere rhythÂ�mic patÂ�tern that backs the Â�sound-effect track. The symÂ�phony orÂ�chesÂ�tra as a muÂ�siÂ�cal means seems to be the only neoÂ�clasÂ�siÂ�cal eleÂ�ment that has Â�really had some inÂ�fluÂ� ence on conÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood film music. NoneÂ�theÂ�less, the muÂ�siÂ�cal lanÂ�guage is often anyÂ�thing but symÂ�phonic. Â�Rather, it Â�sounds more like a kind of orÂ�chesÂ�tral arÂ�rangeÂ�ment of Â�techno/rock music. PadÂ�ded with syntheÂ�sizÂ�ers and Â�boosted with an enÂ�larged perÂ�cusÂ�sion secÂ�tion, the symÂ�phony orÂ�chesÂ�tra is still in use beÂ�cause it can proÂ�duce a loud and masÂ�sive sound, which can comÂ�pete with the Â�soundeffects volÂ�ume and thus conÂ�tribÂ�ute to the charÂ�acÂ�terÂ�isÂ�tic aural satÂ�uÂ�raÂ�tion of the “film-concert.” The weakÂ�enÂ�ing of the muÂ�siÂ�cal lanÂ�guage is also a conÂ�seÂ�quence of the techÂ� noÂ�logÂ�iÂ�cal progÂ�ress of syntheÂ�sizÂ�ers and music softÂ�ware. MIDI techÂ�nolÂ�ogy alÂ�lows a keyÂ�board to be conÂ�nected to a comÂ�puter, which diÂ�rectly Â�transcribes the music as one plays. MoreÂ�over, Â�computer-composed music can be cut, pasted, Â� transÂ� posed, and transÂ�formed with great raÂ�pidÂ�ity and less efÂ�fort. ThereÂ�fore, the whole proÂ�cess of comÂ�poÂ�siÂ�tion is enorÂ�mously quickÂ�ened. WarÂ�ner Bros.’s coÂ�founder Jack Â�Warner’s motto “I don’t want it good. I want it TuesÂ�day” is proÂ�verÂ�bial as to the Â�producers’ typÂ�iÂ�cal prefÂ�erÂ�ence for efÂ�fiÂ�ciency over qualÂ�ity. Under Jack WarÂ�ner, in the clasÂ�siÂ�cal stuÂ�dio Â�system, comÂ�posÂ�ers were genÂ�erÂ�ally reÂ�quired to write a score in eight to ten weeks;7 these days, Â�two-hour-long Â�scores can be comÂ�misÂ�sioned Â�within a Â�three- to Â�four-week deadÂ�line.8 Apart from the tightÂ�est deadÂ�lines, the use of comÂ�putÂ�ers has had a negÂ�aÂ�tive inÂ�fluÂ�ence on the qualÂ�ity of comÂ�poÂ�siÂ�tion, beÂ�cause it alÂ�lows Â�poorly Â�trained or comÂ�pletely unÂ�trained musiÂ�cians, often with the most diÂ�verse and unÂ�orÂ�thoÂ�dox backÂ�grounds, to write music. With the help of comÂ�putÂ�ers, many orÂ�chesÂ�traÂ�tors and arÂ�rangÂ�ers (who can defÂ�iÂ�nitely be Â�called ghostÂ�writÂ�ers in these cases), musiÂ�cians who would not be able to write music in the traÂ�diÂ�tional way, beÂ�come comÂ�posÂ�ers of “symÂ�phonic” music. Hans ZimÂ�mer, a Â�self-taught keyÂ�boardÂ�ist with a backÂ� ground in rock music and whose speÂ�cialty is scorÂ�ing acÂ�tion films, can be conÂ�sidÂ� ered the epitÂ�ome of conÂ�temÂ�poÂ�rary eclecÂ�tiÂ�cism. His music is a kind of rock/Â� techno arÂ�ranged for symÂ�phony orÂ�chesÂ�tra by a team of colÂ�labÂ�oÂ�raÂ�tors, arÂ�rangÂ�ers, and orÂ�chesÂ�traÂ�tors. ZimÂ�mer is faÂ�mous for havÂ�ing Â�founded Media VenÂ�tures, later reÂ�named ReÂ�mote ConÂ�trol ProÂ�ducÂ�tions, a firm speÂ�cialÂ�izÂ�ing in film Â�scores Â�co-written by a pool of musiÂ�cians, a sort of facÂ�tory where ZimÂ�mer seems to act more as an exÂ�ecÂ�uÂ�tive proÂ�ducer and coÂ�orÂ�diÂ�naÂ�tor than as a comÂ�poser.9 His idiom

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can be recÂ�ogÂ�nized by simÂ�ple moÂ�tifs charÂ�acÂ�terÂ�ized by homophÂ�ony, basic chord proÂ�gresÂ�sions, no contraÂ�punÂ�tal writÂ�ing or use of inner Â�voices, syntheÂ�sizer pads as harÂ�monic backÂ�ing for the acousÂ�tiÂ�cal inÂ�struÂ�ments, a poundÂ�ing rhythÂ�mic secÂ�tion, and overÂ�whelmÂ�ing low freÂ�quenÂ�cies. Like Â�techno music, all these eleÂ�ments have a Â�strong, visÂ�ceral, and imÂ�meÂ�diÂ�ate imÂ�pact on the lisÂ�tener. The reÂ�sults are efÂ�fecÂ�tive but are all quite simÂ�iÂ�lar to each other, reÂ�gardÂ�less of Â�whether the narÂ�raÂ�tive is set in San FranÂ�cisco in the late twenÂ�tiÂ�eth cenÂ�tury: The Rock (MiÂ�chael Bay, 1996); durÂ�ing World War II: Pearl HarÂ�bor (MiÂ�chael Bay, 2001); in the CarÂ�ibÂ�bean of the eighÂ�teenth cenÂ�tury: PiÂ�rates of the CarÂ�ibÂ�bean: Dead Man’s Chest (Gore VerÂ�binÂ�sky, 2006); or in anÂ�cient Rome: GladÂ�iÂ�aÂ�tor (RidÂ�ley Scott, 2000). In PiÂ�rates of the CarÂ�ibÂ�bean: On Â�Stranger Tides (Rob MarÂ�shall, 2011) Hans ZimÂ�mer is credÂ�ited as the Â�film’s comÂ�poser, but if we read Â�through the end credÂ�its, we can spot as many as seven “adÂ�diÂ�tional music” comÂ�posÂ�ers. AnÂ�other sign of the state of the art of conÂ�temÂ�poÂ� rary HolÂ�lyÂ�wood music can be noÂ�ticed in Â�Zimmer’s score for SherÂ�lock Â�Holmes: A Game of ShadÂ�ows (Guy Â�Ritchie, 2011). The sinÂ�gle music piece that Â�stands out for havÂ�ing a superÂ�ior muÂ�siÂ�cal qualÂ�ity and harÂ�monic richÂ�ness can be heard in the wedÂ�ding scene: if one reads the end credÂ�its, he will found out that the piece is drawn from Ennio Â�Morricone’s score for Two Mules for SisÂ�ter Sara (Don SieÂ�gel, 1970). MoreÂ�over, in the seÂ�quence at the Opéra de Paris, the dieÂ�getic perÂ�forÂ�mÂ� ance of Â�Mozart’s Don GioÂ�vanni is also “ZimÂ�merÂ�ized,” Â�Mozart’s origÂ�iÂ�nal score havÂ�ing being given a Â�thicker and Â�louder reÂ�orÂ�chesÂ�traÂ�tion. Today, ZimÂ�mer is one the most sucÂ�cessÂ�ful and Â�sought-after HolÂ�lyÂ�wood comÂ�posÂ�ers. His music is very diÂ�rect and has no Â�virtuoso-writing preÂ�tenÂ�sions that would reÂ�quire aural foreÂ� groundÂ�ing; he emÂ�ploys inÂ�stead visÂ�ceral and pulÂ�satÂ�ing Â�rhythms along with basic melÂ�oÂ�dies with unÂ�comÂ�pliÂ�cated texÂ�tures that act as a backÂ�ground to the sound Â�effects’ starÂ�ring role. Â�Zimmer’s music Â�blends perÂ�fectly with the agÂ�gresÂ�sive sound deÂ�sign of conÂ�temÂ�poÂ�rary cinÂ�ema. In the 1980s James Â�Horner was an emergÂ�ing clasÂ�siÂ�cally Â�trained comÂ�poser, showÂ�ing neoÂ�clasÂ�siÂ�cal Â�traits and being one of those pracÂ�tiÂ�tionÂ�ers who did not comÂ�pose with the help of comÂ�putÂ�ers. He disÂ�tinÂ�guished himÂ�self with such outÂ� standÂ�ing Â�scores as Star Trek: The Wrath of Khan (NichÂ�oÂ�las Meyer, 1982); Krull (Peter Yates, 1983); AliÂ�ens ( James CameÂ�ron, 1986); and WilÂ�low (Ron HoÂ�ward, 1988). In the 1990s, he wrote a subÂ�tle cool Â�jazz-like score feaÂ�turÂ�ing BranÂ�ford Â�Marsalis’s saxÂ�oÂ�phone for the comÂ�edy/Â�thriller SneakÂ�ers (Phil Alden RobÂ�inÂ�son, 1992); he proÂ�vided a Â�richly meÂ�lodic score for the ghost comÂ�edy CasÂ�per (Brad SilÂ�berÂ�ling, 1995), which Â�presents touchÂ�ing piano solos, comÂ�ical Â�Prokofiev-like Â�marches, atÂ�mosÂ�pheric ghost music, and heÂ�roic KornÂ�golÂ�dian fanÂ�fares; he Â�penned the epic, Â�Scottish-flavored score for BraveÂ�heart (Mel GibÂ�son, 1995, perÂ�formed by the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra). HowÂ�ever, after the sucÂ�cess of TiÂ�tanic ( James

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CameÂ�ron, 1997) and the song “My Heart Will Go On,” Â�Horner apÂ�pears to have reÂ�treated from his neoÂ�clasÂ�siÂ�cal outÂ�post and opted for the seÂ�cure shelÂ�ter of “modern-style” comÂ�merÂ�cial songs as pièce de réÂ�sisÂ�tance of the music track, as in The Mask of Zorro (MarÂ�tin CampÂ�bell, 1998); A BeauÂ�tiÂ�ful Mind (Ron HoÂ�ward, 2001); Troy (WolfÂ�gang PeÂ�terÂ�sen, 2004); and AvÂ�aÂ�tar ( James CameÂ�ron, 2009). Â�Lately, Â�Horner seems to be speÂ�cialÂ�izÂ�ing in specÂ�tacÂ�uÂ�lar but Â�mostly repÂ�eÂ�tiÂ�tious and often Â�self-plagiarized Â�lengthy Â�scores deÂ�livered upon inÂ�credÂ�ibly short noÂ�tice, as for Troy, which he comÂ�posed in less than a month after GaÂ�briel Â�Yared’s disÂ� misÂ�sal.10 At the same time, his reÂ�cent interÂ�views reÂ�veal a reÂ�signed disÂ�ilÂ�luÂ�sionÂ�ment toÂ�ward his own job.11 The weakÂ�ness of the neoÂ�clasÂ�siÂ�cal trend can also be seen in the fact that even Â�George Lucas and SteÂ�ven SpielÂ�berg, whose films Â�marked the birth of this moveÂ� ment, parÂ�tially conÂ�formed to the poetÂ�ics of conÂ�temÂ�poÂ�rary cinÂ�ema. DeÂ�spite their conÂ�tinÂ�uÂ�ing to work with Â�Williams, both Lucas and SpielÂ�berg folÂ�lowed the muÂ�siÂ�cal trend of the moÂ�ment. SpielÂ�berg apÂ�pointed Hans ZimÂ�mer as head of the Â�film-music deÂ�partÂ�ment of his film stuÂ�dio, DreamÂ�Works SKG, a Â�choice that Â�hardly seems to proÂ�mote neoÂ�clasÂ�siÂ�cism.12 In the new Star Wars trilÂ�ogy, parÂ�ticÂ�uÂ� larly in Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith (George Lucas, 2005), music has been given less imÂ�porÂ�tance in the new audio mix than in the preÂ�viÂ�ous trilÂ�ogy. In acÂ�tion Â�scenes the music is Â�drowned out by the overÂ�whelmÂ�ing flood of sound efÂ�fects: two hunÂ�dred audio Â�tracks conÂ�stiÂ�tute the startÂ�ing point for the final mix.13 DurÂ�ing a lecÂ�ture at the ThornÂ�ton Â�School of Music of the UniÂ�verÂ�sity of SouthÂ�ern CalÂ�iÂ�forÂ�nia, Â�Williams Â�talked about the muÂ�siÂ�cal difÂ�fiÂ�culÂ�ties in copÂ�ing with the Â�seventeen-minute-long noisy batÂ�tle at the beÂ�ginÂ�ning of that film.14 MoreÂ�over, the Â�making-of docÂ�uÂ�menÂ�tary on Star Wars: EpiÂ�sode III shows KenÂ�neth WannÂ�berg—Â�Williams’s longÂ�time music edÂ�iÂ�tor—at the mixÂ�ing conÂ�sole comÂ�plainÂ� ing about the exÂ�cesÂ�sive volÂ�ume of the Â�sound-effect track and tryÂ�ing to adÂ�voÂ�cate a more relÂ�eÂ�vant role for music: “It’s noisy. I think the music Â�should live a litÂ�tle bit more than it does. I mean, it just gets wiped out. The music is kind of a Â�thread Â�through that whole monÂ�tage of Â�cutting back and forth. .€.€. And it just gets lost.”15 Lucas not only folÂ�lowed the new trend but also alÂ�tered the sound balÂ�ance of the clasÂ�sic trilÂ�ogy. He tinÂ�kered with the first three films of the Star Wars saga in order to Â�re-release them in theÂ�aÂ�ters in 1997 and on DVD in 2004. These verÂ�sions, charÂ�acÂ�terÂ�ized by new CGI shots and varÂ�iÂ�ous digÂ�iÂ�tal corÂ�recÂ�tions, have reÂ�ceived many comÂ�plaints from the fans and Â�caused the genÂ�eral perÂ�plexÂ�ity of critÂ�ics.16 John Â�Williams’s score was seÂ�verely comÂ�proÂ�mised, marÂ�giÂ�nalÂ�ized by a new audio mix, which gave such a preÂ�domÂ�iÂ�nant role to the new sound efÂ�fects that the origÂ�iÂ� nal music track is mufÂ�fled in many Â�points. One reÂ�viewer Â�writes that “John

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Â� Williams’ Â�awe-inspiring Star Wars score has been seÂ�verely misÂ�hanÂ�dled on the new DVD,”17 and a brief reÂ�search on the InterÂ�net shows how fans and critÂ�ics are genÂ�erÂ�ally bafÂ�fled and disÂ�conÂ�tented: While Â�you’re at it, find the origÂ�iÂ�nal Â�six-channel soundÂ�track reÂ�leased in theÂ�aÂ�ters (or the two chanÂ�nel .€.€. how about both?) and propÂ�erly reÂ�masÂ�ter it into a Â�loss-less surÂ�round forÂ�mat withÂ�out “enÂ�hancÂ�ing” it. I want to feel that magÂ�nifÂ�iÂ�cent brass theme rip my face off at the openÂ�ing moÂ�ment of the first film and hear the perÂ�fectly transÂ�parÂ�ent Â�string secÂ�tion soar durÂ�ing the beauÂ�tiÂ�ful final scene of EmÂ�pire.18 There is, howÂ�ever, one Â�change I can’t stomÂ�ach, and it has to do with the music. DurÂ�ing the first part of the Death Star batÂ�tle at the end of the film, John Â�Williams’ score has been reÂ�duced in promÂ�iÂ�nence in the sound mix. This is parÂ�ticÂ�uÂ�larly obÂ�viÂ�ous right as the Â�X-Wings make their dive down to the surÂ�face to begin the atÂ�tack—the faÂ�milÂ�iar “Force Theme” trumÂ�pet fanÂ�fare is now alÂ�most inÂ�audÂ�ible. LuÂ�casÂ�film says this was a deÂ�libÂ�erÂ�ate creaÂ�tive deÂ�ciÂ�sion and I abÂ�soÂ�lutely hate it.19 The faÂ�milÂ�iar Force theme trumÂ�pet fanÂ�fare that used to play right after Red Â�Leader says: “This is it!” and just as the Â�X-wings start divÂ�ing toÂ�wards the Death Â�Star’s surÂ�face has been Â�dialed back in volÂ�ume so that it’s alÂ�most inÂ�audÂ�ible—it’s alÂ�most comÂ�pletely burÂ�ied in the surÂ�round mix. .€.€. PosÂ�sibly most critÂ�iÂ�cally, John Â�Williams’ enÂ�tire score for the film has been Â�flipped in the rear chanÂ�nels, so that what Â�should be the left rear chanÂ�nel is playÂ�ing from the right rear chanÂ�nel (and vice versa). .€.€. The sound efÂ�fects defÂ�iÂ�nitely sound like Â�they’ve been ratchÂ�eted up a LOT, to the point that they now overÂ�whelm the diÂ�alogue and the music in a lot of Â�scenes.20

There have been so many proÂ�tests that in 2006 Lucas deÂ�cided to reÂ�lease a Â�two-disc DVD set inÂ�cludÂ�ing both the 2004 “enÂ�hanced” verÂ�sion and the 1977 origÂ�iÂ�nal one.21 A comÂ�parÂ�iÂ�son Â�between the two verÂ�sions does inÂ�deed show Â�Lucas’s Â�choice to folÂ�low the conÂ�temÂ�poÂ�rary trend, that is, givÂ�ing more imÂ�porÂ�tance to the Â�sound-effect track than to the music track. NeoÂ�clasÂ�siÂ�cal Â�scores in conÂ�temÂ�poÂ�rary cinÂ�ema are few.22 The most reÂ�cent exÂ�amÂ�ples are both Â�Williams’s: InÂ�diÂ�ana Jones and the KingÂ�dom of the CrysÂ�tal Skull (SteÂ�ven SpielÂ�berg, 2008) and The AdÂ�venÂ�tures of TinÂ�tin (SteÂ�ven SpielÂ�berg, 2011). Even if it has a leitÂ�moÂ�tivic netÂ�work, HoÂ�ward Â�Shore’s maÂ�jesÂ�tic symÂ�phonic tapÂ�esÂ�try

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for The Lord of the Rings trilÂ�ogy (Peter JackÂ�son, 2001/2002/2003) does not perÂ�form a spaÂ�tial perÂ�cepÂ�tive funcÂ�tion to such an exÂ�tent as to be deÂ�fined neoÂ�clasÂ�siÂ�cal. MoreÂ�over, it is simÂ�ply an exÂ�cepÂ�tion for a comÂ�poser that is othÂ�erÂ�wise not faÂ�mous for being neoÂ�clasÂ�siÂ�cal, as his Â�scores for David Â�Cronenberg’s films Â�clearly show. What Is the ImÂ�porÂ�tance of This NeoÂ�clasÂ�siÂ�cal Trend InÂ�itiated and Led by Â�Williams? If the inÂ�fluÂ�ence on conÂ�temÂ�poÂ�rary muÂ�siÂ�cal style has been limÂ�ited and circumÂ� scribed to the most superÂ�fiÂ�cial Â�traits of Â�Williams’s work, such as the use of the symÂ�phony orÂ�chesÂ�tra and the thickÂ�ness of the orÂ�chesÂ�tral sound, the imÂ�porÂ�tance of neoÂ�clasÂ�siÂ�cism conÂ�sists in havÂ�ing drawn atÂ�tenÂ�tion to the clasÂ�siÂ�cal HolÂ�lyÂ�wood muÂ�siÂ�cal herÂ�iÂ�tage. Apart from his comÂ�merÂ�cial sucÂ�cess and arÂ�tisÂ�tic achieveÂ�ments, John Â�Williams is a key figÂ�ure in cinÂ�ema and Â�film-music hisÂ�tory for his semiÂ�nal role in bringÂ�ing the clasÂ�sic HolÂ�lyÂ�wood music style and its canon into the limeÂ� light, to the atÂ�tenÂ�tion and conÂ�sidÂ�erÂ�aÂ�tion of both the auÂ�diÂ�ence and the scholÂ�ars. The growÂ�ing reÂ�disÂ�covÂ�ery of KornÂ�gold, Â�Steiner, and Rózsa in the last three Â�decades is also due to the fact that Â�Williams, as a comÂ�poser, reÂ�vived some eleÂ� ments of their works in a peÂ�riod in which they were conÂ�sidÂ�ered outÂ�dated; at the same time, as a conÂ�ducÂ�tor, he proÂ�grammed the best of the Â�film-music repÂ�erÂ� toire in a time when it was still Â�strongly out of favor in conÂ�cert halls. The imÂ�porÂ� tance of John Â�Williams’s conÂ�triÂ�buÂ�tion has been perÂ�haps more hisÂ�torÂ�iÂ�cal than styÂ�lisÂ�tic. He has reÂ�stored digÂ�nity to a neÂ�glected facet of the HolÂ�lyÂ�wood traÂ�diÂ�tion. ScholÂ�ars and critÂ�ics Â�should put aside inÂ�diÂ�vidÂ�ual Â�tastes and ideoÂ�logÂ�iÂ�cal biÂ�ases and acÂ�knowlÂ�edge John Â�Williams’s funÂ�daÂ�menÂ�tal conÂ�triÂ�buÂ�tion to Â�film-music hisÂ�tory. As LiÂ�oÂ�nel NewÂ�man—AlÂ�fred Â�Newman’s Â�brother and a film comÂ�poser of the clasÂ�siÂ�cal peÂ�riod in his own right—once Â�stated: “But his Â�biggest conÂ�triÂ�buÂ�tion may have been to make peoÂ�ple aware of the imÂ�porÂ�tance of music to films.”23 The conÂ�temÂ�poÂ�rary Â�French comÂ�poser Bruno CouÂ�lais wrote: “John Â�Williams is the last surÂ�viÂ�vor of HolÂ�lyÂ�wood music,” which might be true inÂ�deed.24 WithÂ�out any sucÂ�cesÂ�sor to folÂ�low in his footÂ�steps, John Â�Williams seems to be the only heir of the clasÂ�siÂ�cal style of KornÂ�gold and Â�Steiner, the very last surÂ�viÂ�vor of the HolÂ�lyÂ�wood music traÂ�diÂ�tion. At least, until anÂ�other Â�skilled and Â�trained Â�enough “neo-neoclassical” comÂ�poser apÂ�pears on Â�Hollywood’s hoÂ�riÂ�zon.

Ap �p en �dix 1 :╇ C o m�p l et�in g t h e P i c �t u re

Peh! Â�They’re butchÂ�erÂ�ing the clasÂ�sics! .€.€. Laser efÂ�fects, mirÂ�rored balls .€.€. John Â�Williams must be rollÂ�ing Â�around in his grave. Homer SimpÂ�son, atÂ�tendÂ�ing a Star Wars conÂ�cert (The SimpÂ�sons, seaÂ�son 6, epiÂ�sode 23: “The SpringÂ�field ConÂ�necÂ�tion”)

Williams’s VerÂ�saÂ�tilÂ�ity for SpielÂ�berg (and OthÂ�ers) NeoÂ�clasÂ�siÂ�cism is the style Â�mostly asÂ�soÂ�ciated with John Â�Williams. HowÂ�ever, he also posÂ�sesses a Â�chameleon-like abilÂ�ity to write in a numÂ�ber of diÂ�verse muÂ�siÂ�cal diÂ�alects and to adÂ�just his perÂ�sonal idiom to the reÂ�quireÂ�ments of the film at hand: When I do a film .€.€. I’m not thinkÂ�ing about styÂ�lisÂ�tic purÂ�ity; I’m not thinkÂ�ing about anyÂ�thing but, “Okay, Â�here’s a film and my muÂ�siÂ�cal job is to conÂ�struct someÂ�thing that will live Â�within it and seem to be part of it and will sound like the picÂ�ture looks.” If I have to write a scene from

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Jane Eyre for inÂ�stance, I write someÂ�thing that Â�sounds like YorkÂ�shire in the Â�eighteen-sixties. Why? Not beÂ�cause I’m tryÂ�ing to write origÂ�iÂ�nal music, but beÂ�cause I’m tryÂ�ing to get someÂ�thing beÂ�hind the picÂ�ture that Â�smells like YorkÂ�shire. You don’t think about that when you watch the movie, but someÂ�how Â�you’re very comÂ�fortÂ�able beÂ�cause it’s right. .€.€. If you have only one style of music and do only one thing .€.€. Â�you’re in trouÂ�ble in the film busiÂ�ness. If you want to have a caÂ�reer in films, and do a hunÂ�dred films, you need to be very verÂ�saÂ�tile.1

For exÂ�amÂ�ple, Â�Williams emÂ�ployed conÂ�temÂ�poÂ�rary diÂ�alects and muÂ�siÂ�cal means in HeartÂ�beeps (Allan ArÂ�kush, 1981) and Space Camp (Harry Winer, 1986). In the forÂ�mer, he used syntheÂ�sizÂ�ers and mixed them with his tradeÂ�mark orÂ�chesÂ�tral sound; in the latÂ�ter, he Â�adopted both syntheÂ�sizÂ�ers and 1980s Â�pop-music diÂ�alects. Later, he also venÂ�tured into Asian diÂ�alects for Seven Years in Tibet ( Jean-Jacques AnÂ�naud, 1997), for which he Â�blended a TibeÂ�tan Â�chorus and EastÂ�ern Â�scales with a WestÂ�ern roÂ�manÂ�tic main theme feaÂ�turÂ�ing Yo-Yo Ma’s lyrÂ�iÂ�cal cello solos. Â�Williams would exÂ�plore Asian diÂ�alects again—this time more Â�deeply and subÂ�stanÂ�tially—for MeÂ�moirs of a GeiÂ�sha (Rob MarÂ�shall, 2005). VaÂ�riety reÂ�porter Jon BurÂ�linÂ�game deÂ�scribed the proÂ�cess: “The chalÂ�lenge of GeiÂ�sha .€.€. was ‘to inÂ�corÂ� poÂ�rate the gramÂ�mar of JapÂ�aÂ�nese music with what we recÂ�ogÂ�nize as WestÂ�ern harÂ�monic and meÂ�lodic Â�idioms—to bring those two Â�things toÂ�gether to Â�create a third eleÂ�ment that would seem at home in the film.’ ThroughÂ�out, the score is flaÂ�vored with traÂ�diÂ�tional JapÂ�aÂ�nese inÂ�struÂ�ments: the 13Â�-Â�stringed koto, or JapÂ�aÂ�nese Â�zither; the shaÂ�kuÂ�haÂ�chi, an Â�end-blown bamÂ�boo flute; the shamÂ�iÂ�sen, a Â�threestringed Â�plucked lute; taiko drums; plus other wind and perÂ�cusÂ�sion inÂ�struÂ�ments apÂ�proÂ�priÂ�ate to the setÂ�ting.”2 That same year, Â�Williams also Â�worked on a comÂ�pletely difÂ�ferÂ�ent score for MuÂ�nich (SteÂ�ven SpielÂ�berg, 2005), switchÂ�ing to MidÂ�dle EastÂ�ern timÂ�bres and Â�scales. Â�Williams told VaÂ�riety: “It Â�couldn’t be more difÂ�ferÂ�ent from GeiÂ�sha in amÂ�biÂ�ance and texÂ�ture.” For it, he Â�created “a kind of Â�prayer for peace, a lyrÂ�iÂ�cal comÂ�poÂ�siÂ�tion asÂ�soÂ�ciated with Avner (Eric Bana) and the home he Â�leaves beÂ�hind in IsÂ�rael,” and anÂ�other theme for solo voice and orÂ�chesÂ�tra “that acÂ�comÂ� paÂ�nies one of sevÂ�eral flashÂ�backs to the tarÂ�mac at MuÂ�nich, and also one of sevÂ�eral Â�scenes that reÂ�call the abÂ�ducÂ�tion of the OlymÂ�pic athÂ�letes from their rooms at the OlymÂ�pic VilÂ�lage” in 1972. LisÂ�beth Scott, the voÂ�calÂ�ist on The PasÂ�sion of the Â�Christ, is the soÂ�loÂ�ist. SearchÂ�ing for an auÂ�thenÂ�tic PalÂ�esÂ�tinÂ�ian sound, Â�Williams emÂ�ployed the oud, a MidÂ�dle EastÂ�ern lute,

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and added the cimÂ�baÂ�lom, a HunÂ�garÂ�ian Â�zither, as well as clarÂ�iÂ�net and Â� strings for “an alÂ�most fanÂ�tasÂ�tiÂ�cally OrienÂ�tal qualÂ�ity,” he says.3

The SpielÂ�berg/Â�Williams ColÂ�labÂ�oÂ�raÂ�tion In tracÂ�ing the main traÂ�jecÂ�toÂ�ries of Â�Williams’s caÂ�reer, an apÂ�proÂ�priÂ�ate startÂ�ing point is cerÂ�tainly his colÂ�labÂ�oÂ�raÂ�tion with SteÂ�ven SpielÂ�berg, Â�surely the longÂ�est lastÂ�ing, and perÂ�haps also the most promÂ�iÂ�nent, sucÂ�cessÂ�ful, arÂ�tisÂ�tiÂ�cally homoÂ� geÂ�neÂ�ous and harÂ�moÂ�niÂ�ous reÂ�laÂ�tionÂ�ship Â�between a diÂ�recÂ�tor and a comÂ�poser. Says SpielÂ�berg: I usuÂ�ally try to give him the book or the Â�script to go on. SomeÂ�times he reads it and someÂ�times he Â�doesn’t, deÂ�pendÂ�ing on how busy he is. What John preÂ�fers to do is just talk a lot with me, beÂ�fore I even make the movie—about what the Â�picture’s about and how I see it. Then after I’m finÂ�ished with the picÂ�ture, I show John a very rough asÂ�semÂ�bly. And then John, withÂ�out Â�really needÂ�ing to hear any more from me beÂ�cause the film Â�pretty much says it all, goes off and Â�writes his Â�themes. Then he perÂ�forms Â�sketches of the Â�themes for me on the piano. I usuÂ�ally fall in love with all of his Â�themes. I’ve often made a fool of myÂ�self sitÂ�ting there weepÂ�ing, hangÂ�ing over the piano after he’s Â�played me someÂ�thing, eiÂ�ther from E.T. or Â�Schindler’s List. Or I just adÂ�mire what he’s done. More often than not, the first thing he plays me is what goes into the movie. .€.€. I don’t think there’s Â� been a sinÂ�gle moÂ�ment where we’ve had a disÂ�agreeÂ�ment about music. We cerÂ�tainly have a high reÂ�gard for each other, but I just think Â�that’s about Â�Johnny hitÂ�ting the tarÂ�get in an unÂ� canny way. .€.€. I call him Max. As a matÂ�ter of fact, when I named my first child Max, that came from a nickÂ�name that I gave Â�Johnny from the first time we met. It’s a joke that someÂ�times his music reÂ�minded me of Max Â�Steiner. And he would alÂ�ways laugh, so I got to callÂ�ing him Max.4

SpielÂ�berg also reÂ�marked, “WithÂ�out quesÂ�tion, John Â�Williams has been the sinÂ�gle most sigÂ�nifÂ�iÂ�cant conÂ�tribÂ�uÂ�tor to my sucÂ�cess as a Â�film-maker.”5 Â�Williams, in turn, Â�speaks in these terms of his longÂ�time asÂ�soÂ�ciate: “I’ve been lucky to work with SteÂ�ven beÂ�cause he loves music. Some diÂ�recÂ�tors feel as Â�though Â�they’ve Â�failed if they need lots of music. It’s cosÂ�metic, even unÂ�wanted. Â�Spielberg’s aesÂ�thetic is a very fanÂ�ciÂ�ful one and is comÂ�fortÂ�able in the presÂ�ence of music, so his picÂ�tures alÂ�ways offer the opÂ�porÂ�tuÂ�nity for lots of music.”6

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C l o se En�cou n�t e rs of t h e Third K ind (1 9 7 7 )

The duo’s third proÂ�ject, this is one of the most outÂ�standÂ�ing exÂ�amÂ�ples of comÂ�biÂ� naÂ�tion and interÂ�play of film and music in film hisÂ�tory, and one of their finÂ�est achieveÂ�ments. The screenÂ�play reÂ�quired that huÂ�mans and aliÂ�ens comÂ�muÂ�niÂ�cate Â�through muÂ�siÂ�cal sigÂ�nals, in parÂ�ticÂ�uÂ�lar, Â�through a Â�five-note patÂ�tern, which Â�served as the muÂ�siÂ�cal idenÂ�tifiÂ�caÂ�tion of the Â�mostly unÂ�seen aliÂ�ens—as the osÂ�tiÂ�nato did for the rubÂ�ber shark in Jaws. Since the Â�five-note sigÂ�nal was so cenÂ�tral to the narÂ�raÂ�tive and had to be ready beÂ�fore the shootÂ�ing phase, Â�Williams and SpielÂ�berg began workÂ�ing on the music long beÂ�fore the proÂ�ducÂ�tion Â�started—someÂ�thing unÂ� comÂ�mon in HolÂ�lyÂ�wood pracÂ�tice. In a 2009 interÂ�view, Â�Williams said: Well, Close EnÂ�counÂ�ters is, in my exÂ�peÂ�riÂ�ence at least, Â�unique. The Â�five-note motif that you menÂ�tioned was the reÂ�sult of a lot of exÂ�perÂ�iÂ�menÂ�taÂ�tion, meetÂ�ing with my Â�friend SteÂ�ven SpielÂ�berg. I think I wrote about 300-plus exÂ�amÂ�ples of five notes startÂ�ing with all on one note and with no rhythÂ�mic variÂ�aÂ�tion, just interÂ�valÂ�lic, that is to say pitch difÂ�ferÂ�ences. And we setÂ�tled on this one [five-note motif from the film] for whatÂ�ever reaÂ�sons. .€.€. It Â�wasn’t even a theme. It was more like a sigÂ�nal to inÂ�corÂ�poÂ�rate in the orÂ�chesÂ�tral maÂ�teÂ�rial. .€.€. And I kept tryÂ�ing to say to Mr. SpielÂ�berg, “I need more than five notes to make this point. It isn’t Â�enough.” And his point to me was, “It Â�should not be a melÂ�ody. It Â�should be a sigÂ�nal.” .€.€. So it was an interÂ�estÂ�ing exÂ�erÂ�cise for me in getÂ�ting to the point, abÂ�soÂ�lute miniÂ�mal numÂ�ber of sylÂ�lables, words, to use a litÂ�erÂ�ary analÂ�ogy, perÂ�haps, of sayÂ�ing it all in three words inÂ�stead of alÂ�lowÂ�ing yourÂ�self five.7

AlÂ�though comÂ�pleted in the same year, the score for Close EnÂ�counÂ�ters of the Third Kind is diÂ�ametÂ�riÂ�cally opÂ�poÂ�site to that for Star Wars. As the latÂ�ter is Â�overtly roÂ�manÂ� tic and exÂ�uÂ�berÂ�antly meÂ�lodic, so the forÂ�mer is disÂ�soÂ�nant and Â�avant-gardist. Its strucÂ�ture is an inÂ�venÂ�tive muÂ�siÂ�cal jourÂ�ney from atoÂ�nalÂ�ity to toÂ�nalÂ�ity. It beÂ�gins with PenÂ�deÂ�reckÂ�ian Â�avant-garde Â�tone-clusters, then moves to Â�Schönberg’s exÂ�presÂ� sionÂ�ist atÂ�oÂ�nalÂ�ism, then to Â�Debussy’s imÂ�presÂ�sionÂ�ism, and fiÂ�nally Â�reaches a Â�lateromantic tonal grand fiÂ�nale à la RichÂ�ard Â�Strauss. The score Â�closely folÂ�lows the gradÂ�ual evÂ�oÂ�luÂ�tion of how earthÂ�lings perÂ�ceive the arÂ�riÂ�val of the Â�extraterrestrial visÂ�iÂ�tors. At the beÂ�ginÂ�ning, the exÂ�traÂ�terÂ�resÂ�triÂ�als are perÂ�ceived as an unÂ�known Â�threat, then they are recÂ�ogÂ�nized as Â�friendly mesÂ�senÂ�gers: “It Â�starts Â�really when the Â�extra-terrestrials apÂ�pear from the Â�mother-ship: here the Â�toneclusters inÂ�volve all the Â�twelve notes of the chroÂ�matic scale. Then you take one

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Â�strand away, then anÂ�other, so the music grows more and more conÂ�soÂ�nant, until you end up with a pure, liÂ�turÂ�giÂ�cal E major.”8 1 9 41 (1 9 7 9 )

This film is a parÂ�ody of war films and deals with the fear of a posÂ�sible JapÂ�aÂ�nese inÂ�vaÂ�sion spreadÂ�ing hysÂ�terÂ�iÂ�cally in Los AnÂ�geles after the Pearl HarÂ�bor atÂ�tack. In this zany film, music itÂ�self is zany and exÂ�cesÂ�sive, flauntÂ�ing a paÂ�rodic Â�tonguein-cheek Â�spirit, which helps the narÂ�raÂ�tion mock many tarÂ�gets. The heÂ�roic maÂ� chismo of the war genre is Â�spoofed with the bomÂ�basÂ�tic march asÂ�soÂ�ciated with Wild Bill Kelso, the deÂ�ranged pilot Â�played by John BeÂ�luÂ�shi. Â�Williams Â�stated, “I felt, and SteÂ�ven did also, that cerÂ�tain charÂ�acÂ�ters, I think esÂ�peÂ�cially John BeÂ�luÂ�shi, Â�should be charÂ�acÂ�terÂ�ized by a typÂ�iÂ�cal World War II Â�American march, of the kind that I grew up with as a child and Â�played with even in Â�school. And that march has a kind of jazzy, alÂ�most southÂ�ern swagÂ�ger to it .€.€. and the acÂ�cents are Â�tilted and the Â�synch-ups are a litÂ�tle bit off, and it’s a litÂ�tle bit imÂ�perÂ�tiÂ�nent in its charÂ�acÂ�ter.”9 The 1940s dance music, parÂ�ticÂ�uÂ�larly Benny Â�Goodman’s “Sing, Sing, Sing” beÂ�came “Swing, Swing, Swing” in Â�Williams’s piece for the jitÂ�terÂ�bug conÂ�test scene at the USO.10 Old HolÂ�lyÂ�wood roÂ�manÂ�tic music is also given a memÂ�orÂ�able paÂ�rodic treatÂ� ment. In the first act, a JapÂ�aÂ�nese Â�sailor sees a naked Â�blonde girl clingÂ�ing to the perÂ�iÂ�scope of his subÂ�maÂ�rine; when he exÂ�citÂ�edly Â�points at her, screamÂ�ing “HolÂ�lyÂ� wood!” we hear an Â�old-fashioned pasÂ�sionÂ�ate melÂ�ody for Â�strings and horns that mocks Â�Steiner’s melÂ�oÂ�draÂ�matic music. Â�Steiner is again the tarÂ�get of more tribÂ�utes and parÂ�oÂ�dies. When Wild Bill Kelso puffs his cigar, a synÂ�chronÂ�ized upÂ�ward harp glisÂ�sando repÂ�liÂ�cates the risÂ�ing smoke just like Â�Steiner’s score does for an idenÂ�tiÂ�cal acÂ�tion in The InÂ�former ( John Ford, 1935). AnÂ�other tribÂ�ute to Â�Steiner is the use of the GerÂ�man anÂ�them Das DeutschÂ�landÂ�lied to charÂ�acÂ�terÂ�ize the Nazi capÂ�tain von KleinschÂ�midt, as Â�Steiner did in CasÂ�aÂ�blanca (MiÂ�chael CurÂ�tiz, 1942) for Major StrasÂ�ser. Like the film itÂ�self, the score also has a numÂ�ber of nods to other films. The traÂ�diÂ�tional Irish polka “The Rakes of MalÂ�low” is the basis for the music acÂ�comÂ�paÂ�nyÂ�ing the fight at the USO, and it was simÂ�iÂ�larly used by VicÂ�tor Young for the fight Â�scenes in The Quiet Man ( John Ford, 1952). MoreÂ�over, the beÂ�ginÂ�ning of the film inÂ�cludes a Â�self-quotation of Jaws on the part of both the diÂ�recÂ�tor and the comÂ�poser. When a Â�blonde girl reÂ�moves her Â�clothes and takes a night swim in the sea, we hear the faÂ�mous Â�low-pitched osÂ�tiÂ�nato emergÂ�ing from the siÂ�lence, this time to surÂ�prisÂ�ingly anÂ�nounce the arÂ�riÂ�val of a JapÂ�aÂ�nese subÂ�maÂ�rine.11

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E. T. t h e �Ext ra - Te r re s trial (1 9 8 2 )

This film conÂ�cerns the friendÂ�ship Â�between a boy and an Â�extra-terrestrial, and is anÂ�other masÂ�terÂ�piece of Â�Williams and SpielÂ�berg. The music is senÂ�tiÂ�menÂ�tal, tenÂ�der, and emoÂ�tional; harp, Â�strings, and woodÂ�winds are the preÂ�vailÂ�ing orÂ�chesÂ� tral colÂ�ors. Music is the major force in turnÂ�ing what could have been a teenÂ�age senÂ�tiÂ�menÂ�tal film set in the Los AnÂ�geles subÂ�urbs into a poigÂ�nant and uniÂ�verÂ�sally afÂ�fectÂ�ing love story, as Â�Williams exÂ�plains: “In E.T. .€.€. Â�there’s a theme for the litÂ�tle alien creaÂ�ture and for the litÂ�tle boy, ElÂ�liÂ�ott, who finds and hides him, and that theme is kind of like a love theme. It’s not senÂ�sual in the way a love theme would be, but it deÂ�velÂ�ops as their reÂ�laÂ�tionÂ�ship deÂ�velÂ�ops.”12 The “FlyÂ�ing Theme” from E.T. the Â�Extra-Terrestrial is one of Â�Williams’s most faÂ�mous creaÂ�tions. It perÂ�fectly capÂ�tures the miÂ�racÂ�uÂ�lous power of friendÂ�ship and love, and tanÂ�gibly conÂ�veys the feelÂ�ing of flyÂ�ing: What do we have to do muÂ�siÂ�cally to acÂ�comÂ�pany a thing like that? I Â� looked for the melÂ�ody [he sings the melÂ�ody] .€.€. all these interÂ�vals reach up, up, up all the time, to Â�stretch the muÂ�siÂ�cal gramÂ�mar, to give this kind of feelÂ�ing. And then in perÂ�forÂ�mance, [it’s] the same thing. .€.€. [It reÂ�quires] a kind of enÂ�ergy [to] make a Â�hundred-piece symÂ�phonic orÂ�chesÂ�tra feel like it’s gonna come right off the floor, and not be all these heavy peoÂ�ple playÂ�ing viÂ�oÂ�lins. .€.€. You have a creaÂ�ture that you can fly with, Â�that’s not of our own speÂ�cies, but of our own spirÂ�iÂ�tual oneÂ�ness, that we’d come toÂ�gether in joy and we’d go over the moon. FanÂ�tasÂ�tic idea! It needs great sweep in the music and great feelÂ�ing of freeÂ�dom. FreeÂ�dom being in this case the loss of gravÂ�ity. We speed up, speed up .€.€. , we will lose gravÂ�ity, we’re now in space, and we are fiÂ�nally free. And Â�that’s what the orÂ�chesÂ�tra has to give us .€.€. [What] the comÂ�poser has to give us.13

FolÂ�lowÂ�ing his “gradÂ�ual disÂ�cloÂ�sure of the main theme” techÂ�nique, Â�Williams careÂ�fully deÂ�velÂ�ops and gradÂ�uÂ�ally unÂ�veils the main theme Â�across the first half of the film, fiÂ�nally preÂ�sentÂ�ing it in full form and in perÂ�fect timÂ�ing at the moÂ�ment in which ElÂ�liÂ�ott and E.T.’s biÂ�cyÂ�cle takes off in the night sky and flies over the moon—an Â�iconic film/music moÂ�ment—and again in the Â�film’s grand fiÂ�nale. “[The love theme] Â�starts with a few notes, they look at each other—a litÂ�tle bit unÂ�cerÂ�tain. And it grows and beÂ�comes more conÂ�fiÂ�dent, and more lyrÂ�iÂ�cal as E.T. beÂ�gins to comÂ�muÂ�niÂ�cate with the boy. At the end it’s kind of a Â�full-blown sort of opÂ�erÂ�atic aria when E.T. goes away. .€.€. In that scene their theme or love

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theme .€.€. comes back. It’s like, in a way, a moÂ�ment in opera when two lovÂ�ers are being sepÂ�arÂ�ated. I build to that kind of muÂ�siÂ�cal deÂ�noueÂ�ment.”14 The Â�film’s fiÂ�nale conÂ�sists of fifÂ�teen minÂ�utes with conÂ�tinÂ�uÂ�ous symÂ�phonic acÂ� comÂ�paÂ�niÂ�ment, a memÂ�orÂ�able set piece that is one of the highÂ�est achieveÂ�ments of the art of comÂ�posÂ�ing for films: That seÂ�quence inÂ�volved a lot of speÂ�cific muÂ�siÂ�cal cues. .€.€. So you can imÂ�aÂ�gine in the space of that 15 minÂ�utes of film how many preÂ�cise muÂ�siÂ�cal acÂ�cents are Â�needed and how each one has to be exÂ�actly in the right place. I wrote the music mathÂ�eÂ�matÂ�iÂ�cally to conÂ�figÂ�ure with each of those ocÂ�curÂ�rences and Â�worked it all out. Then when the orÂ�chesÂ�tra asÂ�semÂ�bled and I had the film in front of me, I made atÂ�tempt after atÂ�tempt to Â�record the music to exÂ�actly all those arithÂ�meÂ�tic paÂ�ramÂ�eÂ�ters. But I was never able to get a perÂ�fect reÂ�cordÂ�ing that felt right muÂ�siÂ�cally and emoÂ�tionÂ�ally. I kept tryÂ�ing over and over again and fiÂ�nally, I said to SteÂ�ven, “I don’t think I can get this right. Maybe I need to do someÂ�thing else.” And he said, “Why don’t you take the movie off ? Don’t look at it. ForÂ�get the movie and conÂ�duct the orÂ�chesÂ�tra the way you would want to conÂ�duct it in a conÂ�cert so that the perÂ�forÂ�mance is just comÂ�pletely unÂ� inÂ�hibÂ�ited by any conÂ�sidÂ�erÂ�aÂ�tions of mathÂ�eÂ�matÂ�ics and measÂ�ureÂ�ment.” And I did that and all of us Â�agreed that the music felt betÂ�ter. Then SteÂ�ven Â�re-edited Â�slightly the last part of the film to conÂ�figÂ�ure with the muÂ�siÂ�cal perÂ�forÂ�mance that I felt was more powÂ�erÂ�ful emoÂ�tionÂ�ally.15

In this case again, SpielÂ�berg reÂ�versed the stanÂ�dard pracÂ�tice and cut the film to the music, so as to Â�achieve a perÂ�fect fuÂ�sion of image and music. Â�Williams exÂ�plains, “[There is] an inÂ�tiÂ�mate conÂ�necÂ�tion Â�between picÂ�ture and music that I don’t think the greatÂ�est exÂ�pert in film synÂ�chronÂ�izaÂ�tion could quite Â�achieve. There is an ebb and flow, where the music Â�speeds up for a few bars, then reÂ�lents, the way you would conÂ�duct for a Â�singer in an opera house. There is someÂ�thing visÂ�ceral, orÂ�ganic, about the phrasÂ�ing. That last 10 minÂ�utes deÂ�liver someÂ�thing, emoÂ�tionÂ�ally, that is the reÂ�sult of the film fitÂ�ting the music, and not the other way Â�around, I am deÂ�lighted to say.”16 Â�Williams also Â�quoted VicÂ�tor Â�Young’s love theme from The Quiet Man. ElÂ�liÂ�ott is in Â�telepathic conÂ�necÂ�tion with E.T., who is at home watchÂ�ing The Quiet Man on TV. The boy feels the urge to kiss his Â�blonde classÂ�mate at the exact time when E.T. is watchÂ�ing John Wayne kiss MauÂ�reen Â�O’Hara. The kiss is Â�scored by quotÂ�ing Â�Young’s theme, folÂ�lowed by an arÂ�rangeÂ�ment of the E.T. main theme in the manÂ�ner of the old HolÂ�lyÂ�wood love Â�themes—a brief neoÂ�clasÂ�siÂ�cal Â�Williams moÂ�ment.

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I n �d i a � na Jone s a nd t h e Te m�ple o f Do o m (1 9 8 4 )

The secÂ�ond InÂ�diÂ�ana Jones film is set in India; this time Dr. Jones is not fightÂ�ing the Nazis but Â�Khali’s ThugÂ�gees. The film opens with a muÂ�siÂ�cal exÂ�travÂ�aÂ�ganza: a flamÂ�boyÂ�ant dance numÂ�ber on Cole Â�Porter’s “AnyÂ�thing Goes” arÂ�ranged by Â�Williams in a Â�full-blown Â�MGM-like sound, and with lyrÂ�ics sung in ManÂ�darin. The score is genÂ�erÂ�ously Â�tinged with exÂ�otic Â�touches, such as the EastÂ�ern penÂ�taÂ� tonic Â�scales in the openÂ�ing ShangÂ�hai seÂ�quence, the ethÂ�nic inÂ�struÂ�menÂ�taÂ�tion for the junÂ�gle and vilÂ�lage seÂ�quences, and the Â�Asian-flavored march asÂ�soÂ�ciated with the slave chilÂ�dren. The Â�film’s tone is Â�darker than that of the first InÂ�diÂ�ana Jones film, and the music proÂ�vides apÂ�proÂ�priÂ�ate atoÂ�nal chillÂ�ing efÂ�fects, as in the temÂ�ple seÂ�quence, in which there is also a saÂ�tanÂ�iÂ�cal, unÂ�reÂ�mitÂ�ting piece for choir and orÂ�chesÂ�tra to acÂ�comÂ�pany the ThugÂ�gee human sacÂ�riÂ�fice. A new herÂ�oÂ�ine sides with Dr. Jones in this secÂ�ond adÂ�venÂ�ture, and Â�Williams conÂ�seÂ�quently wrote a new love theme, simÂ�iÂ�larly Â�old-fashioned and WarÂ�ner Bros.–like, but more Â�tongue-in-cheek in its soarÂ�ing senÂ�tiÂ�menÂ�talÂ�ism than Â�Marion’s theme in RaidÂ�ers. EmÂ�p i re of t he S u n (1 9 8 7 )

After takÂ�ing a break with The Color PurÂ�ple (1985)—as proÂ�ducer Â�Quincy Jones also proÂ�vided the score17—Â�Williams reÂ�united with SpielÂ�berg for this World War II drama about a BritÂ�ish boy sepÂ�arÂ�ated from his famÂ�ily and Â�interned in a Â�prison camp after the JapÂ�aÂ�nese inÂ�vaÂ�sion of ShangÂ�hai. Â�Strings and wordÂ�less Â�chorus are the preÂ�domÂ�iÂ�nant feaÂ�tures of a score with a dual naÂ�ture. On the one hand, Jim’s drama, the sepÂ�arÂ�aÂ�tion from his parÂ�ents and the harsh life in the JapÂ�aÂ�nese Â�prison camp, is Â�scored with disÂ�soÂ�nant and “anti-emotional” music. On the other hand, Jim’s Â�dreams of Â�flight and his conÂ�temÂ�plaÂ�tion of the airÂ� planes takÂ�ing off from the Â�nearby milÂ�iÂ�tary airÂ�port—the only Â�bright moÂ�ments in his life of inÂ�carÂ�cerÂ�aÂ�tion—are Â�scored with upÂ�liftÂ�ing tonal music for soarÂ�ing Â�strings and ceÂ�lesÂ�tial Â�voices. The libÂ�erÂ�aÂ�tion is Â�scored with a Â�baroque-like piece for orÂ�chesÂ�tra and Â�chorus singÂ�ing in Latin: “ExÂ�sulÂ�tate justi,” from Psalm 33—the piece is reÂ�prised in the end credÂ�its. The use of a hymn when Jim is fiÂ�nally set free is an interÂ�estÂ�ing Â�choice on Â�Williams’s part. It may fulÂ�fill a cogÂ�niÂ�tive funcÂ�tion: in earÂ�lier Â�scenes Jim had reÂ�peatÂ�edly proÂ�claimed his agÂ�nosÂ�tiÂ�cism. This parÂ�ticÂ�uÂ�lar muÂ�siÂ�cal Â�choice might sugÂ�gest that now he has fiÂ�nally found an anÂ�swer to his reÂ�liÂ�gious Â�search—to Â�strengthen the point, durÂ�ing “ExÂ�sulÂ�tate justi,” food capÂ�sules are Â�dropped by Â�American airÂ�planes: like manna from Â�Heaven.

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I n�di �a na Jone s a nd t h e Last Cru�sad e (1 9 8 9 )

In the third inÂ�stallÂ�ment of the saga, Dr. Jones manÂ�ages to unÂ�earth the Holy Grail and preÂ�vent the Nazis from seizÂ�ing it, while also reÂ�unitÂ�ing with his esÂ�tranged Â�father—brilÂ�liantly Â�played by Sean ConÂ�nery. Â�Williams reÂ�prises the Â�series’ sigÂ�naÂ� ture march, but the overÂ�all tone of the score is less bomÂ�basÂ�tic and hisÂ�trionic and more maÂ�ture and reÂ�strained. One of the main Â�points of interÂ�ests is the Â�father/son reÂ�laÂ�tionÂ�ship, and a someÂ�what melÂ�anÂ�cholic mood about the passÂ�ing of time can be felt throughÂ�out the film. Aptly, Â�Williams’s score feaÂ�tures a tenÂ�der theme for the Â�father/son reÂ�laÂ�tionÂ�ship and a solÂ�emn, pasÂ�toÂ�ral theme for the Grail, with Â�touches of reÂ�liÂ�gious transcenÂ�dence remÂ�iÂ�nisÂ�cent of Â�Wagner’s “Good FriÂ�day Spell” music from ParÂ�siÂ�fal (1882). HowÂ�ever, the film cerÂ�tainly does not lack adÂ�venÂ�ture seÂ�quences Â�scored with thrillÂ�ing music. The openÂ�ing cirÂ�cus train chase is a virÂ�tuÂ�oso Â�Mickey-Mousing efÂ�fort, havÂ�ing Â�around fifty Â�synch-points preÂ�cisely hit by music Â�within the Â�piece’s five minÂ�utes; the boat chase in VenÂ�ice is susÂ�tained muÂ�siÂ�cally both for the acÂ�tion pace and for the loÂ�cale, feaÂ�turÂ�ing picÂ�tuÂ�resque ItÂ�aÂ�liÂ�aÂ�nate manÂ�doÂ�lin solos; the moÂ�torÂ�cyÂ�cle chase is Â�scored with a drivÂ�ing Â�scherzo, huÂ�morÂ�ously tiÂ�tled “Scherzo for MoÂ�torÂ�cyÂ�cle and OrÂ�chesÂ�tra” in the conÂ�cert verÂ�sion. A lÂ�ways (1 9 8 9 )

ConÂ�curÂ�rently, Â�Williams proÂ�vided the apÂ�proÂ�priÂ�ate roÂ�manÂ�tic overÂ�tones for Â� Spielberg’s reÂ�make of A Guy Named Joe (VicÂ�tor FlemÂ�ing, 1943). AnÂ�ticÂ�iÂ�patÂ�ing Ghost ( Jerry Â�Zucker, 1990), Always is simÂ�iÂ�larly about a man’s unÂ�timely dying and comÂ�ing back in spirÂ�iÂ�tual form to conÂ�sole his Â�fiancée’s grief and help her to reÂ�cover from the loss. Like Ghost, the key dieÂ�getic muÂ�siÂ�cal eleÂ�ment is the two Â�lovers’ heart song, which here is JeÂ�rome Â�Kern’s “Smoke Gets in Your Eyes.” Â�Williams proÂ�vides the Â�non-diegetic music, senÂ�tiÂ�menÂ�tal for the roÂ�mance, poigÂ�nant for the two Â�lovers’ partÂ�ing, and soarÂ�ing/draÂ�matic for the Â�firefighters’ dareÂ�devil Â�flights. Hook (1 9 91 )

This Â�film’s idea was to pick up the story from the point in which James M. Â�Barrie’s Peter Pan (1911) ended, thus inÂ�volvÂ�ing a Â�grown-up Peter Pan (now Peter

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BanÂ�ning) who has reÂ�pressed the memÂ�oÂ�ries of his past and makes a livÂ�ing as a dull, workÂ�aÂ�holic lawÂ�yer. When Capt. James Hook kidÂ�naps his chilÂ�dren, Peter has to cope with his past and Â�travel to NeverÂ�land to resÂ�cue them. The film was origÂ�iÂ�nally conÂ�ceived as a muÂ�siÂ�cal to be shot in 1985 and inÂ�deed has kept some charÂ�acÂ�terÂ�isÂ�tics typÂ�iÂ�cal of the genre: Â�eye-catching scenÂ�ery, quasi dance numÂ�bers, and a foreÂ�grounded poÂ�siÂ�tion for the music.18 The score covÂ�ers alÂ�most the enÂ�tire film. Lush and imagÂ�iÂ�naÂ�tive, it is one of the best exÂ�amÂ�ples of Â�Williams’s neoÂ�clasÂ�siÂ� cism and of his fondÂ�ness for the music of Erich WolfÂ�gang KornÂ�gold. LeitÂ�moÂ�tiv and Â�Mickey-Mousing Â�abound, and Â�Korngold’s idiom is a conÂ�stant refÂ�erÂ�ence for the piÂ�rate Â�scenes, esÂ�peÂ�cially in the big sword fight in the final act, which is probÂ�ably the best homÂ�age to Â�Korngold’s piÂ�rate music ever done. Hook was not as fiÂ�nanÂ�cially sucÂ�cessÂ�ful as exÂ�pected and reÂ�ceived Â�mostly negÂ�aÂ�tive reÂ�views. The overÂ�all film has forÂ�mal unÂ�evenÂ�ness, some ocÂ�curÂ�rences of wrong castÂ�ing (Rufio, for inÂ�stance), and for all its scope and budÂ�get it inÂ�dulges too much in childÂ�ish moÂ�ments. ConÂ�seÂ�quently, Â�Williams’s score has not reÂ�ceived the atÂ�tenÂ�tion it Â�should deÂ�serve. HowÂ�ever, there are a few outÂ�standÂ�ing film/music moÂ�ments that stand out: the Â�flight to NeverÂ�land—feaÂ�turÂ�ing early StraÂ�vinsÂ�kyan writÂ�ing and kaÂ�leiÂ�doÂ�scopic orÂ�chesÂ�traÂ�tion; the arÂ�riÂ�val in the piÂ�rate town and the preÂ�sentÂ�ing of the hook—openÂ�ing with folk fidÂ�dles, movÂ�ing to Â�Smee’s comÂ�ical march, and closÂ�ing with Capt. Â�Hook’s pomÂ�pous enÂ�trance, acÂ�comÂ�paÂ�nied by his FlyÂ�ing DutchÂ�man–like theme and KornÂ�golÂ�dian fanÂ�fares; Â�Peter’s recÂ�olÂ�lecÂ�tion of his childÂ� hood and the reÂ�covÂ�ery of his abilÂ�ity to fly—a Â�ten-minute music piece startÂ�ing from Â�Peter’s frusÂ�traÂ�tion for not reÂ�memÂ�berÂ�ing his past and not being able to fly, movÂ�ing Â�through melÂ�anÂ�choÂ�lia and nosÂ�talÂ�gia as TinÂ�kerÂ�bell helps him reÂ�memÂ�ber his childÂ�hood, and fiÂ�nally burstÂ�ing into a joyÂ�ful celÂ�eÂ�braÂ�tion as Peter finds his “happy Â�thought” and takes off. Ju Â�ra sÂ�s i c Pa r k (1 9 9 3 ); The L ost Wor ld: Ju Â�ra sÂ�s ic Park (1 9 9 7 )

Jurassic Park, based on MiÂ�chael Â�Crichton’s 1990 best Â�seller, made up for Â�Hook’s disÂ�apÂ�pointÂ�ing perÂ�forÂ�mance by breakÂ�ing all the Â�box-office Â�records. It conÂ�cerns the inÂ�auÂ�guÂ�raÂ�tion of an amuseÂ�ment park on a tropÂ�iÂ�cal isÂ�land whose draw is live dinoÂ�saurs, Â�re-created Â�though DNA enÂ�giÂ�neerÂ�ing. For this adÂ�venÂ�ture/Â�thriller, Â�Williams comÂ�posed a mulÂ�tiÂ�facÂ�eted score: a juÂ�biÂ�lant fanÂ�fare is heard on the arÂ�riÂ�val to the isÂ�land, as if to symÂ�bolÂ�ize the vicÂ�tory of sciÂ�ence over naÂ�ture; maÂ�jesÂ�tic and alÂ�most revÂ�erÂ�ent music is asÂ�soÂ�ciated with the leÂ�viÂ�aÂ�thans of anÂ�cient hisÂ�tory—the

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main theme reÂ�calls a hymn, the harÂ�mony conÂ�tinÂ�uÂ�ously alÂ�terÂ�natÂ�ing Â�between the first and Â�fourth deÂ�gree of the scale, the plaÂ�gal (“amen’’) caÂ�dence; South Â�American perÂ�cusÂ�sions set the right loÂ�cale for the junÂ�gle seÂ�quences—as when DenÂ�nis Â�steals the emÂ�bryos; Rite of Â�Spring–like music is used for the acÂ�tion Â�scenes. The score for the seÂ�quel, The Lost World: JuÂ�rasÂ�sic Park, is deÂ�cidÂ�edly more acÂ�tion Â�oriented. The preÂ�viÂ�ous Â�film’s soarÂ�ing main Â�themes are reÂ�prised miniÂ�mally—in the fiÂ�nale— and the score is less meÂ�lodic and upÂ�liftÂ�ing, and more rhythÂ�miÂ�cally drivÂ�ing and poundÂ�ing—as in the hunt seÂ�quence, or when the T-Rex visÂ�its San Diego. Â�S chi ndle r ’s L i st (1 9 9 4 )

Right after JuÂ�rasÂ�sic Park, Â�Williams and SpielÂ�berg emÂ�barked on an amÂ�biÂ�tious and comÂ�pletely difÂ�ferÂ�ent proÂ�ject. For this ausÂ�tere Â�black-and-white drama about the HolÂ�oÂ�caust, Â�Williams was asÂ�signed a deÂ�mandÂ�ing task: “I felt writÂ�ing this film was a parÂ�ticÂ�uÂ�larly dauntÂ�ing chalÂ�lenge; nothÂ�ing could be good Â�enough to meet a story like this. What I was most conÂ�scious of was a deÂ�sire not to melÂ�oÂ�dramÂ�aÂ� tize .€.€. I felt this story reÂ�quired music that was genÂ�tle and lovÂ�ing. The orÂ�chesÂ�tra of RichÂ�ard Â�Strauss, which was the orÂ�chesÂ�tra of the peÂ�riod, would have been the wrong noise for a film like this. The main theme, I felt, Â�should be someÂ�thing like a HeÂ�braic lulÂ�laby heard at your mother’s Â� knee—not acÂ�tuÂ�ally a lulÂ�laby, but someÂ�thing origÂ�iÂ�nal, Â�created for the film.”19 The main theme is a Â�minor-mode piece for viÂ�oÂ�lin and orÂ�chesÂ�tra full of digÂ�nified poigÂ�nancy and sweet melÂ�anÂ�choly. Â�Williams reÂ�sorted to the HeÂ�brew litÂ�urgy for one of the most devÂ�asÂ�tatÂ�ing Â�scenes, the Â�corpses of the Jews gathÂ�ered and Â�burned over a huge pyre by Nazis: “Williams asked Rabbi [BerÂ�nard] MehlÂ�man for a seÂ�lecÂ�tion of apÂ�proÂ�priÂ�ate texts from the HeÂ�brew litÂ�urgy. ‘He very genÂ�erÂ�ously made a colÂ�lecÂ�tion for me, with transÂ�laÂ�tions; I chose one of them beÂ�cause I loved the Â�thought it exÂ�pressed: “With our lives, we give life.” From this kind of horÂ�ror, this kind of sacÂ�riÂ�fice, life can come. I set the words for Â�chorus, and we reÂ�corded that in ToÂ�ronto and in CalÂ�iÂ�forÂ�nia.’”20 Ami s ta Â� d (1 9 9 7 )

This film is set in ConÂ�necÂ�tiÂ�cut in the first half of the nineÂ�teenth cenÂ�tury and conÂ�cerns the issue of slavÂ�ery. A court has to deÂ�cide Â�whether some Â�Africans who muÂ�tinÂ�ied their tradÂ�ers are inÂ�deed Â�slaves—thus Â�guilty of muÂ�tiny—or free men— thus perÂ�fectly enÂ�tiÂ�tled to muÂ�tiny as Â�self-defense. The overÂ�all deÂ�sign of the score

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repÂ�liÂ�cates the enÂ�counÂ�ter Â�between Â�the African and Â�the Quaker Â�American culÂ�ture preÂ�sented in the film. Two Â�pieces stand out as repÂ�reÂ�senÂ�taÂ�tive of these two culÂ� tures: a noble piece for solo trumÂ�pet and orÂ�chesÂ�tra—in Â�Americana diÂ�alect—is the theme of the eldÂ�erly presÂ�iÂ�dent emerÂ�iÂ�tus John Â�Quincy Adams; while a cheerÂ� ful piece for Â�children’s Â�chorus singÂ�ing in an Â�African diÂ�alect celÂ�eÂ�brates the final libÂ�erÂ�aÂ�tion of the Â�slaves: For some of the scenes Â� reÂ�quirÂ�ing an Â�African texÂ�ture, I felt that the use of Â�children’s Â�voices would be parÂ�ticÂ�uÂ�larly efÂ�fecÂ�tive. .€.€. As I Â�searched for a text of what the chilÂ�dren might sing, I disÂ�covÂ�ered in a volÂ�ume of West Â�African Â�poetry, a poem by BerÂ�nard Dadié writÂ�ten Â�decades ago, which was enÂ�tiÂ�tled Dry Your Tears, AfÂ�rica, Your ChilÂ�dren Are ComÂ�ing Home. I was Â�thrilled to disÂ�cover this, howÂ�ever acÂ�ciÂ�denÂ�tally, as it Â�seemed ideal for the final scene of this film. .€.€. The words of the song that I Â�wanted to write would, of Â�course, have to be sung in Mende, the naÂ�tive Â�tongue of the Â�Africans asÂ�soÂ�ciated with this true story, and so with the help of a transÂ�laÂ�tor at the Â�Sierra Leone emÂ�bassy in WashÂ�ingÂ�ton, D.C., I arÂ�ranged to have the poem transÂ�lated from EnÂ�glish to Mende. After Â�slightly adÂ�justÂ�ing the text to fit the muÂ�siÂ�cal Â�phrases, and with Mr. Â�Dadié’s perÂ� misÂ�sion, and addÂ�ing some geÂ�neric Â�phrases such as “sing a song of joy .€.€. hush child don’t cry,” it only reÂ�mained to teach our Â�children’s choir to phoÂ�netÂ�iÂ�cally sing the song.21

A typÂ�iÂ�cal SpielÂ�berg/Â�Williams moÂ�ment is the trial seÂ�quence when, in a clausÂ�troÂ� phoÂ�bic courtÂ�room, Â�Cinque—the Â�leader of the Â�African Â�slaves—is anxÂ�iously tryÂ�ing to underÂ�stand what the many witÂ�nesses for both the prosÂ�eÂ�cuÂ�tion and the deÂ�fense are sayÂ�ing about the “midÂ�dle pasÂ�sage.” Music emÂ�phaÂ�sizes the disÂ�tressÂ� ful state of Â�Cinque, with atoÂ�nal writÂ�ing, echoÂ�ing efÂ�fects, and ocÂ�caÂ�sional disÂ�tant and mufÂ�fled ethÂ�nic perÂ�cusÂ�sions and vocÂ�alÂ�ises, as if to symÂ�bolÂ�ize Â�Cinque’s thinkÂ�ing of the far homeÂ�land from which he has been abÂ�ducted. At one point, music Â�freezes on a susÂ�penseÂ�ful susÂ�tained note by the Â�strings as we hear Â�Cinque tryÂ�ing to say someÂ�thing. EveryÂ�one in the courtÂ�room stops and looks at him. Â�Cinque Â�stands up and, pointÂ�ing his Â�chained hands at the court, he Â�screams reÂ�peatÂ�edly: “Give us free!” Â�Williams music upÂ�lifts the moÂ�ment by buildÂ�ing a movÂ�ing muÂ�siÂ�cal cresÂ�cendo, startÂ�ing with a voÂ�calÂ�izÂ�ing Â�chorus singÂ�ing mezzo forte the theme of “Dry Your Tears, Â�Afrika” and then, with an arÂ�restÂ�ing modÂ�ulaÂ�tion, reÂ�prisÂ�ing the theme forÂ�tisÂ�simo with the full Â�chorus and orÂ�chesÂ�tra. Using his cusÂ�toÂ�mary techÂ�nique of gradÂ�ual disÂ�cloÂ�sure of the main theme, Williams Â� introÂ� duces here only the melÂ�ody of “Dry Your Tears, Â�Afrika,” while the full verÂ�sion

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with lyr�ics will be fore�grounded dur�ing the final lib�er�a�tion se�quence of the Lom�boko slave �prison. S av �i ng P r i va � t e Ryan (1 9 9 8 )

This war drama foÂ�cuses on D-Day and the AlÂ�lied inÂ�vaÂ�sion of NorÂ�mandy in 1944. The muÂ�siÂ�cal Â�choices are charÂ�acÂ�terÂ�ized by soÂ�briety: only one hour of music for more than two hours of runÂ�ning time. The music is abÂ�sent in acÂ�tion Â�scenes—as in the openÂ�ing landÂ�ing on Omaha Beach and in all the folÂ�lowÂ�ing batÂ�tle Â�scenes—and enÂ�ters only in the Â�pauses Â�between one acÂ�tion seÂ�quence and anÂ�other, havÂ�ing the funcÂ�tion of framÂ�ing those moÂ�ments of reÂ�flecÂ�tion. Says SpielÂ�berg: “ReÂ�straint was John Â�Williams’ priÂ�mary obÂ�jecÂ�tive. He did not want to senÂ�tiÂ�menÂ�talÂ�ize or Â�create emoÂ�tion from what alÂ�ready exÂ�isted in raw form. SavÂ�ing PriÂ�vate Ryan is fuÂ�riÂ�ous and reÂ�lentÂ�less, as are all wars, but where there is music, it is exÂ�actly where John Â�Williams inÂ�tends for us the Â�chance to Â�breathe and reÂ�memÂ�ber.”22 The score has warm lyrÂ�iÂ�cal epiÂ�sodes for Â�strings—esÂ�peÂ�cially for Â�basses and celÂ�los—and solÂ�emn parts for brass in which the trumÂ�pet and horn solos stand out for their inÂ�tense penÂ�sive tone. UnÂ�like Â�Williams’s usual pracÂ�tice, the score is comÂ�posed of a dozen long Â�pieces lastÂ�ing eight to ten minÂ�utes, and the music has no perÂ�cepÂ�tive, but Â�mainly emÂ�oÂ�tive, funcÂ�tion. AlÂ�though there are a few reÂ�curÂ�ring Â�themes, the Â�closed muÂ�siÂ�cal numÂ�ber techÂ�nique is used inÂ�stead of leitÂ�moÂ�tivs. The end tiÂ�tles are acÂ�comÂ�paÂ�nied by the poigÂ�nant “Hymn to the FalÂ�len” for voÂ�calÂ�izÂ�ing Â�chorus and orÂ�chesÂ�tra, not Â�present elseÂ�where in the film. It is a conÂ�cert piece in its own right, dedÂ�iÂ�cated to the memÂ�ory of the falÂ�len. The score was perÂ�formed by the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra and the TanÂ�gleÂ�wood FesÂ�tiÂ�val Â�Chorus, and reÂ�corded at Â�Boston’s SymÂ�phony Hall. A. I. Ar tÂ� i fÂ� i ci Â� a l InÂ�t e lÂ�liÂ�gence (2 0 01 )

This Â�sci-fi tale is based on a StanÂ�ley KuÂ�brick proÂ�ject, which SpielÂ�berg inÂ�herÂ�ited upon Â�Kubrick’s death. The score has one part feaÂ�turÂ�ing atoÂ�nal diÂ�alect and a sort of fuÂ�turÂ�isÂ�tic miniÂ�malÂ�ism—with colÂ�orÂ�ing Â�touches of syntheÂ�sizÂ�ers and Â�electric guiÂ�tars—which is the muÂ�siÂ�cal equivÂ�aÂ�lent of the “outÂ�side”: the chillÂ�ingly techÂ�noÂ� logÂ�iÂ�cal fuÂ�ture world. The other part is based on a sweet lulÂ�laby for soÂ�prano and orÂ�chesÂ�tra, which repÂ�reÂ�sents the “inÂ�side” of Â�robot-boy David: his feelÂ�ings, fond memÂ�oÂ�ries, and his yearnÂ�ing love for his lost human Â�mother. The score Â�preÂ�sents a quoÂ�taÂ�tion of RichÂ�ard Â�Strauss’s Der RoÂ�senÂ�kavÂ�aÂ�lier (1911), reÂ�portÂ�edly a

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homÂ�age to KuÂ�brick, as he had Â�planned to use the piece in the film, folÂ�lowÂ�ing his Â� repertoire-compilation apÂ�proach to film music.23 ParÂ�ticÂ�uÂ�larly memÂ�orÂ�able is the fiÂ�nale, in which Â�David’s deÂ�ceased Â�mother is temÂ�poÂ�rarÂ�ily resÂ�urÂ�rected and the Â�robot-boy is given one last day to spend in her comÂ�pany. Â�Williams’s music emÂ�ploys the lulÂ�laby to score the seÂ�quence poigÂ�nantly by mainÂ�tainÂ�ing the tone in an achÂ�ing equiÂ�libÂ�rium Â�between Â�David’s hapÂ�piÂ�ness for havÂ�ing his Â�mother back and his painÂ�ful awareÂ�ness that their time toÂ�gether is merÂ�ciÂ�lessly tickÂ�ing away. Mi Â�nor Â�i t y Re p Â� or t (2 0 0 3 )

For this Â�thriller set in a fuÂ�ture Â�hyper-technological soÂ�ciÂ�ety, Â�Williams comÂ�posed a homÂ�age to the noir genre and shows many refÂ�erÂ�ences to BerÂ�nard Â�Herrmann’s idiom: “ ‘I Â�wanted to do this in a film noir kind of way; the grandÂ�parÂ�ent of the score is the work of my old menÂ�tor and Â�friend, BerÂ�nard HerÂ�mann, who Â�scored so many films for AlÂ�fred HitchÂ�cock,’ says Â�Williams. The story takes place in 2054, ‘but SteÂ�ven SpielÂ�berg and I Â�wanted the muÂ�siÂ�cal atÂ�mosÂ�phere of an old BoÂ�gart film like The MalÂ�tese FalÂ�con. Some eleÂ�ments of the music are not tonal and deÂ�pict the fuÂ�turÂ�isÂ�tic asÂ�pect of the film, but the movie is also about nosÂ�talÂ�gia and memÂ�ory, and Â�that’s where the film noir eleÂ�ment comes in.’”24 Ca tch Me If You Can (2 0 0 2 )

For this Â�con-artist comÂ�edy/drama, Â�Williams Â�jumped back to the 1960s comÂ�eÂ�dies of the first peÂ�riod of his caÂ�reer, and thus reÂ�visÂ�ited his jazz backÂ�ground. The furÂ�tive main theme for alto saxÂ�oÂ�phone is remÂ�iÂ�nisÂ�cent of Henry Â�Mancini’s faÂ�mous theme for The Pink PanÂ�ther (Blake EdÂ�ward, 1963) and is preÂ�sented over a 1960Â�slike openÂ�ing title seÂ�quence, which pays homÂ�age to the Â�graphic deÂ�signer Saul Bass: The title seÂ�quence of the film was an opÂ�porÂ�tuÂ�nity to Â�create someÂ�thing with Â�finger-snapping, 1960s swagÂ�ger, and I Â�thought a jazz saxÂ�oÂ�phone solo in the style of Art PepÂ�per or Stan Getz would be perÂ�fect. .€.€. In a film setÂ�ting, such as the title seÂ�quence, the muÂ�siÂ�cal Â�events have to hapÂ�pen exÂ�actly in synch with the visÂ�ual Â�events. If someÂ�one were truly imÂ�proÂ� visÂ�ing, the music might not asÂ�cend or Â�quicken exÂ�actly when it Â�should. .€.€. This music is a Â�two-part inÂ�venÂ�tion for bass and alto saxÂ�oÂ�phone. The

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adÂ�vanÂ�tage of traÂ�diÂ�tional noÂ�taÂ�tion is that there can be more Â�tightly conÂ� structed counterÂ�point than when peoÂ�ple imÂ�proÂ�vise. If the Â�players were imÂ�proÂ�visÂ�ing, the bass Â�player Â�wouldn’t Â�really know what the saxoÂ�phonÂ�ist was going to do until it hapÂ�pened, but Â�through traÂ�diÂ�tional noÂ�taÂ�tion the piece Â�sounds imÂ�proÂ�vised even Â�though it has careÂ�fully conÂ�trolled counterÂ�point.25

Th e Te r mi � �na l (2 0 0 4 )

A Frank Capra–like comÂ�edy, this film cenÂ�ters on VikÂ�tor NaÂ�vorÂ�sky, an EastÂ�ern EuÂ�roÂ�pean, Â�trapped in New Â�York’s JFK airÂ�port beÂ�cause his Â�country’s governÂ�ment has just been overÂ�turned, and Â�Viktor’s visa and passÂ�port have sudÂ�denly Â�ceased to be valid. While livÂ�ing in the terÂ�miÂ�nal and waitÂ�ing for a soÂ�luÂ�tion to his case from the U.S. auÂ�thorÂ�ities, VikÂ�tor meets AmeÂ�lia, a beauÂ�tiÂ�ful stewÂ�ardÂ�ess with a very comÂ�pliÂ�cated senÂ�tiÂ�menÂ�tal life. We later disÂ�cover that VikÂ�tor had Â�traveled to New York to comÂ�plete his late Â�father’s colÂ�lecÂ�tion of jazz musiÂ�cian autoÂ�graphs. Â�Viktor’s EastÂ�ern EuÂ�roÂ�pean herÂ�iÂ�tage, his enÂ�counÂ�ter with Â�American culÂ�ture, and the jazz subÂ�plot made it posÂ�sible for Â�Williams to exÂ�press this multiÂ�culÂ�tuÂ�ral nexus muÂ�siÂ�cally. The Â�score’s Â�intra-opus style Â�ranges from klezÂ�mer to jazz to conÂ�temÂ� poÂ�rary Â�American miniÂ�malÂ�ism; Â�Williams also Â�created a dieÂ�getic SlaÂ�vonic anÂ�them for Â�Viktor’s ficÂ�tiÂ�tious homeÂ�land, KraÂ�koÂ�zhia. “I feaÂ�tured the clarÂ�iÂ�net, which is in the idiom of so many Â�groups of EastÂ�ern and SouthÂ�eastÂ�ern EuÂ�rope, but also the cimÂ�baÂ�lom, an inÂ�struÂ�ment, I think, inÂ�digÂ�eÂ�nous to HunÂ�gary, and it is Â�played with hamÂ�mers, and it would be part of the orÂ�chesÂ�tral texÂ�ture to sugÂ�gest latÂ�iÂ�tude and culÂ�ture, and so on. And also the very subÂ�tle use of an acÂ�corÂ�dion. .€.€. It is a nice point about the jazz being a subÂ�plot of the film. .€.€. And the only music that is someÂ�what reÂ�lated to that idiom is the music that I have writÂ�ten for AmeÂ�lia, who in my mind is so Â�American. There is someÂ�thing I and SteÂ�ven would call a “love theme,” and that is the theme that Â�springs off in my mind—AmeÂ�lia—in the texÂ�ture of what it is. Which is a very kind of Â�American-sounding piece, in Â�contrast to Â�Viktor’s music.”26 Wa r of t h e Â�Wor ld s (2 0 0 5 )

This reÂ�make of the 1953 clasÂ�sic by Byron HaÂ�skin is a contrastÂ�ing item in the SpielÂ�berg Â�extraterrestrial-related filÂ�mogÂ�raÂ�phy. After Close Â�Encounters’ childÂ�like aliÂ�ens and the amiÂ�able E.T., for the first time SpielÂ�berg chose to porÂ�tray viÂ�cious

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exÂ�traÂ�terÂ�resÂ�triÂ�als, probÂ�ably as a conÂ�seÂ�quence of the 9/11 Â�events.27 AcÂ�cordÂ�ingly, Â�Williams’s score is Â�rather poor in melÂ�oÂ�dies: “War of the Â�Worlds, where we have this maÂ�chine comÂ�ing to bring aliÂ�ens here that are so deÂ�strucÂ�tive, [is] an interÂ�estÂ�ing deÂ�viÂ�aÂ�tion for SteÂ�ven. It Â�creates a difÂ�ferÂ�ent muÂ�siÂ�cal opÂ�porÂ�tuÂ�nity and a difÂ�ferÂ�ent role for the orÂ�chesÂ�tra and for the music. And there are a few secÂ�tions in there, a few cuts to the alien maÂ�chine, where the orÂ�chesÂ�tra does a grand gesÂ�ture of a clasÂ�sic monÂ�ster film.”28 PiercÂ�ing disÂ�soÂ�nance, disÂ�orientÂ�ing atoÂ�nalÂ�ity, stalkÂ�ing Â�rhythms, and freÂ�netic perÂ�cusÂ�sions are the Â�score’s pilÂ�lars, with the moÂ�ments of resÂ�pite makÂ�ing room for broodÂ�ing trumÂ�pet solos. I n Â�d i Â�a n a J one s a nd t h e Ki ngÂ�dom of the CrysÂ�tal Skull (2 0 0 8 )

In the Â�series’ Â�fourth chapÂ�ter, Â�Williams—Â�besides using the “InÂ�diÂ�ana Jones Theme” and “MarÂ�ion’s Theme” taken from the preÂ�viÂ�ous films—has comÂ�posed new melÂ�oÂ�dies that repÂ�reÂ�sent three Â�decades of HolÂ�lyÂ�wood music hisÂ�tory. “Mutt’s Theme” is a Â�bright symÂ�phonic piece, which reÂ�calls Â�Korngold’s Â�scores for MiÂ�chael Â�Curtiz’s 1930s swashÂ�buckÂ�ling films;29 “Irina’s Theme,” for the ruthÂ�less feÂ�male KGB agent, is a seÂ�ducÂ�tive and torÂ�tuÂ�ous saxÂ�oÂ�phone melÂ�ody remÂ�iÂ�nisÂ�cent of the old Â�femmes faÂ�tales Â�themes of the 1940s noir films; the “Skull Theme” is a nod to the Â�sci-fi music of the 1950s, with the syntheÂ�sizer reÂ�proÂ�ducÂ�ing the tremÂ�bling timÂ�bre of the thereÂ�min. Th e AdÂ�ve nÂ�t u re s of Ti n tin Â� (2 011 )

Part of the fasÂ�ciÂ�natÂ�ing naÂ�ture of this Â�computer-generated-imagery (CGI) anÂ�iÂ�maÂ� tion film, based on the comic books by the BelÂ�gian auÂ�thor Hergé, is its vinÂ�tage flaÂ�vor. TinÂ�tin is vinÂ�tage not just beÂ�cause its tales and adÂ�venÂ�tures are Â�old-fashioned treasÂ�ure hunts and puzÂ�zling mysÂ�terÂ�ies; the vinÂ�tage qualÂ�ity is also given by the deÂ�tailed hisÂ�torÂ�iÂ�cal loÂ�cales in which the stoÂ�ries are set and the charÂ�acÂ�ters move. In SteÂ�ven Â�Spielberg’s film, one of the main “vintage-making” facÂ�tors is the music. The score for TinÂ�tin—Â�Williams’s first anÂ�iÂ�maÂ�tion film—has such a Â�strong leitÂ�moÂ�tivic strucÂ�ture and use of Â�Mickey-Mousing that it reÂ�minds us of RaidÂ�ers of the Lost Ark and can be highÂ�lighted as an exÂ�celÂ�lent reÂ�cent exÂ�amÂ�ple of neoÂ�clasÂ�siÂ� cism. If the KornÂ�golÂ�dian refÂ�erÂ�ences can be spotÂ�ted in the piÂ�rate Â�scenes and duels Â�between Capt. HadÂ�dock and RackÂ�ham the Red, Max Â�Steiner’s Â�MickeyMousing techÂ�nique is scatÂ�tered all over the score, acÂ�comÂ�paÂ�nyÂ�ing each jump, fall, and run of the charÂ�acÂ�ters—parÂ�ticÂ�uÂ�larly those of Snowy, Â�Tintin’s white dog.

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Â�Williams’s score is also based on a netÂ�work of interÂ�woven and deÂ�velÂ�oped leitÂ�moÂ�tivs—one for TinÂ�tin; one for Snowy; one for the ThompÂ�sons, the deÂ�tecÂ�tive twins; one for Capt. HadÂ�dock, the alÂ�coÂ�holic sea wolf. Â�Haddock’s theme, for exÂ�amÂ�ple, is preÂ�sented as a falÂ�terÂ�ing piece in minor mode comÂ�ically Â�played by basÂ�soons when the capÂ�tain is drunk; later in the film, when HadÂ�dock reÂ�forms and reÂ�gains his digÂ�nity, his theme is renÂ�dered in major mode and Â�played nobly by the horns. MoreÂ�over, Â�Williams reÂ�inÂ�forces the Â�film’s vinÂ�tage backÂ�grounds by muÂ�siÂ�cally evokÂ�ing the byÂ�gone days: in the main title seÂ�quence Â�Tintin’s theme is preÂ�sented in an early 1930s EuÂ�roÂ�pean jazz arÂ�rangeÂ�ment; the Â�Thompsons’ theme is Â�played by the euÂ�phoÂ�nium—very fashÂ�ionÂ�able at the times and now a “vintage-sounding” inÂ�struÂ�ment; and the acÂ�corÂ�dion is used exÂ�tenÂ�sively to give a Â�French nosÂ�talÂ�gia color all over the score. Wa r Hors e (2 011 )

This drama set in World War I conÂ�cerns the friendÂ�ship of a young man, AlÂ�bert, and his horse, Joey. Joey is sold to the BritÂ�ish cavÂ�alry, emÂ�ployed in war acÂ�tions, and Â�switched to a numÂ�ber of diÂ�verse ownÂ�ers, to fiÂ�nally surÂ�vive the war and be reÂ�united with AlÂ�bert. Â�Williams’s score is Â�richly meÂ�lodic, comÂ�binÂ�ing noble tones and foreÂ�grounded flute solos with Â�strong hints of the BritÂ�ish music diÂ�alect—for exÂ�amÂ�ple, Ralph VauÂ�ghan Â�Williams and EdÂ�ward Elgar. The Â�film’s beÂ�ginÂ�ning has a conÂ�tinÂ�uÂ�ous muÂ�siÂ�cal flow introÂ�ducÂ�ing us in DartÂ�moor in 1912, and then acÂ�comÂ�paÂ�nyÂ�ing the newÂ�born horse in his first shaky gait Â�through the BritÂ�ish moors—a galÂ�lopÂ�ing Â�string writÂ�ing Â�tracks the Â�horse’s moves. AtoÂ�nal pasÂ�sages proÂ�vide the tense atÂ�mosÂ�phere for the batÂ�tle Â�scenes, while a noble and poigÂ�nant horns theme upÂ�lifts the moÂ�ment when AlÂ�bert and Joey reÂ�unite and go back home—in a Gone with the Wind–like sunÂ�set. L i nÂ�coln (2 01 2 )

SpielÂ�berg and Â�Williams’s latÂ�est colÂ�labÂ�oÂ�raÂ�tion is a bioÂ�pic about AmerÂ�ica’s sixÂ�teenth presÂ�iÂ�dent, who had the ThirÂ�teenth AmendÂ�ment Â�passed, thus outÂ�lawÂ�ing slavÂ�ery. The Â�nearly Â�three-hour film deÂ�picts with seÂ�rene pace and a reÂ�alisÂ�tic atÂ�tenÂ�tion to deÂ�tails an inÂ�tiÂ�mate, Â�anti-triumphalist porÂ�trait of AbraÂ�ham LinÂ�coln. Â�Williams deÂ�livered a reÂ�strained score that covÂ�ers only about Â�one-third of the Â�film’s Â�length. DiÂ�alogue is Â�mostly not underÂ�scored and, Â�contrary to other Â�Williams presÂ�iÂ�denÂ�tial Â�themes—such as John Â�Kennedy’s in JFK and Â�Quincy Â�Adams’s for

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AmisÂ�tad—the leadÂ�ing solo inÂ�struÂ�ment is not a celÂ�eÂ�braÂ�tive trumÂ�pet but a penÂ�sive, inÂ�tiÂ�mate piano. Noble Â�Americana diÂ�alect, Â�nineteenth-century hymÂ�nal music, and Â�spiritual-song inÂ�flecÂ�tions are the linÂ�guisÂ�tic basis of the score—with a huÂ�morÂ� ous epiÂ�sode feaÂ�turÂ�ing a spirÂ�ited counÂ�try fidÂ�dle in the Â�searching-for-the-votes seÂ�quence. The UnÂ�ionÂ�ist song “BatÂ�tle Cry of FreeÂ�dom” is juÂ�biÂ�lantly arÂ�ranged for Â�chorus and orÂ�chesÂ�tra and feaÂ�tured when the AmendÂ�ment is fiÂ�nally apÂ� proved.30 It must be noted that the score is perÂ�formed by the ChiÂ�cago SymÂ�phony OrÂ�chesÂ�tra, which marks the famed Â�orchestra’s debut in film music. Williams’s EclecÂ�tiÂ�cism Â�Besides SpielÂ�berg (and Lucas) Â� Williams has lent his verÂ�saÂ�tile Â�skills to other diÂ�recÂ�tors as well, of Â�course. Here are some notÂ�able outÂ�comes. Black SunÂ�day ( John FranÂ�kenÂ�heimer, 1977) is a Â�thriller about terÂ�rorÂ�ist atÂ�tacks, in which a monÂ�tage seÂ�quence—the inÂ�specÂ�tion of the staÂ�dium in Â�search of a bomb—Â�stands out for a fuÂ�gato, which reÂ�works the preÂ�viÂ� ously introÂ�duced leitÂ�moÂ�tivs. MidÂ�way ( Jack Â�Smight, 1976) is a World War II drama about the faÂ�mous batÂ�tle in the PaÂ�cific Ocean and feaÂ�tures the “MidÂ�way March”—a staÂ�ple of the Â�Williams march repÂ�erÂ�toire—in the style of John Â�Philip Sousa, and the inÂ�spirÂ�ing “Men of YorkÂ�town March.” FamÂ�ily Plot (1976)—AlÂ�fred Â�Hitchcock’s last film—is a susÂ�pense/comÂ�edy about a Â�couple of swinÂ�dlers who get inÂ�volÂ�unÂ�tarÂ�ily inÂ�volved in a kidÂ�napÂ�ping. The film feaÂ�tures baÂ�roque fuÂ�gato for susÂ�pense seÂ�quences, Â�Debussy-like imÂ�presÂ� sionÂ�ist harÂ�moÂ�nies for the Â�séances, and a Â�lively main theme colÂ�ored by a brisk harpÂ�siÂ�chord remÂ�iÂ�nisÂ�cent of some of Â�Williams’s 1960s comÂ�eÂ�dies like FitzÂ�willy or How to Steal a MilÂ�lion. Says Â�Williams about his colÂ�labÂ�oÂ�raÂ�tion with the diÂ�recÂ�tor: [HitchÂ�cock] had had a long reÂ�laÂ�tionÂ�ship with BerÂ�nard HerrÂ�mann, who was a great Â�friend of mine at the time. The first conÂ�verÂ�saÂ�tion I had with HitchÂ�cock, I was a bit sheepÂ�ish beÂ�cause of my closeÂ�ness to HerrÂ�mann. I Â�didn’t feel I could acÂ�cept the asÂ�signÂ�ment withÂ�out eiÂ�ther talkÂ�ing to HerrÂ�mann or underÂ�standÂ�ing why it was that HitchÂ�cock had Â�broken off with him, which was one of those reÂ�laÂ�tionÂ�ships in film that we all were hopÂ�ing would conÂ�tinue. HitchÂ�cock said to me, “No, no need to be senÂ�siÂ�tive about that beÂ�cause Mr. HerrÂ�mann and I have Â�agreed not to work toÂ�gether again. I’m sure he’ll be very happy if it’s you, if it’s not going to be him.” I did ring up HerrÂ�mann and he said about the same thing. He said, “No, no, Hitch and I will not work toÂ�gether any Â�longer but I am deÂ�lighted that you will be doing this.” .€.€. [A]t one of our

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Â� lunches, HitchÂ�cock was deÂ�scribÂ�ing a comÂ�poser he’d hired to write a score for a film about a murÂ�der. He said he went to a scorÂ�ing sesÂ�sion and the comÂ�poser had every douÂ�ble basÂ�soon and tymÂ�pani that was caÂ�pable of makÂ�ing an omÂ�iÂ�nous sound for the score. I said, “Well, Mr. HitchÂ�cock, that Â�sounds as if it was close to the mark,” and he said, “No, you don’t underÂ�stand, murÂ�der can be fun.”31

DraÂ�cula ( John BadÂ�ham, 1979) is a reÂ�tellÂ�ing of Bram Â�Stoker’s book as a Â�doomed love story. John BadÂ�ham Â�states: As we were about to begin [and watch the film for the first time] he [Williams] conÂ�fessed that he had never seen a vamÂ�pire movie of any sort beÂ�fore. SomeÂ�how he had manÂ�aged to stumÂ�ble upon full adultÂ�hood withÂ�out havÂ�ing been exÂ�posed to the verÂ�iÂ�taÂ�ble gauntÂ�let of DraÂ�cula films proÂ�duced in the last fifty years. Not a frame. .€.€. How forÂ�tuÂ�nate to have the Â�pre-eminent film comÂ�poser of the day arÂ�rive with no adÂ�vance noÂ�tion of the kind of Â�ketchup and Â�thunder music that preÂ�vails in the horÂ�ror film genre. .€.€. When the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra got its colÂ�lecÂ�tive teeth on the music in May they Â�played a score that is Â�wildly roÂ�manÂ�tic, shameÂ�lessly so. .€.€. OpÂ�erÂ�atic in scale, it surÂ�rounds and elÂ�eÂ�vates this often told tale of the VamÂ�pire King who takes a Queen for himÂ�self.32 .€.€. When I first Â�showed the movie to John [Williams], his inÂ�itial fix on it after lookÂ�ing at it and thinkÂ�ing about it for a while was TrisÂ�tan and Â�Iseult, a great love story, a great Â�tragic love story. That was his sort of inÂ�spiÂ�raÂ� tion at the startÂ�ing point.33

The score is Â�darkly roÂ�manÂ�tic, with a Â�Slavic Â�tragic flaÂ�vor, which—unÂ�like James Â� Bernard’s thunÂ�derÂ�ous Â�scores for the HamÂ�mer films—emÂ�phaÂ�sizes the Â�character’s ByÂ�ronic charm Â�rather than his monÂ�strous naÂ�ture, and the erotÂ�iÂ�cism Â�rather than the horÂ�ror of the story.34 Says Â�Williams: “I’ve alÂ�ways felt that DraÂ�cula was a very Â�erotic story. .€.€. It’s a wonÂ�derÂ�ful subÂ�ject for music, Â�really, for the sweep of the kind of roÂ�mance and areas that we are unÂ�cerÂ�tain about, an odd world that we’re atÂ�tracted to but we’re a bit Â�afraid of at the same time. The magÂ�neÂ�tism of the unÂ�known, mixed with the Â�erotic asÂ�pects of the story made it for me a very roÂ�manÂ�tic piece in many ways.”35 The Fury (Brian De Palma, 1978) has perÂ�haps the most Â�Herrmann-like score, with disÂ�soÂ�nant moÂ�tivic writÂ�ing and the eerie sound of the thereÂ�min. The “Main Title Theme” has a hypÂ�noÂ�tizÂ�ing spiÂ�ral qualÂ�ity, which reÂ�semÂ�bles Â�Herrmann’s VerÂ�tigo (AlÂ�fred HitchÂ�cock, 1958): “I’d adÂ�mired ObÂ�sesÂ�sion, which had a HerrÂ�mann

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score I liked very much, and I Â�thought Brian [De Palma] had Â�served Â�Herrmann’s music betÂ�ter than anyÂ�one in so many years. I wrote him and Â�thanked him for that. Later I met Brian and it Â�turned out he was a close Â�friend of SteÂ�ven SpielÂ� berg. One day he burst into my ofÂ�fice at Fox and said, ‘Look, we’re doing this picÂ�ture Â�called The Fury and, alas, poor Benny isn’t with us and Amy [IrÂ�ving—Â� Spielberg’s girlÂ�friend] is the star—would you do the score?’—and I said, ‘With great pleasÂ�ure.’”36 In 1982 Â�Williams comÂ�posed the music for MonÂ�sigÂ�nor (Frank Perry), a drama set in Italy durÂ�ing and after World War II and conÂ�cernÂ�ing a CathÂ�oÂ�lic Â�priest who makes Â�black-market busiÂ�ness with the SiÂ�cilÂ�ian Mafia and has a love afÂ�fair with a nun. This film—deÂ�cidÂ�edly not well reÂ�ceived—is worth menÂ�tionÂ�ing for its score (brilÂ�liantly perÂ�formed by the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra), which feaÂ�tures at least three noteÂ�worthy Â�set-pieces. The first one (the main theme) is a Â�minor-mode slow waltz for trumÂ�pet Â�tinged with a sense of doom and writÂ�ten in an ItÂ�aÂ�liÂ�aÂ�nate diÂ�alect remÂ�iÂ�nisÂ�cent of Nino Â�Rota’s music for The GodÂ�father films (FranÂ�cis Ford CopÂ�pola, 1972–74). “The MeetÂ�ing in Â�Sicily’’ (thus tiÂ�tled in the LP album) is a sunny, Â�lively orÂ�chesÂ�tral showÂ�piece that Â�contrasts the prevÂ�alÂ�ently Â�darker mood of the score—in the folÂ�lowÂ�ing year Â�Williams reÂ�worked it into a conÂ�cert piece (EsÂ�plaÂ�nade OverÂ�ture). FiÂ�nally, “Gloria’’ is a powÂ�erÂ�ful piece for Â�chorus, orÂ�chesÂ�tra, and pipe organ writÂ�ten as a backÂ�ground for a Â�solemn-Mass seÂ�quence: the tonal Â�church music is ocÂ�caÂ�sionÂ�ally puncÂ�tuÂ�ated by striÂ�dent disÂ�soÂ�nant Â�chords— for exÂ�amÂ�ple, in the organ introÂ�ducÂ�tion—so as to deÂ�pict muÂ�siÂ�cally the Â�priest’s disÂ�corÂ�dant moÂ�rals beÂ�hind the pious faÂ�cade. The FaustÂ�ian comÂ�edy The Â�Witches of EastÂ�wick (George Â�Miller, 1987) has a sarÂ�donÂ�iÂ�cally “saÂ�tanic” score boastÂ�ing a groÂ�tesque taÂ�ranÂ�tella as the Â�devil’s leitÂ� moÂ�tiv. It is also memÂ�orÂ�able for a Â�classy Â�scherzo writÂ�ten for the Â�tennis-match scene, and a lavÂ�ish love theme for the balÂ�loon scene, which can be heard only parÂ�tially in the film, since its first part was reÂ�placed by Â�Puccini’s “NesÂ�sun Dorma.” Â�Williams has also comÂ�posed very inÂ�tiÂ�mate and reÂ�strained Â�scores, which are often igÂ�nored by his deÂ�tracÂ�tors who straÂ�teÂ�giÂ�cally focus on his alÂ�legÂ�edly “pomÂ� pous” and “bomÂ�basÂ�tic” Â�scores of major “comÂ�merÂ�cial” sucÂ�cesses. ExÂ�amÂ�ples of what could be Â�called “chamber-music Williams” show up in The AcÂ�ciÂ�denÂ�tal TourÂ� ist (LawÂ�rence KasÂ�dan, 1988) and StanÂ�ley & Iris (MarÂ�tin Ritt, 1990), both of which feaÂ�ture lyrÂ�iÂ�cal piano solos, and the Â�thriller PreÂ�sumed InÂ�noÂ�cent (Alan Pakula, 1990), again with promÂ�iÂ�nent piano solos, atoÂ�nal pasÂ�sages, and syntheÂ�sizer Â�touches. Â�Williams’s colÂ�labÂ�oÂ�raÂ�tion with OlÂ�iÂ�ver Stone for the conÂ�troÂ�verÂ�sial Â�American trilÂ�ogy formed Â� by Born on the Â�Fourth of July (1989), JFK (1991), and Nixon (1995) deÂ�serves a niche of its own. The core of the score for Born on the Â�Fourth of July is

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an eleÂ�giac trumÂ�pet solo Â�backed by poigÂ�nant Â�string writÂ�ing: “I knew imÂ�meÂ�diÂ�ately I would want a Â�string orÂ�chesÂ�tra to sing in opÂ�poÂ�siÂ�tion to all the reÂ�alÂ�ism on the Â�screen, and then the idea came to have a solo trumÂ�pet—not a milÂ�iÂ�tary trumÂ�pet, but an Â�American trumÂ�pet, to reÂ�call the happy youth of this boy.”37 As for JFK, the comÂ�poser was inÂ�volved in the proÂ�ject beÂ�fore shootÂ�ing, and his music was later used to edit the film. Â�Williams exÂ�plains: “AcÂ�tuÂ�ally what drove the idea was the fact that JFK had been made like a docÂ�uÂ�menÂ�tary film. .€.€. [ It] was going to be edÂ�ited more in terms of a docÂ�uÂ�menÂ�tary film than a live acÂ�tion drama, acÂ�comÂ�paÂ�nied by a lot of narÂ�raÂ�tion, Â�voice-overs, that had to be edÂ�ited or cut. OlÂ�iÂ�ver Stone and I Â�thought that it might be a good idea to have set Â�pieces of music, on which to build these segÂ�ments of the film.”38 In the Â�blockbuster-film deÂ�partÂ�ment, Â�Williams also conÂ�tribÂ�uted to the sucÂ�cess of the slapÂ�stick Â�children’s comÂ�edy Home Alone (Chris CoÂ�lumÂ�bus, 1990) and its seÂ�quel Home Alone 2: Lost in New York (Chris CoÂ�lumÂ�bus, 1992). He comÂ�posed coÂ�meÂ�dic Â�cartoon-like Â�scores with exÂ�tenÂ�sive Tom and Jerry–like Â�MickeyMousing, enÂ�riched with origÂ�iÂ�nal ChristÂ�mas carÂ�ols—“Star of BethÂ�leÂ�hem,” “SomeÂ�where in My MemÂ�ory,” “ChristÂ�mas Star,” “Merry ChristÂ�mas, Merry ChristÂ�mas.” In Home Alone 2, in parÂ�ticÂ�uÂ�lar, a tip of the hat to the music of Max Â�Steiner must be Â�pointed out. For the fake noir film AnÂ�gels with Â�Filthy Souls II—Â� watched on TV by litÂ�tle Kevin—Â�Williams Â�penned a parÂ�ody of Â�Steiner’s music for The Big Sleep (HoÂ�ward Hawks, 1946). In 1992 Â�Williams Â�worked on Ron Â�Howard’s Far and Away, a Â�nineteenthcentury miÂ�graÂ�tion epic about a young Irish Â�couple movÂ�ing to AmerÂ�ica. He Â�adopted the Irish muÂ�siÂ�cal diÂ�alect and colÂ�ored the score with the sound of ethÂ�nic inÂ�struÂ�ments perÂ�formed by the Irish group The ChiefÂ�tains: “I liked the movie very much when I saw it and I also loved the subÂ�ject. One of the films I adÂ�mired the most when I was a very young perÂ�son was a John Ford picÂ�ture The Quiet Man. .€.€. I alÂ�ways felt that I would love to write the score, and this opÂ�porÂ�tuÂ�nity came along Â�through Ron HoÂ�ward. .€.€. I also had Â�worked with the ChiefÂ�tains in BosÂ�ton about a year beÂ�fore this, when they came as Â�guests and they Â�played with the [BosÂ�ton Pops] orÂ�chesÂ�tra. There were UilÂ�leann pipes, bagÂ�pipes, these Irish Â�things, penny whisÂ�tles, fidÂ�dle. So I Â�looked at Ron Â�Howard’s movie and Â�thought it was a wonÂ�derÂ�ful opÂ�porÂ�tuÂ�nity to bring in Paddy [MaÂ�loÂ�ney]’s group, to give that parÂ�ticÂ�uÂ�lar flaÂ�vor to the orÂ�chesÂ�traÂ�tion.”39 Â�Williams reÂ�turned to an Irish setÂ�ting with Â�Angela’s Ashes (Alan Â�Parker, 1999). HowÂ�ever, for this story of povÂ�erty and imÂ�miÂ�graÂ�tion, Â�Williams did not reÂ�sort to ethÂ�nic music but to a more uniÂ�verÂ�sal diÂ�alect. The overÂ�all score—with promÂ�iÂ�nent solo parts for piano and harp—is ausÂ�tere, alÂ�terÂ�natÂ�ing Â�between reÂ�strained epiÂ�sodes and more exÂ�panÂ�sive, hopeÂ�ful imÂ�pulses, with some huÂ�morÂ�ous Â�touches

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as well—for inÂ�stance, the pizÂ�ziÂ�cato writÂ�ing for the teleÂ�gram deÂ�liverÂ�ing scene: “Parker said he Â�didn’t feel that the music Â�should be in the Irish idiom parÂ�ticÂ�uÂ� larly, that it Â�should be Â�broader, more uniÂ�verÂ�sal—an emoÂ�tionÂ�ally diÂ�rect score. I Â�thought that probÂ�ably was a right deÂ�ciÂ�sion. I found the film to be a kind of chamÂ�ber piece in the sense that you had the Â�father and the Â�mother and the chilÂ�dren—four or five prinÂ�ciÂ�pal parts. ObÂ�viÂ�ously, the music Â�shouldn’t be Â�scaled on a Â�Strauss opera; it would have been too big for the film. So I felt that a chamÂ�ber music apÂ�proach with muÂ�siÂ�cal proÂ�tagÂ�oÂ�nists that would more or less match the actÂ�ing ones might work. I wrote a score that feaÂ�tured the piano, harp, oboe and cello set in front of a Â�string orÂ�chesÂ�tra.”40 A few words Â�should also be said for RoseÂ�wood ( John SinÂ�gleÂ�ton, 1997)— a drama set in the early Â�nineteenth-century southÂ�ern Â�United Â�States—with conÂ�sisÂ�tent solo parts for guiÂ�tar, bass guiÂ�tar, harÂ�monÂ�ica, piano, and feaÂ�turÂ�ing three a capÂ�pella spirÂ�iÂ�tuÂ�als: “Look Down, Lord,” “Light My Way,” and “The FreeÂ�dom Train,” a furÂ�ther demÂ�onÂ�straÂ�tion of the Â�composer’s verÂ�saÂ�tilÂ�ity. At Â�seventy, Â�Williams Â�opened the new milÂ�lenÂ�nium with anÂ�other Â�box-office hit: the Harry PotÂ�ter trilÂ�ogy (Harry PotÂ�ter and the Â�Sorcerer’s Stone, Chris CoÂ�lumÂ�bus, 2001; Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets, Chris CoÂ�lumÂ�bus, 2002; Harry PotÂ�ter and the PrisÂ�oner of AzÂ�kaÂ�ban, AlÂ�fonso Â�Cuarón, 2004). “I wanted Â� to capÂ�ture the world of weightÂ�lessÂ�ness and Â�flight and Â�sleight of hand and happy surÂ�prise. This Â�caused the music to be a litÂ�tle more theatÂ�riÂ�cal than most film Â�scores would be. It Â�sounds like music that you would hear in the theÂ�aÂ�ter Â�rather than in the film.”41 Â�Williams’s muÂ�siÂ�cal tapÂ�esÂ�try for the trilÂ�ogy is a very rich one, and only a few exÂ�amÂ�ples can be given here. The Â�series’ sigÂ�naÂ�ture tune is “Hedwig’s Theme,” HedÂ�wig being Â�Harry’s white owl. It can be heard at the beÂ�ginÂ�ning of each film—it is also reÂ�tained in the subÂ�seÂ�quent five film chapÂ�ters not Â�scored by Â�Williams. In the narÂ�raÂ�tive it is asÂ�soÂ�ciated with the magÂ�iÂ�cal world of Harry and his Â�friends. It is a music box–like etheÂ�real melÂ�ody, Â�backed by kaÂ�leiÂ�doÂ�scopic harÂ�moÂ�nies, and Â�played with silÂ�very timÂ�bre by the ceÂ�lesta—a Â�carillon-like soundÂ�ing inÂ�struÂ�ment notÂ�ably used in Â�Tchaikovsky’s “Sugar Plum Fairy Dance” from The NutÂ�cracker (1892). InÂ�deed, the Â�scores for the first two films hark back to the RusÂ�sian Â�school, with TchaiÂ�kovsÂ�kyan melÂ�oÂ�dies, Â�Rimsky-Korsakov–like orÂ�chesÂ�traÂ�tions, and timÂ�bres and colÂ�ors remÂ�iÂ�nisÂ�cent of Â�Stravinsky’s The FireÂ�bird (1910). ExÂ�panÂ�sive and soarÂ�ing WilliamÂ�sesque flyÂ�ing Â�themes Â�abound—for the broomÂ�stick rides and the magÂ�iÂ�cal bird FawÂ�kes the PhoeÂ�nix. A Â�lively stacÂ�cato woodÂ�winds theme—“NimÂ�bus 2000”—is asÂ�soÂ�ciated with Harry’s Â� flyÂ�ing broomÂ� stick and with Â�spells in genÂ�eral. A dark, saÂ�tanic, slithÂ�ery motif is the tradeÂ�mark for VoldeÂ�mort and black magic—feaÂ�turÂ�ing the triÂ�tone, the diÂ�aboÂ�lus in musÂ�ica. An odd duet, harp and contraÂ�basÂ�soon, acÂ�comÂ�paÂ�nies the heavy snorÂ�ing of Â�Fluffy, a

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Â�two-headed monÂ�ster dog. A noble, Â�British-sounding brass theme acts as a muÂ�siÂ�cal sigÂ�naÂ�ture for the “HogÂ�warts Â�School of WitchÂ�craft and WiÂ�zardry,” while the QuidÂ�ditch Â�matches are Â�scored with Â�heraldic fanÂ�fares, kiÂ�netic acÂ�tion music, and a tight netÂ�work of snipÂ�pets from the varÂ�iÂ�ous leitÂ�moÂ�tivs. The overÂ�all tone of the music Â�changes radÂ�iÂ�cally in the third film, where only a Â�couple of the old Â�themes are kept—“Hedwig’s theme” and “NimÂ�bus 2000.” The tone of the film is less childÂ�like as Harry and his Â�friends apÂ�proach adÂ�oÂ�lesÂ�cence. The music acÂ�cordÂ�ingly beÂ�comes more exÂ�periÂ�menÂ�tal and varÂ�ied. There are fuÂ�gato epiÂ�sodes—in the QuidÂ�ditch match; virÂ�tuÂ�oso solos—as the exÂ�hilÂ�arÂ�atÂ�ing flute solo in the butÂ�terÂ�fly Â�flight scene; arÂ�chaic inÂ�struÂ�menÂ�taÂ�tion—crumÂ�horns, reÂ�cordÂ�ers, fidÂ�dles—and meÂ�diÂ�eval modal diÂ�alect—as in the music acÂ�comÂ�paÂ�nyÂ�ing Â�Hagrid’s lesÂ�sons. There is a Â�“Greensleeves”-like theme for Harry and his memÂ�oÂ�ries of the past; chillÂ�ing atoÂ�nal writÂ�ing for the DeÂ�menÂ�tors—Â�ghosts who feed on Â�people’s hapÂ�piÂ�ness, drivÂ�ing them desÂ�perÂ�ate and mad; an oddÂ�ball LeÂ�oÂ�nard BernÂ�stein– like symÂ�phonic jazz piece acÂ�comÂ�paÂ�nyÂ�ing the reckÂ�less trip of a magÂ�iÂ�cal “knight” bus; when Harry takes a Â�long-awaited reÂ�venge by castÂ�ing a spell on the nasty Aunt Marge, a Â�Rossini-like waltz huÂ�morÂ�ously acÂ�comÂ�paÂ�nies her with apÂ�proÂ�priÂ�ate cresÂ�cendo as she inÂ�flates like a balÂ�loon, rises in the air, and Â�floats over the roofÂ�tops of LonÂ�don. There is even a dieÂ�getic choÂ�ral piece—“DouÂ�ble TrouÂ�ble”—based on Â�William Â�Shakespeare’s Â�witch-spell scene from MacÂ�beth and Â�played on anÂ�cient inÂ�struÂ�ments by the Dufay ColÂ�lecÂ�tive.

This over�view, which has no pre�tense of being a �thorough ac�count of

Â�Williams’s proÂ�ducÂ�tion, has hopeÂ�fully Â�traced a Â�fly-over trip on the reÂ�mainÂ�ing part of his major films in order to show that Â�besides his neoÂ�clasÂ�siÂ�cal Â�scores, Â�Williams is also a reÂ�sourceÂ�ful, verÂ�saÂ�tile comÂ�poser who has venÂ�tured in the most diÂ�verse terÂ�riÂ�toÂ�ries.

Ap �p en�dix 2 :╇ F il m a n d T V S c o re s, C o n c e r t Pieces, a n d A r ra n g e m e n t s

Scores for FeaÂ�ture Films The Book Thief,* 2013, Brian PerÂ�ciÂ�val LinÂ�coln,* 2012, SteÂ�ven SpielÂ�berg War Horse,* 2011, SteÂ�ven SpielÂ�berg The AdÂ�venÂ�tures of TinÂ�tin,* 2011, SteÂ�ven SpielÂ�berg InÂ�diÂ�ana Jones and the KingÂ�dom of the CrysÂ�tal Skull, 2008, SteÂ�ven SpielÂ�berg MeÂ�moirs of a GeiÂ�sha,* 2005, Rob MarÂ�shall MuÂ�nich,* 2005, SteÂ�ven SpielÂ�berg War of the Â�Worlds, 2005, SteÂ�ven SpielÂ�berg Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith, 2005, Â�George Lucas The TerÂ�miÂ�nal, 2004, SteÂ�ven SpielÂ�berg Harry PotÂ�ter and the PrisÂ�oner of AzÂ�kaÂ�ban,* 2004, AlÂ�fonso CuaÂ�rón Catch Me If You Can,* 2002, SteÂ�ven SpielÂ�berg Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets, 2002, Chris CoÂ�lumÂ�bus (Music arÂ�ranged by Â�William Ross)

Note : Film tiÂ�tles folÂ�lowed by an asteÂ�risk (*) were nomÂ�iÂ�nated for an AcadÂ�emy Award (for Best OrigÂ�iÂ�nal Score unÂ�less noted othÂ�erÂ�wise). Film tiÂ�tles folÂ�lowed by a dagÂ�ger (†) won an AcadÂ�emy Award. 229

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MiÂ�norÂ�ity ReÂ�port, 2002, SteÂ�ven SpielÂ�berg Star Wars: EpiÂ�sode II—AtÂ�tack of the Â�Clones, 2002, Â�George Lucas Harry PotÂ�ter and the Â�Sorcerer’s Stone,* 2001, Chris CoÂ�lumÂ�bus A.I. ArÂ�tiÂ�fiÂ�cial InÂ�telÂ�liÂ�gence,* 2001, SteÂ�ven SpielÂ�berg The PaÂ�triot,* 2000, RoÂ�land EmmeÂ�rich Â�Angela’s Ashes,* 1999, Alan Â�Parker Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace, 1999, Â�George Lucas StepÂ�mom, 1998, Chris CoÂ�lumÂ�bus SavÂ�ing PriÂ�vate Ryan,* 1998, SteÂ�ven SpielÂ�berg AmisÂ�tad,* 1997, SteÂ�ven SpielÂ�berg Seven Years in Tibet, 1997, Â�Jean-Jacques AnÂ�naud The Lost World: JuÂ�rasÂ�sic Park, 1997, SteÂ�ven SpielÂ�berg RoseÂ�wood, 1997, John SinÂ�gleÂ�ton SleepÂ�ers,* 1996, Barry LeÂ�vinÂ�son Nixon,* 1995, OlÂ�iÂ�ver Stone SaÂ�brina,* 1995, SidÂ�ney PolÂ�lack (nomÂ�iÂ�nated for Best OrigÂ�iÂ�nal ComÂ�edy Score and Best OrigÂ�iÂ�nal Song) Â�Schindler’s List,† 1993, SteÂ�ven SpielÂ�berg JuÂ�rasÂ�sic Park, 1993, SteÂ�ven SpielÂ�berg Home Alone 2: Lost in New York, 1992, Chris CoÂ�lumÂ�bus Far and Away, 1992, Ron HoÂ�ward JFK,* 1991, OlÂ�iÂ�ver Stone Hook,* 1991, SteÂ�ven SpielÂ�berg (nomÂ�iÂ�nated for Best OrigÂ�iÂ�nal Song) Home Alone,* 1990, Chris CoÂ�lumÂ�bus (nomÂ�iÂ�nated for Best OrigÂ�iÂ�nal Score and Best OrigÂ�iÂ�nal Song) PreÂ�sumed InÂ�noÂ�cent, 1990, Alan PaÂ�kula StanÂ�ley & Iris, 1990, MarÂ�tin Ritt AlÂ�ways, 1989, SteÂ�ven SpielÂ�berg Born on the Fourth Â� of July,* 1989, OlÂ�iÂ�ver Stone InÂ�diÂ�ana Jones and the Last CruÂ�sade,* 1989, SteÂ�ven SpielÂ�berg The AcÂ�ciÂ�denÂ�tal TourÂ�ist,* 1988, LawÂ�rence KasÂ�dan EmÂ�pire of the Sun,* 1987, SteÂ�ven SpielÂ�berg The Â�Witches of EastÂ�wick,* 1987, Â�George Â�Miller Space Camp, 1986, Harry Winer The River,* 1984, Mark RyÂ�dell InÂ�diÂ�ana Jones and the TemÂ�ple of Doom,* 1984, SteÂ�ven SpielÂ�berg Star Wars: EpiÂ�sode VI—ReÂ�turn of the Jedi,* 1983, RichÂ�ard MarÂ�quand MonÂ�sigÂ�nor, 1982, Frank Perry E.T. the Â�Extra-Terrestrial,† 1982, SteÂ�ven SpielÂ�berg

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Yes, GiorÂ�gio,* 1982, FrankÂ�lin J. SchaffÂ�ner (nomÂ�iÂ�nated for Best OrigÂ�iÂ�nal Song) (Main theme and song “If We Were In Love”—AdÂ�diÂ�tional music by MiÂ�chael J. Lewis) HeartÂ�beeps, 1981, Allan ArÂ�kush RaidÂ�ers of the Lost Ark,* 1981, SteÂ�ven SpielÂ�berg Star Wars: EpiÂ�sode V—The EmÂ�pire Â�Strikes Back,* 1980, Irvin KershÂ�ner 1941, 1979, SteÂ�ven SpielÂ�berg DraÂ�cula, 1979, John BadÂ�ham SuperÂ�man: The Movie,* 1978, RichÂ�ard DonÂ�ner Jaws 2, 1978, JeanÂ�not Â�Szwarc The Fury, 1978, Brian De Palma Close EnÂ�counÂ�ters of the Third Kind,* 1977, SteÂ�ven SpielÂ�berg Star Wars: EpiÂ�sode IV—A New Hope,† 1977, Â�George Lucas Black SunÂ�day, 1977, John FranÂ�kenÂ�heimer MidÂ�way, 1976, Jack Â�Smight The MisÂ�souri Â�Breaks, 1976, ArÂ�thur Penn FamÂ�ily Plot, 1976, AlÂ�fred HitchÂ�cock Jaws,† 1975, SteÂ�ven SpielÂ�berg The Eiger SancÂ�tion, 1975, Clint EastÂ�wood The TowÂ�erÂ�ing InÂ�ferno,* 1974, John GuilÂ�lerÂ�min EarthÂ�quake, 1974, Mark RobÂ�son The SugarÂ�land ExÂ�press, 1974, SteÂ�ven SpielÂ�berg ConÂ�rack, 1974, MarÂ�tin Ritt CinÂ�deÂ�rella LibÂ�erty,* 1973, Mark RyÂ�dell (nomÂ�iÂ�nated for Best OrigÂ�iÂ�nal Score and Best OrigÂ�iÂ�nal Song) The Long GoodÂ�bye, 1973, RobÂ�ert AltÂ�man The Paper Chase, 1973, James Â�Bridges The Man Who Loved Cat DancÂ�ing, 1973, RichÂ�ard C. SaÂ�raÂ�fian Tom SawÂ�yer,* 1973, Don TayÂ�lor (nomÂ�iÂ�nated for Best Score AdÂ�apÂ�taÂ�tion) (ArÂ�rangeÂ� ment of RichÂ�ard M. SherÂ�man and RobÂ�ert B. Â�Sherman’s origÂ�iÂ�nal songs and adÂ�diÂ�tional backÂ�ground music) ImÂ�ages,* 1972, RobÂ�ert AltÂ�man The ScreamÂ�ing Woman (TV Film), 1972, Jack Â�Smight Pete ’n’ TilÂ�lie, 1972, MarÂ�tin Ritt The PoÂ�seiÂ�don AdÂ�venÂ�ture,* 1972, RoÂ�nald Neame The CowÂ�boys, 1972, Mark RyÂ�dell FidÂ�dler on the Roof,† 1971, NorÂ�man JeÂ�wiÂ�son (ArÂ�rangeÂ�ment of Jerry Bock and ShelÂ�don Â�Harnick’s origÂ�iÂ�nal songs and adÂ�diÂ�tional backÂ�ground music) Jane Eyre (TV Film), 1971, DelÂ�bert Mann

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Â�Storia di una Donna, 1970, LeÂ�oÂ�nardo BerÂ�covÂ�ici The ReÂ�ivÂ�ers,* 1969, Mark RyÂ�dell GoodÂ�bye, Mr. Chips,* 1969, HerÂ�bert Ross (nomÂ�iÂ�nated for Best Score AdÂ�apÂ�taÂ�tion) (ArÂ�rangeÂ�ment of LesÂ�lie Â�Bricusse’s origÂ�iÂ�nal songs and adÂ�diÂ�tional backÂ�ground music) Â�Daddy’s Gone Â�A-Hunting, 1969, Mark RobÂ�son Heidi (TV Film), 1968, DelÂ�bert Mann SerÂ�geant Ryker, 1968, Buzz Kulik ValÂ�ley of the Dolls,* 1967, Mark RobÂ�son (nomÂ�iÂ�nated for Best Score AdÂ�apÂ�taÂ�tion) (ArÂ�rangeÂ�ment of André PreÂ�vin and Dory Â�Previn’s origÂ�iÂ�nal songs and adÂ�diÂ� tional backÂ�ground music) FitzÂ�willy, 1967, DelÂ�bert Mann A Guide for the MarÂ�ried Man, 1967, Gene Kelly The PlainsÂ�man, 1966, David LowÂ�ell Rich PeneÂ�lope, 1966, ArÂ�thur Â�Hiller Not with My Wife, You Don’t!, 1966, NorÂ�man PanÂ�ama How to Steal a MilÂ�lion, 1966, Â�William Wyler The Rare Breed, 1966, AnÂ�drew V. McLaÂ�glen John GoldÂ�farb, Â�Please Come Home, 1965, J. Lee ThompÂ�son None But the Brave, 1965, Frank SiÂ�naÂ�tra The KillÂ�ers, 1964, Don SieÂ�gel NightÂ�mare in ChiÂ�cago (TV Film), 1964, RobÂ�ert AltÂ�man GidÂ�get Goes to Rome, 1963, Paul WendÂ�kos DiÂ�amond Head, 1963, Guy Green BachÂ�eÂ�lor Flat, 1962, Frank TashÂ�lin Stark Fear, 1962, Ned HockÂ�man (ComÂ�poser of dieÂ�getic music; Â�non-diegetic music by Ned HockÂ�man) The SeÂ�cret Ways, 1961, Phil KarlÂ�son BeÂ�cause Â�They’re Young, 1960, Paul WendÂ�kos I Â�Passed for White, 1960, Fred M. WilÂ�cox (Music Â�co-written with Jerry Irvin) Â�Daddy-O, 1958, Lou Place TV Â�Scores MasÂ�terÂ�piece TheÂ�aÂ�ter, 2000 (Main Theme) AmazÂ�ing StoÂ�ries, 1985 (Main Theme and epiÂ�sodes “The MisÂ�sion” and “Ghost Train”) The VirÂ�ginÂ�ian, 1970 (Main Theme, last seaÂ�son)

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Land of the Â�Giants, 1968 (Main Theme and Â�scores, 1968–70) The GhostÂ�breaker, 1967 (Score for the pilot epiÂ�sode) The Time TunÂ�nel, 1966 (Main Theme and score for the pilot epiÂ�sode) The Tammy Â�Grimes Show, 1966 The Kraft SumÂ�mer Music Hall, 1966 Lost in Space, 1965 (Main Theme and Â�scores, 1965–68) VoyÂ�age to the BotÂ�tom of the Sea, 1964 Â�Gilligan’s IsÂ�land, 1964 Bob Hope Â�Presents the ChrysÂ�ler TheÂ�aÂ�ter, 1963 (Main Theme and Â�scores) Kraft SusÂ�pense TheÂ�aÂ�ter, 1963 (Main Theme and Â�scores, 1963–64) Kraft MysÂ�tery TheÂ�aÂ�ter, 1963 (Main Theme, third seaÂ�son) Big G, 1962 FlashÂ�ing Â�Spikes, 1962 The Wide CounÂ�try, 1962 Alcoa PreÂ�miere TheÂ�aÂ�ter, 1961 (Main Theme and Â�scores, 1961–63) CheckÂ�mate, 1960 (Main Theme and Â�scores, 1960–62) Â�M-Squad, 1957 Wagon Train, 1957 BachÂ�eÂ�lor Â�Father, 1957 Tales of Wells Fargo, 1957 PlayÂ�house 90, 1956 You Are WelÂ�come (DocÂ�uÂ�menÂ�tary), 1954 PrinÂ�ciÂ�pal Â�Early-Year ColÂ�labÂ�oÂ�raÂ�tions The Pink PanÂ�ther, 1964, Blake EdÂ�wards (PiÂ�aÂ�nist, music by Henry ManÂ�cini) To Kill a MockÂ�ingÂ�bird, 1962, RobÂ�ert MulÂ�liÂ�gan (PiÂ�aÂ�nist, music by Elmer BernÂ�stein) Â�Hemingway’s AdÂ�venÂ�tures of a Young Man, 1962, MarÂ�tin Ritt (PiÂ�aÂ�nist, music by Franz WaxÂ�man) The Guns of NavÂ�aÂ�rone, 1961, J. Lee ThompÂ�son (OrÂ�chesÂ�traÂ�tor, music by DiÂ�miÂ�tri TiomÂ�kin) West Side Story, 1961, RobÂ�ert Wise (PiÂ�aÂ�nist, music by LeÂ�oÂ�nard BernÂ�stein, arÂ�rangeÂ� ment and muÂ�siÂ�cal diÂ�recÂ�tion by Â�Johnny Green) BreakÂ�fast at Â�Tiffany’s, 1961, Blake EdÂ�wards (PiÂ�aÂ�nist, music by Henry ManÂ�cini) Studs LonÂ�iÂ�gan, 1960, Irvin Â�Lerner (PiÂ�aÂ�nist, music by Jerry GoldÂ�smith) The ApartÂ�ment, 1960, Billy Â�Wilder (PiÂ�aÂ�nist and OrÂ�chesÂ�traÂ�tor, music by Â�Adolph Â�Deutsch)

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The MagÂ�nifÂ�iÂ�cent Seven, 1960, John Â�Sturges (PiÂ�aÂ�nist, music by Elmer BernÂ�stein) Mr. Lucky (TV seÂ�ries), 1959 (PiÂ�aÂ�nist, music by Henry ManÂ�cini) TwiÂ�light Zone (TV seÂ�ries), 1959 (PiÂ�aÂ�nist, music by BerÂ�nard HerrÂ�mann) Â�Johnny StacÂ�cato (TV seÂ�ries), 1959 (PiÂ�aÂ�nist, music by Elmer BernÂ�stein) Some Like It Hot, 1959, Billy Â�Wilder (PiÂ�aÂ�nist, music by Â�Adolph Â�Deutsch) City of Fear, 1959, IrÂ�ving Â�Lerner (PiÂ�aÂ�nist, music by Jerry GoldÂ�smith) Bell, Book, and CanÂ�dle, 1958, RichÂ�ard Quine (PiÂ�aÂ�nist, music by Â�George DunÂ�ing) The Big CounÂ�try, 1958, Â�William Wyler (PiÂ�aÂ�nist, music by JeÂ�rome MoÂ�ross) Porgy and Bess, 1958, Otto PreÂ�minger (PiÂ�aÂ�nist, music by Â�George GershÂ�win, arÂ�rangeÂ�ment and muÂ�siÂ�cal diÂ�recÂ�tion by André PreÂ�vin) Peter Gunn (TV seÂ�ries), 1958 (PiÂ�aÂ�nist, music by Henry ManÂ�cini) South PaÂ�cific, 1958, Â�Joshua Logan (PiÂ�aÂ�nist, music by RichÂ�ard RodÂ�gers, arÂ�rangeÂ� ment and muÂ�siÂ�cal diÂ�recÂ�tion by AlÂ�fred NewÂ�man) God’s LitÂ�tle Acre, 1958, AnÂ�thony Mann (PiÂ�aÂ�nist, music by Elmer BernÂ�stein) Funny Face, 1957, StanÂ�ley Donen (PiÂ�aÂ�nist, music by Â�Adolph Â�Deutsch) Sweet Smell of SucÂ�cess, 1957, AlÂ�exÂ�anÂ�der MackÂ�enÂ�drick (PiÂ�aÂ�nist, music by Elmer BernÂ�stein) CarÂ�ouÂ�sel, 1956, Henry King (PiÂ�aÂ�nist, music by RichÂ�ard RodÂ�gers, arÂ�rangeÂ�ment and muÂ�siÂ�cal diÂ�recÂ�tion by AlÂ�fred NewÂ�man) FanÂ�fares, OrÂ�chesÂ�tral MiniÂ�atures, and ConÂ�cert Â�Pieces ConÂ�verÂ�saÂ�tions, 2013 (Four Â�pieces for solo piano) “I. PhinÂ�eas and MumÂ�bett” “II. Â�Claude and Monk” “III. Chet and Miles” “IV. Â�Strays, Duke .€.€. and Blind Tom” For “The Â�President’s Own,” 2013 (FanÂ�fare for the 250th AnÂ�niÂ�verÂ�sary of the Â�President’s Own Â�United Â�States MaÂ�rine Band) Â�Rounds, 2012 (For solo guiÂ�tar) Song for World Peace, 2012 (ReÂ�vised verÂ�sion—with exÂ�tended viÂ�oÂ�lin and cello solos) FanÂ�fare for FenÂ�way, 2012 (For the cenÂ�tenÂ�nial of Â�Boston’s FenÂ�way Park) La Jolla QuarÂ�tet, 2011 (QuarÂ�tet for viÂ�oÂ�lin, harp, clarÂ�iÂ�net, and cello comÂ�misÂ�sioned by La Jolla QuarÂ�tet) ConÂ�certo for Oboe and OrÂ�chesÂ�tra, 2011 A Young Â�Person’s Guide to the Cello, 2011 (For solo cello) “On WilÂ�low and Â�Birches”—ConÂ�certo for Harp and OrÂ�chesÂ�tra, 2009 (ComÂ�misÂ�sioned

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by the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra upon the reÂ�tireÂ�ment of harpÂ�ist Ann HobÂ�son Pilot) ConÂ�certo for Viola and OrÂ�chesÂ�tra, 2009 Air and SimÂ�ple Gift, 2008 (QuarÂ�tet for viÂ�oÂ�lin, cello, clarÂ�iÂ�net, piano. ComÂ�misÂ�sioned for PresÂ�iÂ�dent Barak Â�Obama’s first inÂ�auÂ�guÂ�raÂ�tion. Also arranged for string orchestra) Duo ConÂ�cerÂ�tante for ViÂ�oÂ�lin and Viola, 2007 Â�Star-Spangled BanÂ�ner, 2004 (ArÂ�rangeÂ�ment for wind band writÂ�ten for the Rose Bowl CerÂ�eÂ�moÂ�nies in PaÂ�saÂ�dena, CA) ConÂ�certo for Horn and OrÂ�chesÂ�tra, 2003 (ComÂ�misÂ�sioned by the ChiÂ�cago SymÂ�phony OrÂ�chesÂ�tra) SoundÂ�ings, 2003 (ComÂ�misÂ�sioned for the inÂ�auÂ�guÂ�raÂ�tion of the Walt DisÂ�ney ConÂ�cert Hall in Los AnÂ�geles) The SiÂ�lent Era, 2003 (Piano duet comÂ�posed to acÂ�comÂ�pany a Â�silent-film anÂ�tholÂ�ogy at the “SoundÂ�track: Music and Film” fesÂ�tiÂ�val in WashÂ�ingÂ�ton, DC) HeartÂ�wood: Lyric Â�Sketches for Cello and OrÂ�chesÂ�tra, 2002 Call of the ChamÂ�pions, 2002 (ComÂ�misÂ�sioned for the 2002 WinÂ�ter OlymÂ�pics in Salt Lake City, UT) Elegy for Cello and OrÂ�chesÂ�tra, 2002 (OrÂ�chesÂ�tral verÂ�sion of the 1997 piece for cello and piano) Three Â�Pieces for Solo Cello, 2000 TreeÂ�Song, ConÂ�certo for ViÂ�oÂ�lin and OrÂ�chesÂ�tra, 2000 Â�American JourÂ�ney (aka The UnÂ�finÂ�ished JourÂ�ney—CelÂ�eÂ�braÂ�tion 2000), 1999 (ComÂ�misÂ�sioned by PresÂ�iÂ�dent Bill ClinÂ�ton for the MilÂ�lenÂ�nium CelÂ�eÂ�braÂ�tions in WashÂ�ingÂ�ton, DC) For Seiji! ConÂ�certo for OrÂ�chesÂ�tra, 1999 (WritÂ�ten for the Â�twenty-fifth anÂ�niÂ�verÂ�sary of Seiji Â�Ozawa’s conÂ�ducÂ�torÂ�ship of the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra) Seven for Luck, 1998 (Song cycle for soÂ�prano and orÂ�chesÂ�tra) Elegy for Cello and Piano, 1997 ConÂ�certo for TrumÂ�pet and OrÂ�chesÂ�tra, 1996 (ComÂ�misÂ�sioned by the CleveÂ�land OrÂ�chesÂ�tra) SumÂ�mon the HeÂ�roes, 1996 (ComÂ�misÂ�sioned for the CenÂ�tenÂ�nial OlymÂ�pics in AtÂ�lanta, GA) VariÂ�aÂ�tions on Happy BirthÂ�day, 1995 (WritÂ�ten for Seiji Â�Ozawa’s, Yo-Yo Ma’s, ItÂ�zhak Â�Perlman’s and Leon Â�Fleisher’s birthÂ�days) Song for World Peace (aka SatÂ�elÂ�lite CelÂ�eÂ�braÂ�tion), 1994 (WritÂ�ten for Seiji Ozawa) ConÂ�certo for Cello and OrÂ�chesÂ�tra, 1994 (ComÂ�misÂ�sioned by the BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra) Sound the Bells! (two verÂ�sions: for winds and perÂ�cusÂ�sion; for symÂ�phony orÂ�chesÂ�tra),

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1993 (WritÂ�ten for the Royal WedÂ�ding of Â�Prince NarÂ�uÂ�hito and PrinÂ�cess MaÂ�sako) ConÂ�certo for BasÂ�soon and OrÂ�chesÂ�tra, The Five SaÂ�cred Trees, 1993 (ComÂ�misÂ�sioned by the New York PhilÂ�harÂ�monic OrÂ�chesÂ�tra) Aloft .€.€. To the Royal MastÂ�head! (aka FanÂ�fare for Â�Prince Â�Philip), 1992 (WritÂ�ten on the ocÂ�caÂ�sion of the visit to BosÂ�ton of Â�Prince Â�Philip, Duke of EdinÂ�burgh) ConÂ�certo for ClarÂ�iÂ�net and OrÂ�chesÂ�tra, 1991 (ComÂ�misÂ�sioned by the Los AnÂ�geles PhilÂ�harÂ�monic OrÂ�chesÂ�tra) CelÂ�eÂ�brate DisÂ�covÂ�ery, 1990 (For the 500th anÂ�niÂ�verÂ�sary of ChrisÂ�toÂ�pher Â�Columbus’s DisÂ�covÂ�ery) WinÂ�ter Games FanÂ�fare, 1989 (ComÂ�misÂ�sioned for the AlÂ�pine Ski ChamÂ�pionÂ�ship in Vail, CO) FanÂ�fare for Â�Ten-Year-Olds, 1988 (WritÂ�ten for the tenth anÂ�niÂ�verÂ�sary of the Young CharlesÂ�ton TheÂ�aÂ�ter ComÂ�pany) For New York (aka To Lenny! To Lenny! ), 1988 (VariÂ�aÂ�tions on Â�themes by LeÂ�oÂ�nard BernÂ�stein writÂ�ten for Â�Bernstein’s sevenÂ�tiÂ�eth birthÂ�day) FanÂ�fare for MiÂ�chael DuÂ�kaÂ�kis, 1988 (WritÂ�ten for the presÂ�iÂ�denÂ�tial camÂ�paign of SenÂ�aÂ�tor MiÂ�chael DuÂ�kaÂ�kis) The OlymÂ�pic Â�Spirit, 1988 (ComÂ�misÂ�sioned by NBC in celÂ�eÂ�braÂ�tion of the 1988 OlymÂ�pics in Seoul, South Korea) “We’re Â�Lookin’ Good!,” 1987 (WritÂ�ten for the 1987 SpeÂ�cial OlymÂ�pics) A Hymn to New EnÂ�gland, 1987 (ComÂ�misÂ�sioned by Â�Boston’s MuÂ�seum of SciÂ�ence) CelÂ�eÂ�braÂ�tion FanÂ�fare, 1986 (ComÂ�misÂ�sioned by the HousÂ�ton SymÂ�phony OrÂ�chesÂ�tra for the 150th anÂ�niÂ�verÂ�sary of Â�Texas’s DecÂ�larÂ�aÂ�tion of InÂ�deÂ�penÂ�dence) LibÂ�erty FanÂ�fare, 1986 (ComÂ�misÂ�sioned for the celÂ�eÂ�braÂ�tion of the 100th anÂ�niÂ�verÂ�sary of the Â�Statue of LibÂ�erty) The MisÂ�sion Theme, 1985 (WritÂ�ten for NBC News) ConÂ�certo for Tuba and OrÂ�chesÂ�tra, 1985 (WritÂ�ten for the 100th anÂ�niÂ�verÂ�sary of the BosÂ�ton Pops OrÂ�chesÂ�tra) OlymÂ�pic FanÂ�fare and Theme, 1984 (ComÂ�misÂ�sioned for the 1984 OlymÂ�pics in Los AnÂ�geles, CA) AmerÂ�ica, the Dream Goes On, 1983 EsÂ�plaÂ�nade OverÂ�ture, 1983 (WritÂ�ten for the BosÂ�ton Pops OrÂ�chesÂ�tra) Pops on the March, 1981 (WritÂ�ten for the BosÂ�ton Pops OrÂ�chesÂ�tra and dedÂ�iÂ�cated to the memÂ�ory of ArÂ�thur FiedÂ�ler, who had comÂ�misÂ�sioned the piece in 1978) FanÂ�fare for a FesÂ�tive OcÂ�caÂ�sion, 1980 (ComÂ�misÂ�sioned by the BosÂ�ton Civic OrÂ�chesÂ�tra) JuÂ�biÂ�lee 350 FanÂ�fare, 1980 (WritÂ�ten for the 350th anÂ�niÂ�verÂ�sary of the City of BosÂ�ton) ConÂ�certo for ViÂ�oÂ�lin and OrÂ�chesÂ�tra (reÂ�vised in 1998), 1976 (DedÂ�iÂ�cated to the memÂ�ory of BarÂ�bara Ruick Â�Williams)

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Â� Thomas and the King, 1975 (MuÂ�siÂ�cal) A NosÂ�talÂ�gic Jazz OdysÂ�sey, 1971 (ComÂ�misÂ�sioned by the EastÂ�man Wind EnÂ�semÂ�ble) ConÂ�certo for Flute and OrÂ�chesÂ�tra, 1969 SinÂ�foÂ�nietta for Wind EnÂ�semÂ�ble, 1968 (ComÂ�misÂ�sioned by the EastÂ�man Wind EnÂ�semÂ�ble) SymÂ�phony no. 1, 1966 Essay for Â�Strings, 1965 PreÂ�lude and Fugue, 1965 (ComÂ�misÂ�sioned by the Stan Â�Kenton’s Los AnÂ�geles NeoÂ�phonic OrÂ�chesÂ�tra) CatÂ�aÂ�logue of Â�Film-Music ConÂ�cert Â�Pieces The Book Thief, 2013 Suite from The Book Thief LinÂ�coln, 2012 Suite from LinÂ�coln* “The Â�People’s House”* “GetÂ�ting Out the Vote”* “Elegy”* “With MalÂ�ice ToÂ�ward None”* War Horse, 2011 “DartÂ�moor, 1912”* The AdÂ�venÂ�tures of TinÂ�tin, 2011 “The Duel” “The Sea BatÂ�tle” InÂ�diÂ�ana Jones and the KingÂ�dom of the CrysÂ�tal Skull, 2008 “SwashÂ�buckÂ�ler (The AdÂ�venÂ�tures of Mutt)”*

Note : Williams is faÂ�mous for adaptÂ�ing conÂ�cert verÂ�sions from most of his film Â�scores. He is also the only film comÂ�poser whose Â�scores have auÂ�thorÂ�iÂ�taÂ�tive conÂ�cert verÂ�sions easÂ�ily availÂ�able for purÂ�chase. In the folÂ�lowÂ�ing catÂ�aÂ�logue, only the verÂ�sions preÂ�pared by Â�Williams himÂ�self have been Â�listed. Â�Namely, they are eiÂ�ther the Â�pieces that have been preÂ�sented by Â�Williams durÂ�ing his BosÂ�ton Pops conÂ�certs—Â�archived at Â�Boston’s SymÂ�phony Hall in the “John Â�Williams Music LiÂ�brary”—or pubÂ�lished in Â�full-orchestra score by Hal LeÂ�oÂ�nard in the John Â�Williams SigÂ�naÂ�ture EdiÂ�tion seÂ�ries (http://www .halÂ�leÂ�oÂ�nard.com/Â�search/Â�search.do?menÂ�uid=1788&seÂ�riÂ�esÂ�feaÂ�ture=&subÂ�sitÂ�eid=6). The Â�pieces pubÂ�lished in said seÂ�ries are Â�marked with an asteÂ�risk (*). ReÂ�ducÂ�tions for solo inÂ�struÂ�ments are not Â�listed.

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“Irina’s Theme”* “The CrysÂ�tal Spell”* “A Whirl Â�through AcÂ�aÂ�deme”* MeÂ�moirs of a GeiÂ�sha, 2005 “Sayuri’s Theme”* “Going to Â�School” “The Â�Chairman’s Waltz”* “Brush on Silk” “Chiyo’s Â�Prayer” “BeÂ�comÂ�ing a GeiÂ�sha” War of the Â�Worlds, 2005 “EsÂ�cape from the City” “EpiÂ�logue” MuÂ�nich, 2005 “A Â�Prayer for Peace” Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith, 2005 “BatÂ�tle of the HeÂ�roes”* The TerÂ�miÂ�nal, 2004 “Viktor’s Tale”* Harry PotÂ�ter and the PrisÂ�oner of AzÂ�kaÂ�ban, 2004 “Witches, Wands, and WizÂ�ards”* “Aunt Â�Marge’s Waltz”* “The Â�Knight Bus”* “A Â�Bridge to the Past”* “DouÂ�ble TrouÂ�ble”* (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra; lyrÂ�ics from Â�William Â�Shakespeare’s MacÂ�beth) Catch Me If You Can, 2002 EsÂ�caÂ�pades for Alto SaxÂ�oÂ�phone and OrÂ�chesÂ�tra* “ClosÂ�ing In”* “ReÂ�flecÂ�tions”* “Joy Ride”* Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets, 2002 “FawÂ�kes the PhoeÂ�nix”* “Dobby the House Elf ”* “GilÂ�deÂ�roy LockÂ�hart”* “The ChamÂ�ber of SeÂ�crets”* Star Wars: EpiÂ�sode II—AtÂ�tack of the Â�Clones, 2002 “Across the Stars”* Harry PotÂ�ter and the Â�Sorcerer’s Stone, 2001 “Hedwig’s Theme”*

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“The Â�Sorcerer’s Stone”* “NimÂ�bus 2000”* “Harry’s WonÂ�drous World”* Â�Children’s Suite from Harry PotÂ�ter and the Â�Sorcerer’s Stone * “Hedwig’s Â�Flight”* “HogÂ�warts ForÂ�ever”* “VoldeÂ�mort”* “NimÂ�bus 2000”* “Fluffy and His Harp”* “QuidÂ�ditch”* “FamÂ�ily PorÂ�trait”* “DiÂ�agon Alley”* “Harry’s WonÂ�drous World”* The PaÂ�triot, 2000 “Theme from The PaÂ�triot”* Â�Angela’s Ashes, 1999 “Theme from Â�Angela’s Ashes ”* “Angela’s Â�Prayer”* (harp and orÂ�chesÂ�tra) “The Lanes of LimeÂ�rick”* (solo harp) Suite for NarÂ�raÂ�tor, Piano, Cello, Harp, and OrÂ�chesÂ�tra from Â�Angela’s Ashes (Text by Frank Â�McCourt) Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace, 1999 “The Flag PaÂ�rade”* “Anakin’s Theme”* “The AdÂ�venÂ�tures of Jar Jar”* “Duel of the Fates”* (SATB Â�chorus and orÂ�chesÂ�tra) StepÂ�mom, 1998 “The Days Â�Between” (guiÂ�tar and orÂ�chesÂ�tra) SavÂ�ing PriÂ�vate Ryan, 1998 “Hymn to the FalÂ�len”* (SATB Â�chorus and orÂ�chesÂ�tra) AmisÂ�tad, 1997 “Dry Your Tears, Â�Afrika”* (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) Seven Years in Tibet, 1997 “Seven Years in Tibet” (for cello and orÂ�chesÂ�tra) The Lost World: JuÂ�rasÂ�sic Park, 1997 “Theme from The Lost World”* RoseÂ�wood, 1997 “Look Down, Lord” (SpirÂ�iÂ�tual for a capÂ�pella Â�chorus) “Light My Way” (SpirÂ�iÂ�tual for a capÂ�pella Â�chorus) “The FreeÂ�dom Train” (SpirÂ�iÂ�tual for a capÂ�pella Â�chorus)

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SaÂ�brina, 1995 “Theme from SaÂ�brina for Piano and OrÂ�chesÂ�tra” “Theme from SaÂ�brina for ViÂ�oÂ�lin and OrÂ�chesÂ�tra” Â�Schindler’s List, 1993 Three Â�Pieces from Â�Schindler’s List for Solo ViÂ�oÂ�lin and OrÂ�chesÂ�tra* “Theme from Â�Schindler’s List ”* “JewÂ�ish Town (KraÂ�kow Â�Ghetto—WinÂ�ter ’41)”* “ReÂ�memÂ�brances”* JuÂ�rasÂ�sic Park, 1993 “Theme from JuÂ�rasÂ�sic Park ”* “My Â�Friend, the BraÂ�chiÂ�oÂ�sauÂ�rus” Home Alone 2: Lost in New York, 1992 “ChristÂ�mas Star” (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) “Merry ChristÂ�mas, Merry ChristÂ�mas”* (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) Far and Away, 1992 Suite from Far and Away * [aka ExÂ�cerpts from Far and Away] “County GalÂ�way, June 1892’’* “The FightÂ�ing Â�Donnellys’’* “Joseph and Â�Shannon’’* “Blowin’ Off Â�Steam’’* “Finale’’* “Theme from Far and Away for ViÂ�oÂ�lin and OrÂ�chesÂ�tra” JFK, 1991 Suite from JFK * “Theme from JFK ”* “MoÂ�torÂ�cade”* “ArÂ�lingÂ�ton”* Hook, 1991 “The Â�Flight to NeverÂ�land”* “Smee’s Plan” “The Face of Pan” “The Lost Boys BalÂ�let” “The BanÂ�quet Scene” Home Alone, 1990 “SomeÂ�where in My MemÂ�ory”* (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) “Star of BethÂ�leÂ�hem”* (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) “HolÂ�iÂ�day Â�Flight”

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AlÂ�ways, 1989 “Theme from AlÂ�ways” Born on the Â�Fourth of July, 1989 Suite from Born on the Â�Fourth of July for TrumÂ�pet and OrÂ�chesÂ�tra “Theme from Born on the Â�Fourth of July”* “Cua Viet River, VietÂ�nam 1968” “MasÂ�saÂ�peÂ�qua .€.€. the Early Days” InÂ�diÂ�ana Jones and the Last CruÂ�sade, 1989 “Scherzo for MoÂ�torÂ�cyÂ�cle and OrÂ�chesÂ�tra” “The CirÂ�cus Train Chase” The AcÂ�ciÂ�denÂ�tal TourÂ�ist, 1988 “Theme from The AcÂ�ciÂ�denÂ�tal TourÂ�ist” EmÂ�pire of the Sun, 1987 “CadÂ�ilÂ�lac of the Skies” “Jim’s New Life” “ExÂ�sulÂ�tate justi” (SATB and chilÂ�dren Â�chorus and orÂ�chesÂ�tra) The Â�Witches of EastÂ�wick, 1987 “The BalÂ�loon SeÂ�quence” “The Â�Devil’s Dance” “The Â�Devil’s Dance—For Gil ShaÂ�ham” (viÂ�oÂ�lin and piano) InÂ�diÂ�ana Jones and the TemÂ�ple of Doom, 1984 “PaÂ�rade of the Slave ChilÂ�dren” Star Wars: EpiÂ�sode VI—ReÂ�turn of the Jedi, 1983 “PaÂ�rade of the Ewoks”* “Luke and Leia”* “Jabba the Hutt” (for tuba and orÂ�chesÂ�tra) “The ForÂ�est BatÂ�tle”* MonÂ�sigÂ�nor, 1982 “GloÂ�ria” (SATB Â�chorus, organ, and orÂ�chesÂ�tra) E.T. the Â�Extra-Terrestrial, 1982 “Three MilÂ�lion Light Years from Home” “FlyÂ�ing Theme”* “StarÂ�gazÂ�ers” (for harp and orÂ�chesÂ�tra) “Over the Moon” (for piano and orÂ�chesÂ�tra) “AdÂ�venÂ�tures on Earth”* RaidÂ�ers of the Lost Ark, 1981 “RaidÂ�ers March”* “Marion’s Theme”* “The BasÂ�ket Chase”

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Star Wars: EpiÂ�sode V—The EmÂ�pire Â�Strikes Back, 1980 “The ImÂ�peÂ�rial March” (“Darth Vader’s Theme”)* “Yoda’s Theme”* “The AsÂ�terÂ�oid Field”* 1941, 1979 “The March from 1941”* “The BatÂ�tle of HolÂ�lyÂ�wood” “Swing Swing Swing” DraÂ�cula, 1979 “Night JourÂ�neys” SuperÂ�man: The Movie, 1978 “SuperÂ�man March”* “Love Theme” “The FlyÂ�ing SeÂ�quence” “The March of the VilÂ�lains” Close EnÂ�counÂ�ters of the Third Kind, 1977 “ExÂ�cerpts from Close EnÂ�counÂ�ters of the Third Kind”* “The DiÂ�alogue” (syntheÂ�sizer, Â�chorus, oboe, and tuba) Star Wars: EpiÂ�sode IV—A New Hope, 1977 “Main Title”* “PrinÂ�cess Â�Leia’s Theme”* “The LitÂ�tle PeoÂ�ple” “CanÂ�tina Band”* “Here They Come”* “The BatÂ�tle” “The Â�Throne Room and End Title”* MidÂ�way, 1976 “The MidÂ�way March”* “The Men of YorkÂ�town March” Jaws, 1975 Suite from Jaws “The Shark Theme”* “Out to Sea/The Shark Cage Fugue”* “The BarÂ�rel Chase” The SugarÂ�land ExÂ�press, 1974 “Theme from The SugarÂ�land ExÂ�press ” (for flute and orÂ�chesÂ�tra/harÂ�monÂ�ica and orÂ�chesÂ�tra) CinÂ�deÂ�rella LibÂ�erty, 1973 “Theme from CinÂ�deÂ�rella LibÂ�erty” (for harÂ�monÂ�ica and orÂ�chesÂ�tra)

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The CowÂ�boys, 1972 “The CowÂ�boys OverÂ�ture”* FidÂ�dler on the Roof, 1971 “ExÂ�cerpts from FidÂ�dler on the Roof ”* (for viÂ�oÂ�lin and orÂ�chesÂ�tra) Jane Eyre, 1971 Suite from Jane Eyre* “LoÂ�wood”* “To ThornÂ�field”* “ReÂ�unÂ�ion”* The ReÂ�ivÂ�ers, 1969 The ReÂ�ivÂ�ers: Suite for NarÂ�raÂ�tor and OrÂ�chesÂ�tra (Text by Â�William FaulkÂ�ner Â�adapted by IrÂ�ving and HarÂ�riet RaÂ�vetch) PrinÂ�ciÂ�pal MedÂ�leys and ArÂ�rangeÂ�ments from Film Â�Scores, Songs, and PopÂ�uÂ�lar Music A TribÂ�ute to Â�George Lucas and SteÂ�ven SpielÂ�berg (medÂ�ley), 2006 Jaws, 1975, John Â�Williams Star Wars, 1977, John Â�Williams RaidÂ�ers of the Lost Ark, 1981, John Â�Williams E.T. the Â�Extra-Terrestrial, 1982, John Â�Williams MonÂ�sters, BeauÂ�ties, and HeÂ�roes (medÂ�ley), 2003 King Kong, 1933, Max Â�Steiner Jaws, 1975, John Â�Williams CasÂ�aÂ�blanca, 1942, HerÂ�man HupÂ�feld/Max Â�Steiner An AfÂ�fair to ReÂ�memÂ�ber, 1957, Harry WarÂ�ren/Hugo FriedÂ�hofer The AdÂ�venÂ�tures of Robin Hood, 1938, Erich WolfÂ�gang KornÂ�gold SuperÂ�man: The Movie, 1978, John Â�Williams A TribÂ�ute to the Film ComÂ�poser (medÂ�ley), 2002 WarÂ�ner Bros. FanÂ�fare, 1937, Max Â�Steiner CasÂ�aÂ�blanca, 1942, HerÂ�man HupÂ�feld/Max Â�Steiner CitÂ�iÂ�zen Kane, 1941, BerÂ�nard HerrÂ�mann 20th CenÂ�tury Fox FanÂ�fare, 1933/1953, AlÂ�fred NewÂ�man Star Wars, 1977, John Â�Williams The Sea Hawk, 1940, Erich WolfÂ�gang KornÂ�gold SpellÂ�bound, 1945, Â�Miklós Rózsa TiÂ�tanic, 1997, James Â�Horner Â�Psycho, 1960, BerÂ�nard HerrÂ�mann Jaws, 1975, John Â�Williams

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The Pink PanÂ�ther, 1963, Henry ManÂ�cini ExÂ�oÂ�dus, 1960, ErÂ�nest Gold Out of AfÂ�rica, 1985, John Barry DocÂ�tor ZhiÂ�vago, 1965, MauÂ�rice Jarre The Â�Bridge on the River Kwai, 1957, MalÂ�colm ArÂ�nold/KenÂ�neth AlÂ�ford PatÂ�ton, 1970, Jerry GoldÂ�smith Rocky, 1976, Bill Conti The MagÂ�nifÂ�iÂ�cent Seven, 1960, Elmer BernÂ�stein The NatÂ�uÂ�ral, 1984, Randy NewÂ�man CinÂ�ema ParÂ�aÂ�diso, 1988, AnÂ�drea MorÂ�riÂ�cone/Ennio Morricone The GodÂ�father, 1972, Nino Rota E.T. the Â�Extra-Terrestrial, 1982, John Â�Williams Gone with the Wind, 1939, Max Â�Steiner “SumÂ�merÂ�time” from Porgy and Bess (SymÂ�phonic arÂ�rangeÂ�ment of Â�George Â�Gershwin’s 1935 aria), 2001 “By the BeauÂ�tiÂ�ful Sea” (SymÂ�phonic arÂ�rangeÂ�ment of Harry CarÂ�roll and HarÂ�old R. Â�Atteridge’s 1914 song), 1999 “Theme from Now, VoyÂ�ager ” (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from Max Â�Steiner’s 1942 film score), 1998 “Smile” from ModÂ�ern Times (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from CharÂ�lie Â�Chaplin’s 1936 film score), 1998 “Love Theme” from The Lost WeekÂ�end (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from Â�Miklós Â�Rózsa’s 1945 film score), 1998 “MarÂ�ian and Robin Love Theme” from The AdÂ�venÂ�tures of Robin Hood (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from Erich WolfÂ�gang Â�Korngold’s 1938 film score), 1998 “As Time Goes By” from CasÂ�aÂ�blanca (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra of HerÂ�man Â�Hupfeld’s 1931 song feaÂ�tured in the film), 1998 “Stella by StarÂ�light” from The UnÂ�inÂ�vited (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra of VicÂ�tor Â�Young’s song feaÂ�tured in the film), 1998 “Main Title” from The Color PurÂ�ple (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from Â�Quincy Â�Jones’s 1985 film score), 1996 “Papa, Can You Hear Me?” from Yentl (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra of Â�Michel LeÂ�grand and Alan and MarÂ�iÂ�lyn Â�Bergman’s 1983 song feaÂ�tured in the film), 1996 Il PostÂ�ino (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra from Luis Â�Bacalov’s 1994 film score), 1996 Por una CaÂ�beza (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra of CarÂ�los Â�Gardel’s 1935 tango feaÂ�tured in such films as Scent of a Woman and True Lies), 1996

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“Manha de CarÂ�naÂ�val” from Black OrÂ�pheus (SymÂ�phonic arÂ�rangeÂ�ment for viÂ�oÂ�lin and orÂ�chesÂ�tra of Luiz Bonfà and AnÂ�toÂ�nio Â�Maria’s 1959 song feaÂ�tured in the film), 1996 “HooÂ�ray for HolÂ�lyÂ�wood” (SymÂ�phonic arÂ�rangeÂ�ment of RichÂ�ard WhitÂ�ing and Â�Johnny Â�Mercer’s 1937 song feaÂ�tured in HolÂ�lyÂ�wood Hotel ), 1988 “A Â�Sleepin’ Bee” (SymÂ�phonic arÂ�rangeÂ�ment of HarÂ�old Arlen and TruÂ�man Â�Capote’s 1954 song), 1984 My Fair Lady (ArÂ�rangeÂ�ment for jazz band of FredeÂ�rick Loewe and Alan Jay Â�Lerner’s 1956 muÂ�siÂ�cal), 1964

G l o s �s a r y

abÂ�soÂ�lute music: Music that is ab soÂ�luta (unÂ�tied), that is, comÂ�posed for a Â�stand-alone lisÂ�tenÂ�ing exÂ�peÂ�riÂ�ence freed from any exÂ�terÂ�nal inÂ�fluÂ�ences and exÂ�traÂ�musÂ�iÂ�cal refÂ�erÂ�ences. The term origÂ�iÂ�nated in the nineÂ�teenth cenÂ�tury, Â�within the philÂ�oÂ�sophÂ�iÂ�cal frameÂ�work of IdealÂ�ism. apÂ�plied/funcÂ�tional music: A muÂ�siÂ�cal renÂ�diÂ�tion of a litÂ�erÂ�ary text, like a symÂ�phonic poem, or a muÂ�siÂ�cal acÂ�comÂ�paÂ�niÂ�ment to an exÂ�traÂ�musÂ�iÂ�cal event, such as a balÂ�let, an opera, or a film. BMI: BroadÂ�cast Music, Inc., one of the top music Â�rights manÂ�ageÂ�ment agenÂ�cies. CGI: Â�Computer-generated imÂ�agery. cineÂ�phile: Film buff. cogÂ�niÂ�tive funcÂ�tion: An inÂ�stance in which film music Â�serves to clarÂ�ify exÂ�plicit or imÂ�plicit meanÂ�ings imÂ�plied by the film, givÂ�ing clues to underÂ�stand deÂ�noÂ�taÂ� tions and to interÂ�pret conÂ�noÂ�taÂ�tions. dieÂ�getic: Music or sound preÂ�sented as origÂ�iÂ�nated from some Â�source Â�within the Â�film’s world. It can be heard by film viewÂ�ers and by charÂ�acÂ�ters as well. emÂ�oÂ�tive funcÂ�tion (micro/macro): LoÂ�cally, film music Â�serves to enÂ�hance an emoÂ�tional tone alÂ�ready Â�present in a scene or to proÂ�vide one by transÂ�ferÂ�ring to the imÂ�ages its emoÂ�tional comÂ�poÂ�nent (micro-emotive funcÂ�tion). GloÂ�bally— by preÂ�sentÂ�ing the theme in the openÂ�ing tiÂ�tles, then reÂ�prisÂ�ing it in variÂ�aÂ�tions throughÂ�out the film and fiÂ�nally preÂ�sentÂ�ing it again at the end of the film— film music perÂ�forms a funcÂ�tion simÂ�iÂ�lar to that of a frame in a paintÂ�ing and

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uniÂ�fies the aesÂ�thetic exÂ�peÂ�riÂ�ence of the film for the Â�viewer (macro-emotive funcÂ�tion). “gradual disÂ�cloÂ�sure of the main Â�theme’’: A typÂ�iÂ�cal John Â�Williams techÂ� nique that has both a Â�macro- and a Â�micro-emotive funcÂ�tion. The main theme is preÂ�sented gradÂ�uÂ�ally Â�across the film, in form of proÂ�gresÂ�sively Â�longer meÂ�lodic fragÂ�ments. The final exÂ�poÂ�siÂ�tion of the theme in its enÂ�tirety comes only at a straÂ�teÂ�gic point in the narÂ�raÂ�tive, typÂ�iÂ�cally in a scene reÂ�quirÂ�ing a Â�strong emoÂ�tional reÂ�sponse from the viewÂ�ers. GloÂ�bally, the gradÂ�ual and coÂ�herÂ�ent deÂ�velÂ�opÂ�ment of the music proÂ�jects onto the Â�film’s form a sense of overÂ�all coÂ�herÂ�ence (macro-emotive funcÂ�tion). LoÂ�cally, when the viewÂ�ers fiÂ�nally hear the faÂ�milÂ�iar theme preÂ�sented in its enÂ�tirety, the efÂ�fect is a Â�strong emoÂ�tional gratÂ�ifiÂ�caÂ�tion that atÂ�taÂ�ches to that parÂ�ticÂ�uÂ�lar scene (micro-emotive funcÂ�tion). leitÂ�moÂ�tiv: In music draÂ�mas, and later in film music, the asÂ�soÂ�ciÂ�aÂ�tion and idenÂ�tifiÂ� caÂ�tion of a charÂ�acÂ�ter, sitÂ�uÂ�aÂ�tion, or idea with a muÂ�siÂ�cal motif, which is reÂ�prised and deÂ�velÂ�oped narÂ�raÂ�tively throughÂ�out the work. MIDI: MuÂ�siÂ�cal inÂ�struÂ�ment digÂ�iÂ�tal interÂ�face. This techÂ�nolÂ�ogy alÂ�lows a keyÂ�board to be conÂ�nected to a comÂ�puter, which diÂ�rectly Â�transcribes the music as one plays. Â�Mickey-Mousing: A film music techÂ�nique aimed at adÂ�herÂ�ing Â�closely to the visÂ�uÂ�als Â�through a tight seÂ�ries of exÂ�plicit Â�synch-points where muÂ�siÂ�cal gesÂ�tures duÂ�pliÂ�cate visÂ�ual acÂ�tions. monÂ�tage: A film edÂ�itÂ�ing techÂ�nique that Â�serves to conÂ�dense time, space, narÂ�raÂ� tive, and conÂ�cepÂ�tual inÂ�forÂ�maÂ�tion. It is Â�mostly used to sumÂ�marÂ�ize in an emÂ�bleÂ�matic seÂ�quence Â�events that would othÂ�erÂ�wise reÂ�quire a Â�lengthier presÂ�enÂ�taÂ�tion, or to conÂ�vey conÂ�cepts Â�through seÂ�manÂ�tiÂ�cally meanÂ�ingÂ�ful juxÂ�taÂ�poÂ�siÂ�tions of imÂ�ages. Â�non-diegetic: Music or sound that is not part of the Â�film’s world. Film viewÂ�ers can hear it; charÂ�acÂ�ters canÂ�not. panÂ�diÂ�aÂ�tonÂ�iÂ�cism: An apÂ�proach to comÂ�poÂ�siÂ�tion that emÂ�ploys the notes of the diÂ�atonic scale Â�freely withÂ�out conÂ�venÂ�tional resÂ�oÂ�luÂ�tions. UnÂ�like in traÂ�diÂ�tional diÂ�atonic writÂ�ing, the chords Â� built on the scale Â�grades are not asÂ�signed fixed funcÂ�tions and difÂ�ferÂ�ent deÂ�grees of imÂ�porÂ�tance. “pay off ”: The moÂ�ment in the film where the funcÂ�tion of the “set up’’ (see below) is reÂ�vealed and fulÂ�filled. quarÂ�tal harÂ�mony: Â�Chords are built not as juxÂ�taÂ�posed Â�thirds but as juxÂ�taÂ�posed Â�fourths, creatÂ�ing freer and more disÂ�soÂ�nant harÂ�monic patÂ�terns than traÂ�diÂ�tional tonal harÂ�mony.

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“set up’’: The plantÂ�ing of a piece of inÂ�forÂ�maÂ�tion in the film whose funcÂ�tion will be clear at a later moÂ�ment—for exÂ�amÂ�ple, a deÂ�tail that inÂ�itially seems to be of no imÂ�porÂ�tance is later reÂ�vealed to be esÂ�senÂ�tial for a turnÂ�ing point in the plot. spaÂ�tial perÂ�cepÂ�tive funcÂ�tion: An inÂ�stance in which film music Â�serves to guide or modÂ�ify the perÂ�cepÂ�tion of the Â�viewer by pointÂ�ing his atÂ�tenÂ�tion to a parÂ�ticÂ�uÂ�lar eleÂ�ment Â�within the Â�framed space. Â�synch-point: A moÂ�ment in a film where a visÂ�ual event and a muÂ�siÂ�cal event are preÂ�cisely synÂ�chronÂ�ized and perÂ�fectly Â�matched. tam tam: A kind of large Â�indefinite-pitched “gong ” used in symÂ�phony orÂ�chesÂ�tras. temÂ�poÂ�ral perÂ�cepÂ�tive funcÂ�tion: An inÂ�stance in which film music Â�serves to inÂ�fluÂ�ence the perÂ�cepÂ�tion of the pace of the film, by using its own Â�rhythm to speed up or slow down the visÂ�ual Â�rhythm and the speed of the Â�cutting. tone clusÂ�ters: Â�Groups of conÂ�tigÂ�uÂ�ous notes Â�played siÂ�mulÂ�taÂ�neÂ�ously and thereÂ� fore soundÂ�ing Â�highly disÂ�soÂ�nant and perÂ�ceived as “fasÂ�tidÂ�iÂ�ously” gratÂ�ing. triÂ�tone: An Â�augmented-fourth interÂ�val, Â�slightly disÂ�soÂ�nant. It was known as “diabolus in Â�musica’’ in meÂ�diÂ�eval treaÂ�tises. typÂ�age: An imÂ�meÂ�diÂ�ately recÂ�ogÂ�nizÂ�able Â�one-dimensional figÂ�ure repÂ�reÂ�sentÂ�ing a speÂ�cific ethÂ�nic or soÂ�cial group. “villains’ Â�chords’’: Â�Low-pitched minor Â�chords Â�played by the brass, Â�mostly with the Â�seventh deÂ�gree of the scale on the botÂ�tom, reÂ�curÂ�rently used in HolÂ�lyÂ�wood film music of the 1930s and 1940s.

No tes

P re f�ac e o n M e t h o � �d o l�og y

1. On neoÂ�forÂ�malÂ�ism, see David BordÂ�well and KrisÂ�tin ThompÂ�son, Film Art: An Intro­ ducÂ�tion, 9th ed. (New York: Â�McGraw-Hill, 2010); KrisÂ�tin ThompÂ�son, Â�Eisenstein’s “Ivan the TerÂ�rible”: A NeoÂ�forÂ�malÂ�ist AnalÂ�yÂ�sis (PrinceÂ�ton, NJ: PrinceÂ�ton UniÂ�verÂ�sity Press, 1981); David BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film (LonÂ�don: RoutÂ�ledge, 1988); KrisÂ�tin ThompÂ�son, BreakÂ�ing the Glass Armor: NeoÂ�forÂ�malÂ�ist Film AnalÂ�yÂ�sis (PrinceÂ�ton, NJ: PrinceÂ�ton UniÂ�verÂ�sity Press, 1988). 2. LeÂ�oÂ�nard B. Meyer, EmoÂ�tion and MeanÂ�ing in Music (ChiÂ�cago: UniÂ�verÂ�sity of ChiÂ�cago Press, 1956); LeÂ�oÂ�nard B. Meyer, Style and Music: TheÂ�ory, HisÂ�tory, and IdeolÂ�ogy (ChiÂ�cago: UniÂ�verÂ�sity of ChiÂ�cago Press, 1989); John SloÂ�boda, The MuÂ�siÂ�cal Mind: The CogÂ�niÂ�tive PsycholÂ�ogy of Music, new ed. (New York: OxÂ�ford UniÂ�verÂ�sity Press, 1999); RobÂ�ert JourÂ�dain, Music, the Brain, and EcÂ�stasy: How Music CapÂ�tures Our ImagÂ�iÂ�naÂ�tion (New York: HarÂ�perÂ�ColÂ�lins, 1997); AnÂ�naÂ�bel Cohen, “Film Music: PerÂ�specÂ�tives from CogÂ�niÂ�tive PsycholÂ�ogy,” in Music and CinÂ�ema, ed. James BuhÂ�ler, Caryl Flinn, and David Â�Neumeyer (MidÂ�dleÂ�town, CT: WesÂ�leyan UniÂ�verÂ�sity Press, 2000), 360–77. See also the folÂ�lowÂ�ing arÂ�tiÂ�cles colÂ�lected in PsychoÂ�musiÂ�colÂ�ogy 13 (Spring/Fall 1994): Â�William Forde ThompÂ�son, Frank A. Russo, and Don SinÂ�clair, “EfÂ�fects of UnderÂ�scorÂ�ing on the PerÂ�cepÂ�tion of CloÂ�sure in Â�Filmed Â�Events”; ValeÂ�rie J. BoÂ�liÂ�var, AnÂ�naÂ�bel J. Cohen, and John C. FenÂ�tress, “SeÂ�manÂ�tic and ForÂ�mal ConÂ�gruency in Music and MoÂ�tion PicÂ�tures: EfÂ�fects on the InterÂ�preÂ�taÂ�tion of VisÂ�ual AcÂ�tion”; Scott D. LipÂ�scomb and Roger A. KenÂ�dall, “PerÂ�cepÂ�tual JudgÂ�ment of the ReÂ�laÂ�tionÂ�ship Â�between MuÂ�siÂ�cal and VisÂ�ual ComÂ�poÂ�nents in Film”; Â�George SirÂ�ius and Eric F. Â�Clarke, “The PerÂ�cepÂ�tion of AudioÂ�visÂ�ual ReÂ�laÂ�tionÂ�ships: A PreÂ�limÂ�iÂ�nary Study”; Â�Shin-ichiro IwaÂ�miya, “InterÂ�acÂ�tions Â�between AuÂ�diÂ�tory and VisÂ�ual ProÂ�cessÂ�ing when LisÂ�tenÂ�ing to Music in an 251

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Not e s to p a g e s x xi–x x iii

Audio VisÂ�ual ConÂ�text: 1. MatchÂ�ing 2. Audio QualÂ�ity”; Â�William H. Rosar, “Film Music and Heinz Â�Werner’s TheÂ�ory of PhysiogÂ�nomic PerÂ�cepÂ�tion”; ClauÂ�dia BulÂ�lerÂ�jahn and Â�Markus Â�Güldering, “An EmÂ�pirÂ�iÂ�cal InÂ�vesÂ�tiÂ�gaÂ�tion of EfÂ�fects of Film Music Using QualÂ�itaÂ� tive ConÂ�tent AnalÂ�yÂ�sis.” 3. K. ThompÂ�son, BreakÂ�ing the Glass Armor, 10. 4. On cogÂ�niÂ�tiÂ�vism and narÂ�raÂ�tive Â�frames, see David BordÂ�well, “A Case for CogÂ�niÂ�tiÂ�vÂ� ism,” Iris 9 (Spring 1989): 23. 5. On the gratÂ�ifiÂ�caÂ�tion efÂ�fect given by the recÂ�ogÂ�niÂ�tion of faÂ�milÂ�iar melÂ�oÂ�dies, folÂ�lowÂ�ing the “law of reÂ�turn” of the GesÂ�talt TheÂ�ory, see Meyer, EmoÂ�tion and MeanÂ�ing in Music, 151–52, and the “pleasÂ�ure of recÂ�ogÂ�niÂ�tion” in Meyer, Style and Music, 210n. 6. Fred KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies: The Film Â�Lover’s Guide to Film Music (BelÂ�mont: Â�Schirmer, 1994), 17–18. 7. “Miss AusÂ�tria” was comÂ�posed by KornÂ�gold in 1929 for his arÂ�rangeÂ�ment of Leo Â�Fall’s opÂ�erÂ�etta Rosen Aus FlorÂ�ida. 8. The terms Â�intra-diegetic, Â�extra-diegetic, and Â�meta-diegetic are drawn from GérÂ�ard GenÂ�ette, FigÂ�ures III (Paris: Seuil, 1972). The apÂ�pliÂ�caÂ�tion of Â�Genette’s catÂ�eÂ�goÂ�ries to film music is disÂ�cussed in ClauÂ�dia GorbÂ�man, UnÂ�heard MelÂ�oÂ�dies: NarÂ�raÂ�tive Film Music (LonÂ�don and BloomÂ�ingÂ�ton: BFI/InÂ�diÂ�ana UniÂ�verÂ�sity Press, 1987), 20–26. GorbÂ�man named the Â�extra-diegetic level “non-diegetic level” and is credÂ�ited for havÂ�ing esÂ�tabÂ�lished the terms as caÂ�nonÂ�iÂ�cal tools of Â�film-music analÂ�yÂ�sis. These catÂ�eÂ�goÂ�ries have been reÂ�named interÂ�nal level—exÂ�terÂ�nal level—meÂ�diÂ�ated level in SerÂ�gio Â�Miceli, La musÂ�ica nel film: Arte e arÂ�tiÂ�giaÂ�nato (FieÂ�sole: DisÂ�canto, 1982), 223–30. BordÂ�well and ThompÂ�son, Film Art: An IntroÂ�ducÂ�tion, 290, call the Â�meta-diegetic level “interÂ�nal dieÂ�getic sound,” while other scholÂ�ars reÂ�frain from takÂ�ing it into conÂ�sidÂ�erÂ�aÂ�tion. The reÂ�mainÂ�ing catÂ�eÂ�goÂ�ries—dieÂ�getic and Â�extra-diegetic—are Â�called Â�screen music and pit music by Â�Michel Chion, Â�Audio-Vision: Sound On Â�Screen, trans. and ed. ClauÂ�dia GorbÂ�man (New York: CoÂ�lumÂ�bia UniÂ�verÂ�sity Press, 1994), 77; Â�in-music and Â�off-music by ErÂ�manno CoÂ�muÂ�zio, CoÂ�lonna soÂ�nora: DiÂ�aloÂ�ghi, Â�musiche ruÂ�mori dieÂ�tro lo Â�schermo (Milan: Il ForÂ�miÂ�chiere, 1980), 4; Â�source music and backÂ�ground music by HolÂ�lyÂ�wood pracÂ�tiÂ� tionÂ�ers, see David Â�Neumeyer, “IntroÂ�ducÂ�tion,” in BuhÂ�ler et al., Music and CinÂ�ema, 18. 9. See Â�William H. Rosar, “Film StudÂ�ies in MusiÂ�colÂ�ogy: DisÂ�ciÂ�pliÂ�narÂ�ity vs. InterÂ� disÂ�ciÂ�pliÂ�narÂ�ity,” JourÂ�nal of Film Music 2, no. 2–4 (WinÂ�ter 2009): 108–17; Ben WinÂ�ters, “The Â�Non-Diegetic FalÂ�lacy: Film, Music, and NarÂ�raÂ�tive Space,” Music and LetÂ�ters 91, no. 2 (2010): 224–44. 10. TheoÂ�dor W. Â�Adorno and Hanns EisÂ�ler, ComÂ�posÂ�ing for the Films (1947; repr. New York: ConÂ�tinÂ�uum, 2007), 2–3. 11. SerÂ�gio Â�Miceli, MusÂ�ica per film: Â�Storia, EsÂ�tetÂ�ica, AnÂ�aÂ�lisi, TiÂ�polÂ�oÂ�gie (Lucca: LIM/ RiÂ�cordi, 2009), 667–70. 12. James BuhÂ�ler, “Star Wars, Music, and Myth,” in BuhÂ�ler et al., Music and CinÂ�ema, 33–57; Scott D. PauÂ�lin, “RichÂ�ard WagÂ�ner and the FanÂ�tasy of CinÂ�eÂ�matic Unity: The Idea of the GeÂ�samtÂ�kunstÂ�werk in the HisÂ�tory and TheÂ�ory of Film Music,” in BuhÂ�ler et al., Music and CinÂ�ema, 58–84; JusÂ�tin LonÂ�don, “LeitÂ�moÂ�tifs and MuÂ�siÂ�cal RefÂ�erÂ�ence in the ClasÂ�siÂ�cal Film Score,” in BuhÂ�ler et al., Music and CinÂ�ema, 85–96.

Not e s to p a g e s x x iv – 10

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253

13. For an Â�against-the-tide view of “wallÂ�paÂ�per music,” see Ben WinÂ�ters, “MuÂ�siÂ�cal WallÂ�paÂ�per? ToÂ�wards an ApÂ�preÂ�ciÂ�aÂ�tion of Â�Non-narrating Music in Film,” Music, Sound, and the MovÂ�ing Image 6, no. 1 (Spring 2012): 41–54. 14. Style in the Â�broader sense is someÂ�what simÂ�iÂ�lar here to the conÂ�cept of “parÂ�aÂ�digm” or “group style” as used in David BordÂ�well, Janet StaiÂ�ger, and KrisÂ�tin ThompÂ�son, The ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema: Film Style and Mode of ProÂ�ducÂ�tion to 1960 (New York: CoÂ�lumÂ�bia UniÂ�verÂ�sity Press, 1985), 5. 15. Meyer, Style and Music, 23–25. 16. Â�Miceli, MusÂ�ica per film, 616. 17. BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 33–35. 18. Meyer, Style and Music, 163, 327. IntroÂ�ducÂ�tion

1. SteÂ�phen Moss, “The Force Is with Him,” GuarÂ�dian (LonÂ�don), 4 FebÂ�ruÂ�ary 2002. 2. GeofÂ�frey McNab, “They Shoot, He Â�Scores,” Times (LonÂ�don), 25 SepÂ�temÂ�ber 2001. 3. RoÂ�berto AsÂ�chieri, Over the Moon: La Â�mùsica de John Â�Williams para el cine (SanÂ�tiago de Chile: UniÂ�verÂ�siÂ�dad Diego PorÂ�tales, 1999); Peter MoorÂ�mann, Â�Spielberg-Variationen: Die FilmÂ�muÂ�sik von John Â�Williams (Baden-Baden: Nomos, 2010); AlexÂ�anÂ�dre TylÂ�ski, ed., John Â�Williams: Un alÂ�chiÂ�miste muÂ�siÂ�cal à HolÂ�lyÂ�wood (Paris: Â�L’Harmattan, 2011); AnÂ�drés ValÂ�verde AmÂ�aÂ�dor, John Â�Williams: Vida y obra (SeÂ�ville: EdÂ�iÂ�toÂ�rial BereÂ�nice, 2013). 4. Tom Shone, “How to Score in the MoÂ�vies,” SunÂ�day Times (LonÂ�don), 21 June 1998. ChapÂ�ter 1 “The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music”

1. Rick AltÂ�man, SiÂ�lent Film Sound (New York: CoÂ�lumÂ�bia UniÂ�verÂ�sity Press, 2004), 199–201. 2. “AtÂ�tracÂ�tions monÂ�straÂ�tifs ”: André GauÂ�dreault and Tom GunÂ�ning, “Le cinÂ�éma des preÂ�mieres temps: Un défi à Â�l’histoire du cinÂ�éma?,” in HisÂ�toire du cinÂ�éma: NouÂ�velles apÂ�proches, ed. Â�Jacques AuÂ�mont, André GauÂ�dreault, and Â�Michel Marie (Paris: PubÂ�liÂ�caÂ�tions de la SorÂ�bonne, 1989), 49–63. 3. DougÂ�las GomÂ�ery, Â�Shared PleasÂ�ures: A HisÂ�tory of Movie PresÂ�enÂ�taÂ�tion in the Â�United Â�States (LonÂ�don: BFI, 1992), 18–56. 4. GauÂ�dreault and GunÂ�ning, “Le cinÂ�éma des preÂ�mieres temps,” 49–63. 5. ClasÂ�siÂ�cal exÂ�plaÂ�naÂ�tions can be found in Kurt LonÂ�don, Film Music: A SumÂ�mary of the CharÂ�acÂ�terÂ�isÂ�tic FeaÂ�tures of Its HisÂ�tory, AesÂ�thetÂ�ics, TechÂ�nique; and PosÂ�sible DeÂ�velÂ�opÂ�ments (LonÂ�don: Faber and Faber, 1936), 25–46; and Â�Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films, 50–51. A sumÂ�mary is in GorbÂ�man, UnÂ�heard MelÂ�oÂ�dies, 53. A more reÂ�cent sumÂ�mary is in Peter LarÂ�sen, Film Music (LonÂ�don: ReÂ�akÂ�tion Books, 2005), 184–201. 6. AltÂ�man, SiÂ�lent Film Sound, 231–46.

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Not e s to p a g e s 10–16

7. On The Birth of a Â�Nation’s score, see MarÂ�tin Â�Miller Marks, Music and the SiÂ�lent Film: ConÂ�texts and Case StudÂ�ies, 1895–1924 (New York: OxÂ�ford UniÂ�verÂ�sity Press, 1997), 108–66. 8. Quoted in Caryl Flinn, Â�Strains of UtoÂ�pia: GenÂ�der, NosÂ�talÂ�gia, and HolÂ�lyÂ�wood Music (PrinceÂ�ton, NJ: PrinceÂ�ton UniÂ�verÂ�sity Press, 1992), 17. 9. KrisÂ�tin ThompÂ�son and David BordÂ�well, Film HisÂ�tory: An IntroÂ�ducÂ�tion, 3rd ed. (New York: Â�McGraw-Hill, 2010), 177. 10. Tony Â�Thomas, Music for the MoÂ�vies, 2nd ed. (1973, repr., Los AnÂ�geles: Â�Silman-James, 1997), 139. 11. MiÂ�chael Â�Slowik, “HolÂ�lyÂ�wood Film Music in the Early Sound Era, 1926–1934” (PhD diss., UniÂ�verÂ�sity of Iowa, 2012). Â�Thanks to Jeff Smith for bringÂ�ing this to my atÂ�tenÂ�tion. 12. Roy M. PrenÂ�derÂ�gast, Film Music: A NeÂ�glected Art: A CritÂ�iÂ�cal Study of Music in Films (New York: W. W. NorÂ�ton, 1977), 23. 13. Barry Salt, Film Style and TechÂ�nolÂ�ogy: HisÂ�tory and AnalÂ�yÂ�sis, 2nd ed. (LonÂ�don: StarÂ� word, 1992), 212. 14. In Â�postrecording, the music track origÂ�iÂ�nally used on the set as a guide for the Â�actors’ singÂ�ing and dancÂ�ing is reÂ�placed with a deÂ�finÂ�iÂ�tive new verÂ�sion. See Fred KarÂ�lin and RayÂ�burn Â�Wright, On the Track: A Guide to ConÂ�temÂ�poÂ�rary Film ScorÂ�ing, 2nd ed. (New York: RoutÂ�ledge, 2004), 441–42. DubÂ�bing is the mixÂ�ing and balÂ�ancÂ�ing of the three sepÂ�arÂ�ate diÂ�alogue, efÂ�fect, and music Â�tracks into a sinÂ�gle, final sound track to be Â�printed on the Â�film’s masÂ�ter. See KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 56–62. 15. PrenÂ�derÂ�gast, Film Music, 22–23. 16. MerÂ�vyn Cooke, A HisÂ�tory of Film Music (CamÂ�bridge: CamÂ�bridge UniÂ�verÂ�sity Press, 2008), 123. 17. KathÂ�ryn KalÂ�iÂ�nak, SetÂ�tling the Score: Music and the ClasÂ�siÂ�cal HolÂ�lyÂ�wood Film (MadÂ�iÂ�son: UniÂ�verÂ�sity of WisÂ�conÂ�sin Press, 1992), 70. 18. AnÂ�other noteÂ�worthy inÂ�stance is Mr. RobÂ�inÂ�son CruÂ�soe (A. EdÂ�ward SuÂ�therÂ�land, 1932), in which AlÂ�fred Â�Newman’s score covÂ�ers virÂ�tuÂ�ally each of the Â�film’s Â�seventy minÂ�utes, not just as a neuÂ�tral wallÂ�paÂ�per but also with moÂ�ments of funcÂ�tional acÂ�comÂ�paÂ�niÂ�ment. 19. Tony Â�Thomas, Film Score: The Art and Craft of Movie Music (BurÂ�bank, CA: RiverÂ� wood, 1991), 68. 20. ChrisÂ�toÂ�pher Â�Palmer, The ComÂ�poser in HolÂ�lyÂ�wood (LonÂ�don: MarÂ�ion BoyÂ�ars, 1990), 29. 21. GorbÂ�man, UnÂ�heard MelÂ�oÂ�dies, 65. 22. In the horÂ�ror genre, early ocÂ�curÂ�rences of funcÂ�tional Â�non-diegetic music can be spotÂ�ted in The Mummy (Karl Â�Freund, 1932, music by James DieÂ�trich). 23. See KalÂ�iÂ�nak, SetÂ�tling the Score, xvi; Chion, Â�Audio-Vision, 49–50; Gary MarÂ�morÂ�stein, HolÂ�lyÂ�wood RhapÂ�sody: Movie Music and Its MakÂ�ers, 1900 to 1975 (New York: Â�Schirmer Books, 1997), 71. 24. Music deÂ�partÂ�ments are deÂ�scribed in KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 177–95. A typÂ�iÂ�cal orÂ�ganÂ�izaÂ�tion chart can be found in PrenÂ�derÂ�gast, Film Music, 37. 25. For furÂ�ther readÂ�ing on the Â�composers’ biogÂ�raÂ�phies, see T. Â�Thomas, Film Score ;

Not e s to p a g e s 1 6 – 2 4

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255

T. Â�Thomas, Music for the MoÂ�vies; Â�Palmer, ComÂ�poser in HolÂ�lyÂ�wood; Â�William Darby and Jack Du Bois, Â�American Film Music: Major ComÂ�posÂ�ers, TechÂ�niques, Â�Trends, 1915–1990 ( JefÂ�ferÂ�son, NC: McFarÂ�land, 1990); and MarÂ�morÂ�stein, HolÂ�lyÂ�wood RhapÂ�sody. 26. Â�Copland’s most imÂ�porÂ�tant Â�scores were those for Of Mice and Men (Lewis MileÂ� stone, 1939); The HeirÂ�ess (William Wyler, 1949); and The Red Pony (Lewis MileÂ�stone, 1949). 27. On KornÂ�gold, see JesÂ�sica DuÂ�chen, Erich WolfÂ�gang KornÂ�gold (LonÂ�don: PhaiÂ�don, 1996) and BrenÂ�dan G. CarÂ�roll, The Last ProdÂ�igy: A BiogÂ�raÂ�phy of Erich WolfÂ�gang KornÂ�gold (CleckÂ�heaÂ�ton: AmaÂ�deus Press, 1997). 28. T. Â�Thomas, Music for the MoÂ�vies, 124. 29. See David BordÂ�well, On the HisÂ�tory of Film Style (CamÂ�bridge, MA: HarÂ�vard UniÂ�verÂ�sity Press, 1997), 211–36. 30. Royal S. Brown, OverÂ�tones and UnderÂ�tones: ReadÂ�ing Film Music (BerkeÂ�ley: UniÂ�verÂ�sity of CalÂ�iÂ�forÂ�nia Press, 1994), 153. 31. Â�Miceli, MusÂ�ica per film, 229. 32. Â�Miklós Rózsa, A DouÂ�ble Life: The AutoÂ�biogÂ�raÂ�phy of Â�Miklós Rózsa, ComÂ�poser in the Â�Golden Years of HolÂ�lyÂ�wood (1982; repr., New York: WynÂ�wood Press, 1989). 33. The thereÂ�min is an elecÂ�tronic inÂ�struÂ�ment deÂ�vised by Lev ThereÂ�min in 1928. ElecÂ�tronic osÂ�cilÂ�laÂ�tors are conÂ�tained in a Â�wooden box to which are atÂ�tached a horÂ�iÂ�zonÂ�tal loop Â�antenna and a verÂ�tiÂ�cal upÂ�right Â�antenna. The Â�player conÂ�trols the pitch—with the upÂ�right Â�antenna—and the volÂ�ume—via the loop Â�antenna—by movÂ�ing his hands Â�around the antenÂ�nas, thus modÂ�ifyÂ�ing the Â�electric Â�fields. The Ondes MarteÂ�not was inÂ�vented in 1928 by MauÂ�rice MarteÂ�not; it is techÂ�niÂ�cally simÂ�iÂ�lar to the thereÂ�min but inÂ�stead conÂ�trolled Â�through a keyÂ�board, which makes inÂ�toÂ�naÂ�tion Â�easier, and it has a Â�sweeter, Â�softer sound. 34. PrenÂ�derÂ�gast, Film Music, 64. 35. Salt, Film Style and TechÂ�nolÂ�ogy, 245–48. 36. GomÂ�ery, Â�Shared PleasÂ�ures, 226. 37. John BelÂ�ton, “Il colÂ�ore: Â�dall’eccezione alla reÂ�gola,” in Â�Storia del cinÂ�ema monÂ�diÂ�ale, TeÂ�oÂ�rie, struÂ�menti, memÂ�oÂ�rie, vol. 5, ed. Gian Piero BruÂ�netta (Turin: EiÂ�naudi, 2001), 801–28. 38. GomÂ�ery, Â�Shared PleasÂ�ures, 239–41. 39. ThompÂ�son and BordÂ�well, Film HisÂ�tory, 311. The PerÂ�cepto can be seen at work in MatÂ�iÂ�nee ( Joe Dante, 1993), in which John Â�Goodman’s charÂ�acÂ�ter is based on the proÂ�ducer/ diÂ�recÂ�tor Â�William CasÂ�tle. 40. The music Â�sounded so sexÂ�uÂ�ally evocÂ�aÂ�tive when Â�matched with the visÂ�uÂ�als that it had to be toned down to comÂ�ply with the preÂ�scripÂ�tions of the ProÂ�ducÂ�tion Code. See Cooke, HisÂ�tory of Film Music, 216. 41. “The New MuÂ�siÂ�cal ReÂ�sources,” in Â�Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films, 21–29. 42. Â�Palmer, ComÂ�poser in HolÂ�lyÂ�wood, 224; and Rózsa, DouÂ�ble Life, 192. 43. On “Indian music,’’ see TimÂ�oÂ�thy E. Â�Scheurer, Music and MythÂ�makÂ�ing in Film: Genre and the Role of the ComÂ�poser (LonÂ�don: McFarÂ�land, 2008), 157–58. 44. GomÂ�ery, Â�Shared PleasÂ�ures, 83–88.

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Not e s to p a g e s 2 4–32

45. Cooke, HisÂ�tory of Film Music, 185. 46. James WierzÂ�bicki, Film Music: A HisÂ�tory (New York: RoutÂ�ledge, 2009), 186. 47. KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 75. ChapÂ�ter 2 “The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music”

1. Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films, 21–22. 2. Hugo FriedÂ�hofer, Â�quoted in T. Â�Thomas, Film Score, 2. See also T. Â�Thomas, Music for the MoÂ�vies, 44–45; and Cooke, HisÂ�tory of Film Music, 69. 3. Â�Palmer, ComÂ�poser in HolÂ�lyÂ�wood, 19–23. 4. Flinn, Â�Strains of UtoÂ�pia, 13–50. ReÂ�cent studÂ�ies even posit that nosÂ�talÂ�gia is not so much inÂ�herÂ�ently proÂ�duced by a speÂ�cific piece of music—let alone by a speÂ�cific muÂ�siÂ�cal diÂ�alect—as is the efÂ�fect of a menÂ�tal proÂ�cess Â�called “perÂ�cepÂ�tual Â�fluency” of which said piece of music is just an idioÂ�synÂ�cratic trigÂ�ger. “PerÂ�cepÂ�tual Â�fluency” means that recÂ�olÂ�lecÂ� tions Â�stored in the Â�long-term memÂ�ory are easÂ�ily reÂ�trieved Â�thanks to one parÂ�ticÂ�uÂ�lar stimÂ�uÂ�lus, and such ease proÂ�duces a pleasÂ�ant nosÂ�talÂ�gia efÂ�fect (thanks to Jeff Smith for pointÂ�ing this out). See, for exÂ�amÂ�ple, Jason P. Leboe and TaÂ�mara L. AnÂ�sons, “On MisÂ� atÂ�tribÂ�utÂ�ing Good ReÂ�memÂ�berÂ�ing to a Happy Past: An InÂ�vesÂ�tiÂ�gaÂ�tion into the CogÂ�niÂ�tive Roots of NosÂ�talÂ�gia,” EmoÂ�tions 6, no. 4 (2006): 596–610. 5. Flinn, Â�Strains of UtoÂ�pia, 70–90. 6. Ibid., 51–69. 7. Yann MerÂ�luÂ�zeau, “HolÂ�lyÂ�wood Bowl ConÂ�ducÂ�tor John MauÂ�ceri,” Film Score Â�Monthly, AuÂ�gust 1996, 9. 8. Â�Scheurer, Music and MythÂ�makÂ�ing in Film, 14–18. 9. David BordÂ�well, “The ClasÂ�siÂ�cal HolÂ�lyÂ�wood Style, 1917–60,” in BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 3–84. 10. T. Â�Thomas, Film Score, 72, 246; Â�Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films, 90; Â�George Burt, The Art of Film Music (BosÂ�ton: NorthÂ�eastÂ�ern UniÂ�verÂ�sity Press, 1994), 5–6. 11. The comÂ�poser Hugo FriedÂ�hofer gives an exÂ�plaÂ�naÂ�tion in terms of work at subÂ�limÂ�iÂ�nal level in T. Â�Thomas, Film Score, 214. 12. GorbÂ�man, UnÂ�heard MelÂ�oÂ�dies, 55. An arÂ�guÂ�ment Â�against Â�Gorbman’s theÂ�ory is in Jeff Smith, “UnÂ�heard MelÂ�oÂ�dies? A CriÂ�tique of PsychoÂ�anÂ�aÂ�lytic TheÂ�oÂ�ries of Film Music,” in Â�Post-Theory: ReÂ�conÂ�structÂ�ing Film StudÂ�ies, ed. David BordÂ�well and Noël CarÂ�roll (MadÂ�iÂ�son: UniÂ�verÂ�sity of WisÂ�conÂ�sin Press, 1996), 230–47. 13. SteÂ�phen Â�Prince, “PsychoÂ�anÂ�aÂ�lytic Film TheÂ�ory and the ProbÂ�lem of the MissÂ�ing SpecÂ�taÂ�tor,” in BordÂ�well and CarÂ�roll, Â�Post-Theory, 71–86; BordÂ�well, “A Case for CogÂ�niÂ�tiÂ�vism.” 14. Cohen, “Film Music,” 366–74. 15. The proÂ�cess is deÂ�scribed and exÂ�emÂ�plified with emÂ�pirÂ�iÂ�cal evÂ�iÂ�dence in SloÂ�boda, MuÂ�siÂ�cal Mind, 166–74 and 264. 16. Meyer, EmoÂ�tion and MeanÂ�ing in Music, 63; SloÂ�boda, MuÂ�siÂ�cal Mind, 20; Meyer, Style and Music, 201.

Not e s to p a g e s 3 2 – 3 7

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257

17. BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film, 35 and throughÂ�out; Chris VoÂ�gler, The Â� Writer’s JourÂ�ney: Â�Mythic StrucÂ�tures for WritÂ�ers, 3rd ed. (StuÂ�dio City: MiÂ�chael Wiese ProÂ�ducÂ� tions, 2007), xiv. 18. Meyer, Style and Music, 209, 322. 19. Ibid., 340–42. 20. Meyer, EmoÂ�tion and MeanÂ�ing in Music, 158–66. 21. WierzÂ�bicki, Film Music, 129. 22. SomeÂ�times the clash Â�between traÂ�diÂ�tional asÂ�soÂ�ciÂ�aÂ�tions and contrastÂ�ing visÂ�uÂ�als is deÂ�libÂ�erÂ�ately Â�sought, most notÂ�ably by KuÂ�brick—for inÂ�stance, in 2001: A Space OdysÂ�sey (1968) he acÂ�comÂ�paÂ�nied the roÂ�tatÂ�ing space staÂ�tion with J. Â�Strauss’s waltz The Blue DaÂ�nube (An der Â�schönen Â�blauen Donau, 1866, op. 314). 23. PrenÂ�derÂ�gast, Film Music, 233. 24. AlÂ�though in art music “theme and Â�variations’’ is more propÂ�erly deÂ�fined as a form Â�rather than as a techÂ�nique, here theme and variÂ�aÂ�tions is seen as a techÂ�nique that film music emÂ�ploys to cope with a parÂ�ticÂ�uÂ�lar narÂ�raÂ�tive need from the film. 25. AltÂ�man, SiÂ�lent Film Sound, 52, 105. 26. On carÂ�toon music, see Scott BradÂ�ley, “EvÂ�oÂ�luÂ�ziÂ�one della musÂ�ica nei disÂ�egni anÂ�iÂ�mati,” in MusÂ�ica e Film, ed. S. G. BiÂ�amonte (Rome: EdizÂ�iÂ�oni Â�dell’Ateneo, 1959), 217–32; Scott BradÂ�ley, “PerÂ�sonÂ�alÂ�ity on the SoundÂ�track,” in The HolÂ�lyÂ�wood Film Music Â�Reader, ed. MerÂ�vyn Cooke (New York: OxÂ�ford UniÂ�verÂ�sity Press, 2010), 101–6; InÂ�golf Dahl, “Notes on CarÂ�toon Music,” in Cooke, HolÂ�lyÂ�wood Film Music Â�Reader, 93–100. 27. For Max Â�Steiner’s words on Â�Mickey-Mousing, see Myrl A. SchreibÂ�man, “MemÂ�oÂ�ries of Max: An ArchiÂ�val InterÂ�view with Max Â�Steiner. Part 1,” Film Score Â�Monthly, JanÂ�uÂ�ary/FebÂ�ruÂ�ary 2005, 26. 28. James BuhÂ�ler, “AnÂ�aÂ�lytÂ�iÂ�cal and InterÂ�preÂ�tive ApÂ�proaches to Film Music (II): AnÂ�aÂ�lyzÂ�ing InterÂ�acÂ�tions of Music and Film,” in Film Music: CritÂ�iÂ�cal ApÂ�proaches, ed. K. J. DonÂ�nelly (New York: ConÂ�tinÂ�uum, 2001), 45. 29. Cohen, Film Music, 371. The point is also susÂ�tained by KalÂ�iÂ�nak, SetÂ�tling the Score, 86. 30. On HolÂ�lyÂ�wood film orÂ�chesÂ�tras, see Â�Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films, 70–77; KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 183–86. 31. WierzÂ�bicki, Film Music, 48–49. 32. AltÂ�man, SiÂ�lent Film Sound, 308. 33. On orÂ�chesÂ�tral timÂ�bres and muÂ�siÂ�cal dramÂ�aÂ�turgy, see GerÂ�ard BlanÂ�chard, ImÂ�ages de la muÂ�sique de cinÂ�éma (Paris: EdÂ�iÂ�lio, 1984). 34. See Mark Evans, SoundÂ�track: The Music of the MoÂ�vies (New York: HopÂ�kinÂ�son and Blake, 1975), 252. 35. On the deÂ�bate on the use of orÂ�chesÂ�traÂ�tors and the difÂ�ferÂ�ent EuÂ�roÂ�pean and Â�American poÂ�siÂ�tions, parÂ�ticÂ�uÂ�larly reÂ�ferred to the Â�Seventh InterÂ�naÂ�tional Music ConÂ�ferÂ�ence held in FlorÂ�ence in 1950, see WierzÂ�bicki, Film Music, 169–74. HolÂ�lyÂ�wood pracÂ�tice is deÂ�scribed from a EuÂ�roÂ�pean viewÂ�point in DanÂ�iele AmÂ�fiÂ�theaÂ�trof, “La musÂ�ica per film negli Stati Uniti Â�d’America,” in La musÂ�ica nel film, ed. Enzo MaÂ�setti (Rome: BiÂ�anco e Nero, 1950), 118–28.

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Not e s to p a g e s 3 7–57

36. T. Â�Thomas, Music for the MoÂ�vies, 212–13; David RakÂ�sin, “Life with CharÂ�lie,” in Cooke, HolÂ�lyÂ�wood Film Music Â�Reader, 69–81. 37. Cooke, HolÂ�lyÂ�wood Film Music Â�Reader, viii. 38. SchreibÂ�man, “MemÂ�oÂ�ries of Max. Part 1,” 27; and Myrl A. SchreibÂ�man, “MemÂ�oÂ�ries of Max: An ArchiÂ�val InterÂ�view with Max Â�Steiner. Part 2,” Film Score Â�Monthly, March/April 2005, 23. 39. Paul AnÂ�drew MacLÂ�ean, “What ExÂ�actly Does an OrÂ�chesÂ�traÂ�tor Do?,” Film Score Â�Monthly, June 1993, 6. 40. Â�Miceli, La musÂ�ica nel film, 327 (my transÂ�laÂ�tion). 41. KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 35. 42. For furÂ�ther readÂ�ing on orÂ�chesÂ�traÂ�tion in cinÂ�ema, see KarÂ�lin and Â�Wright, On the Track, 320–30; and RichÂ�ard Davis, ComÂ�plete Guide to Film ScorÂ�ing: The Art and BusiÂ�ness of WritÂ�ing Music for MoÂ�vies and TV (BosÂ�ton: BerkÂ�lee Press, 1999), 111–16, which comÂ�pares a Â�composer’s Â�sketch and the reÂ�sulÂ�tant full score. HolÂ�lyÂ�wood pracÂ�tice is deÂ�fended in LawÂ�rence MorÂ�ton, “ComÂ�posÂ�ing, OrÂ�chesÂ�tratÂ�ing, and CritÂ�iÂ�cizÂ�ing,” in Cooke, HolÂ�lyÂ�wood Music Â�Reader, 327–40. 43. PrenÂ�derÂ�gast, Film Music, 85. 44. GorbÂ�man, UnÂ�heard MelÂ�oÂ�dies, 88. 45. LarÂ�sen, Film Music, 89. 46. Cooke, HisÂ�tory of Film Music, 86. 47. KarÂ�lin and Â�Wright, On the Track, 157–58. 48. KalÂ�iÂ�nak, SetÂ�tling the Score, 187. 49. BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 3. 50. A narÂ�raÂ�tive film is made up of a seÂ�ries of Â�events that form the plot: what we see in the film in its given order. The Â�viewer is acÂ�tively enÂ�gaged in the reÂ�conÂ�strucÂ�tion of the corÂ�rect chronÂ�oÂ�logÂ�iÂ�cal and cauÂ�sal order of the narÂ�raÂ�tive Â�events preÂ�sented in the Â�film’s plot, and that Â�viewer inÂ�feÂ�renÂ�tially fills the gaps when some narÂ�raÂ�tive inÂ�forÂ�maÂ�tion is omitÂ� ted. The reÂ�sult is the menÂ�tal reÂ�conÂ�strucÂ�tion of the story, that is, the corÂ�rect chronÂ�oÂ�logÂ�iÂ�cal and cauÂ�sal order of all the Â�events conÂ�cernÂ�ing the Â�film’s narÂ�raÂ�tive, and comÂ�prisÂ�ing both those Â�events preÂ�sented in the plot and those imÂ�plied by the Â�viewer’s inÂ�ferÂ�ence. On plot/ story (syuÂ�zhet/faÂ�bula), see BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film, 48–62. 51. Chion, Â�Audio-Vision, 11 and 122. ChapÂ�ter 3 The “ModÂ�ern” HolÂ�lyÂ�wood Music Style

1. To stick to the “lanÂ�guage/techÂ�niques/means/funcÂ�tion” Â�four-point defÂ�iÂ�niÂ�tion of a Â�film-music style, “modÂ�ern style” is used inÂ�stead of “pop score”; see Jeff Smith, The Sound of ComÂ�merce: MarÂ�ketÂ�ing PopÂ�uÂ�lar Film Music (New York: CoÂ�lumÂ�bia UniÂ�verÂ�sity Press, 1998), 4. A hypoÂ�thetÂ�iÂ�cal atoÂ�nal score (lanÂ�guage) with neiÂ�ther leitÂ�moÂ�tiv nor Â�MickeyMousing (techÂ�niques) but Â�played by a symÂ�phony orÂ�chesÂ�tra (muÂ�siÂ�cal means) canÂ�not be Â�called “clasÂ�siÂ�cal,” but it is not “pop” eiÂ�ther. ThereÂ�fore, the term “modÂ�ern style” is more preÂ�cise and flexÂ�ible a defÂ�iÂ�niÂ�tion here.

Not e s to p a g e s 5 8 – 6 4

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259

2. BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film, 206–9. 3. RusÂ�sell Lack, Â�Twenty Four Â�Frames Under: A BurÂ�ied HisÂ�tory of Film Music (LonÂ�don: QuarÂ�tet Books, 1997), 283. 4. RoÂ�berto CalÂ�aÂ�bretto, Lo Â�schermo soÂ�noro: La musÂ�ica per film (VenÂ�ice: MarÂ�siÂ�lio, 2010), 148n (my transÂ�laÂ�tion). On Â�Antonioni’s disÂ�like of and unÂ�easiÂ�ness about film music, see ibid., 170. 5. CalÂ�aÂ�bretto, Lo Â�schermo soÂ�noro, 155n (my translation). 6. CoÂ�muÂ�zio, CoÂ�lonna soÂ�nora, 120 (my transÂ�laÂ�tion). 7. Lack, Â�Twenty Four Â�Frames Under, 161. 8. On EuÂ�roÂ�pean film music, see MiÂ�guel Mera and David BurÂ�nand, EuÂ�roÂ�pean Film Music (LonÂ�don: AshÂ�gate, 2006). 9. JerÂ�rold LeÂ�vinÂ�son, “Film Music and NarÂ�raÂ�tive Â�Agency,” in BordÂ�well and CarÂ�roll, Â�Post-Theory, 277. 10. J. Smith, Sound of ComÂ�merce, 131–53; and Â�Charles LeinÂ�berÂ�ger, Ennio Â�Morricone’s “The Good, the Bad and the Ugly”: A Film Score Guide (LanÂ�ham, MD: ScareÂ�crow Press, 2004). 11. SteÂ�fano SoÂ�rice, “Ennio MorÂ�riÂ�cone racÂ�conta .€.€. (parte terza),” CoÂ�lonne SoÂ�nore, NoÂ�vemÂ�ber/DeÂ�cemÂ�ber 2005, 9 (my transÂ�laÂ�tion). 12. Â�Miceli, La musÂ�ica nel film, 319 (my transÂ�laÂ�tion). 13. CoÂ�muÂ�zio, CoÂ�lonna soÂ�nora, 161 (my transÂ�laÂ�tion). 14. LeinÂ�berÂ�ger, Ennio Â�Morricone’s “The Good, the Bad and the Ugly,” 18. 15. On jazz in films, see Cooke, HisÂ�tory of Film Music, 222. 16. On the demÂ�oÂ�graphÂ�iÂ�cal Â�change in auÂ�diÂ�ence, see RobÂ�ert Sklar, Â�Movie-Made AmerÂ�ica: A CulÂ�tural HisÂ�tory of Â�American MoÂ�vies (New York: VinÂ�tage Books, 1994), 269–304; and ThompÂ�son and BordÂ�well, Film HisÂ�tory, 472–93. 17. AltÂ�man, SiÂ�lent Film Sound, 190. 18. Cooke, HisÂ�tory of Film Music, 25. 19. WierzÂ�bicki, Film Music, 114. 20. On the early atÂ�tempts to marÂ�ket symÂ�phonic Â�film-music alÂ�bums, see Kyle S. BarÂ�nett, “The SelzÂ�nick StuÂ�dio, ‘SpellÂ�bound,’ and the MarÂ�ketÂ�ing of Film Music,” Music, Sound, and the MovÂ�ing Image 4, no. 1 (Spring 2010): 77–98. 21. Laura MulÂ�vey, “VisÂ�ual PleasÂ�ure and NarÂ�raÂ�tive CinÂ�ema,” Â�Screen, AuÂ�tumn 1975, 6–18. 22. On the aesÂ�thetÂ�ics and funcÂ�tions of pop songs in films, see Cooke, HisÂ�tory of Film Music, 412–14. On “pop Â�scores” in genÂ�eral, see J. Smith, Sound of ComÂ�merce, 5–23. 23. J. Smith, Sound of ComÂ�merce, 32. 24. MarÂ�morÂ�stein, HolÂ�lyÂ�wood RhapÂ�sody, 387. 25. On the “package-unit Â�system,” see BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 330. In the clasÂ�siÂ�cal peÂ�riod the avÂ�erÂ�age anÂ�nual outÂ�put was 400 films, while in the 1960s it plumÂ�meted to 150 films. See ChrisÂ�toÂ�pher WagÂ�staff, “Quasi Â�un’appendice: AlÂ�cune cifre Â�sull’industria cinÂ�eÂ�matÂ�oÂ�grafÂ�ica statÂ�uniÂ�tense,” in Â�Storia del cinÂ�ema monÂ�diÂ�ale, vol. 2, Gli Stati Uniti, ed. Gian Piero BruÂ�netta (Turin: EiÂ�naudi 2000), 1758. 26. J. Smith, Sound of ComÂ�merce, 146. 27. Ibid., 145.

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Not e s to p a g e s 6 4–70

28. For a muÂ�siÂ�cal analÂ�yÂ�sis of Â�American GrafÂ�fiti, see ibid., 172–85. 29. Â�Miceli, MusÂ�ica per film, 679. 30. For a muÂ�siÂ�cal analÂ�yÂ�sis of GoldÂ�finÂ�ger, see J. Smith, Sound of ComÂ�merce, 100–130. 31. Chion, Â�Audio-Vision, 8–9. 32. See LarÂ�sen, Film Music, 155. 33. PrenÂ�derÂ�gast, Film Music, 26: “The song was Â�placed in the film in the hopes that it would ‘make the Â�charts’ and make that much more money for the film.” MarÂ�morÂ� stein, HolÂ�lyÂ�wood RhapÂ�sody, 384: “UtÂ�terly inÂ�conÂ�gruÂ�ous to the acÂ�tion, the song was the equivÂ�aÂ�lent of an early music video.” 34. On “comÂ�piÂ�laÂ�tion Â�scores,” see J. Smith, Sound of ComÂ�merce, 163–72. 35. Ibid., 79. ManÂ�cini was the first musiÂ�cian to exÂ�pressly Â�record new album verÂ�sions of seÂ�lected secÂ�tions of his film Â�scores. 36. Ibid., 78. 37. BachÂ�eÂ�lor in ParÂ�aÂ�dise ( Jack ArÂ�nold, 1961) is anÂ�other exÂ�amÂ�ple of Â�Mancini’s inÂ�geÂ�nuÂ�ity in disÂ�playÂ�ing and proÂ�motÂ�ing the title song throughÂ�out the film. The title song is introÂ� duced in the openÂ�ing tiÂ�tles and then reÂ�prised in inÂ�struÂ�menÂ�tal form, not only in the Â�nondiegetic score but also as a Â�Muzak-like dieÂ�getic wallÂ�paÂ�per in the superÂ�marÂ�ket seÂ�quence. It is even Â�evoked Â�through the sound of the Â�protagonist’s door bell, whose three tones are the very openÂ�ing notes of the title song. 38. For a hisÂ�torÂ�iÂ�cal overÂ�view of the peÂ�riod from a Â�film-music perÂ�specÂ�tive, see L. E. MacÂ�DonÂ�ald, The InÂ�visÂ�ible Art of Film Music (New York: ArdÂ�sley House, 1998), 173–333. 39. Jack SulÂ�liÂ�van, Â�Hitchcock’s Music (New Haven, CT: Yale UniÂ�verÂ�sity Press, 2006), 277. 40. Cooke, HisÂ�tory of Film Music, 396. 41. SulÂ�liÂ�van, Â�Hitchcock’s Music, 288. 42. Ibid., 283. 43. Irwin BazeÂ�lon, KnowÂ�ing the Score: Notes on Film Music (New York: Arco, 1975), 190. 44. T. Â�Thomas, Film Score, 257. ChapÂ�ter 4 Star Wars

1. This was the origÂ�iÂ�nal workÂ�ing title: J. W. RinzÂ�ler, The MakÂ�ing of Star Wars: The DeÂ�finÂ�iÂ�tive Story BeÂ�hind the OrigÂ�iÂ�nal Film (LonÂ�don: Ebury PubÂ�lishÂ�ing, 2007), 8. 2. Ibid., 14–15. 3. Ibid., 48. 4. Ibid., 18–19. 5. Ibid., 31, 37, 178. 6. Ibid., 105. 7. Â�Scheurer, Music and MythÂ�makÂ�ing in Film, 48–79. 8. Jeff Bond, CD bookÂ�let, Â�Planet of the Apes, VaÂ�rése SarÂ�aÂ�bande, 1997, VSD-5848.

Not e s to p a g e s 70 – 7 2

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261

9. James WierzÂ�bicki, Louis and Bebe Â�Barron’s “ForÂ�bidÂ�den Â�Planet”: A Film Score Guide (LanÂ�ham, MD: ScareÂ�crow Press, 2005). 10. Cooke, HisÂ�tory of Film Music, 442. 11. Ibid., 422. 12. RinzÂ�ler, MakÂ�ing of Star Wars, 273; and MiÂ�chael MaÂ�tesÂ�sino, “A New Hope for Film Music,” CD bookÂ�let for Star Wars: A New Hope, BMG, 1997, 09026 68772 2, 7. 13. MaÂ�tesÂ�sino, “A New Hope for Film Music,” 6; MiÂ�chael GoodÂ�son, “Yes, Â�There’s Life after FiedÂ�ler,” BosÂ�ton SunÂ�day Â�Herald, 27 JanÂ�uÂ�ary 1980; John Â�Williams, Â�quoted in T. Â�Thomas, Film Score, 334–35; Cooke, HisÂ�tory of Film Music, 462; Chris MaÂ�lone, “ReÂ�cordÂ�ing the Star Wars Saga: A MuÂ�siÂ�cal JourÂ�ney from ScorÂ�ing Stage to DVD,” p.€6, verÂ�sion 1.4, 2012, www.malÂ�oÂ�neÂ�digÂ�iÂ�tal.com/starÂ�wars.pdf, acÂ�cessed 2 April 2013; RinzÂ�ler, MakÂ�ing of Star Wars, 292; John Â�Williams, liner notes for the Star Wars LP album, 20th CenÂ�tury Â�Records, 1977, 2T-541 (0898). But on the other hand, when interÂ�viewed by LeÂ�oÂ�nard MalÂ�tin, Lucas said that he had alÂ�ways had the idea of havÂ�ing an origÂ�iÂ�nal score—The EmÂ�pire Â�Strikes Back, VHS, Fox, 1995. HowÂ�ever, 2001 was an inÂ�fluenÂ�tial model and Lucas had alÂ�ready used a comÂ�piÂ�laÂ�tion score for Â�American GrafÂ�fiti; in the liner notes for the 1977 album Â�Williams wrote that Lucas origÂ�iÂ�nally Â�wanted repÂ�erÂ�toire music, and Lucas, being the album proÂ�ducer, acÂ�cepted at that time Â�Williams’s stateÂ�ment as true. So, it seems quite probÂ�able that Â�Lucas’s origÂ�iÂ�nal idea was to use repÂ�erÂ�toire music as the Â�film’s main Â�themes. 14. Â�George Lucas, video interÂ�view with LeÂ�oÂ�nard MalÂ�tin, The EmÂ�pire Â�Strikes Back, VHS, Fox, 1995. 15. RinzÂ�ler, MakÂ�ing of Star Wars, 59. 16. RichÂ�ard Dyer, “John Â�Williams: New HoÂ�riÂ�zons, FaÂ�milÂ�iar GalÂ�axÂ�ies,” BosÂ�ton Globe, 4 June 1997. 17. As a rule, Â�Williams does not read screenÂ�plays. HowÂ�ever, RinzÂ�ler, MakÂ�ing of Star Wars, 60, and MaÂ�tesÂ�sino, “A New Hope for Film Music,” 6, reÂ�port that Â�Williams did read the Star Wars screenÂ�play. In an interÂ�view, Â�Williams Â�stated, “I Â�didn’t read the Â�script. I don’t like to read Â�scripts. .€.€. HavÂ�ing said that I don’t even reÂ�memÂ�ber if Â�George Lucas ofÂ�fered me a Â�script to read.” Craig L. Byrd, “The Star Wars InterÂ�view: John Â�Williams,” Film Score Â�Monthly, JanÂ�uÂ�ary/FebÂ�ruÂ�ary 1997, 18, reÂ�printed in Cooke, HolÂ�lyÂ�wood Film Music Â�Reader, 238. Maybe Â�Williams did read the screenÂ�play, his recÂ�olÂ�lecÂ�tions not being clear on the matÂ�ter. In the same year, when asked about how a diÂ�recÂ�tor hires, Â�Williams anÂ�swered by menÂ�tionÂ�ing the sendÂ�ing of a screenÂ�play as a first apÂ�proach: “SomeÂ�one like you could send a Â�script to a comÂ�poser like me and say ‘Will you read the Â�script?’ But usuÂ�ally I work from a Â�director’s cut or a first cut.” David Â�Thomas, “Point Blank: The Total Film InterÂ� view: John Â�Williams,” Total Film, SepÂ�temÂ�ber 1997, 79. ThereÂ�fore, it seems posÂ�sible that Â�Williams at least Â�glanced at the Star Wars screenÂ�play, given the inÂ�noÂ�vaÂ�tive naÂ�ture of that proÂ�ject. 18. Â�Williams, liner notes for the Star Wars LP album. 19. It is cusÂ�toÂ�mary in conÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood that a Â�film’s first cut be couÂ�pled with a temÂ�poÂ�rary repÂ�erÂ�toire music track in order to help the edÂ�iÂ�tor and the diÂ�recÂ�tor in

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Not e s to p a g e s 7 2–75

obÂ�tainÂ�ing the reÂ�quired Â�rhythm and mood. Then, the Â�temp-tracked film is shown to the comÂ�poser, who can Â�gather from the Â�director’s muÂ�siÂ�cal Â�choices how much music is Â�needed and what kind of apÂ�proach and lanÂ�guage are reÂ�quired. 20. T. Â�Thomas, Film Score, 335. 21. Byrd, “The Star Wars InterÂ�view,” 18. 22. VilÂ�lage Voice reÂ�view, Â�quoted in KalÂ�iÂ�nak, SetÂ�tling the Score, 198. 23. Greg Oatis, “John Â�Williams Â�Strikes Back, UnÂ�forÂ�tuÂ�nately,” CiÂ�nemÂ�aÂ�fanÂ�tasÂ�tique 10, no. 2 (Fall 1980): 8. 24. KenÂ�neth Terry, “John Â�Williams EnÂ�counÂ�ters the Pops,” DownÂ�beat 48, March 1981, 20. 25. TimÂ�oÂ�thy ManÂ�gan, “ComÂ�poser for the Stars,” GramÂ�oÂ�phone (U.S. InterÂ�view), May 2006, A7. 26. RichÂ�ard Dyer, “MakÂ�ing Star Wars Sing Again,” BosÂ�ton Globe, 28 March 1999, reÂ�isÂ�sued in Film Score Â�Monthly, June 1999, 18–21; Â�Williams, Â�quoted in RichÂ�ard Dyer, “Q&A with John Â�Williams: Pops’ ConÂ�ducÂ�tor Talks about His New Beat,” BosÂ�ton Globe, 27 April 1980. 27. Among the preÂ�emÂ�iÂ�nent film proÂ�jects were Â�Things to Come (William CameÂ�ron MenÂ�zies, 1936, music by ArÂ�thur Bliss); The Four FeathÂ�ers (ZolÂ�tan Korda, 1939, music by Â�Miklós Rózsa); DanÂ�gerÂ�ous MoonÂ�light (Brian DeÂ�smond Hurst, 1941, music by RichÂ�ard AdÂ�dinÂ�sell, feaÂ�turÂ�ing the faÂ�mous WarÂ�saw ConÂ�certo); 49th ParÂ�allel (MiÂ�chael PowÂ�ell, 1941, music by Ralph VauÂ�ghan Â�Williams); Henry V (LaurÂ�ence Â�Olivier, 1944, music by Â�William WalÂ�ton); The Man Who Knew Too Much (AlÂ�fred HitchÂ�cock, 1956, music by BerÂ�nard HerrÂ� mann); and The Three Â�Worlds of GulÂ�liver ( Jack Sher, 1960, music by BerÂ�nard HerrÂ�mann). For a list, see http://lso.co.uk/page/3151/Â�LSO-and-Film-Music, acÂ�cessed 2 April 2013. 28. MaÂ�lone, “ReÂ�cordÂ�ing the Star Wars Saga,” 11. 29. Ibid., 7. OrÂ�chesÂ�trated by HerÂ�bert W. SpenÂ�cer, AnÂ�gela MorÂ�ley, AlÂ�exÂ�anÂ�der CouÂ�rage, ArÂ�thur MorÂ�ton, Al WoodÂ�bury, and Â�Williams himÂ�self. 30. Ibid., 11. Using Â�Newman’s own 1954 reÂ�cordÂ�ing Â�dubbed down from the sound track of River of No ReÂ�turn (Otto PreÂ�minger, 1954). 31. The disÂ�carded alÂ�terÂ�nate verÂ�sion can be heard in the CD Star Wars: A New Hope, CD 1, track 13, BMG, 1997, 09026 68772 2. 32. LarÂ�sen, Film Music, 168. 33. Byrd, “The Star Wars InterÂ�view,” 20. 34. For an analÂ�yÂ�sis of the myÂ�thoÂ�poeic funcÂ�tion of the Star Wars score, see BuhÂ�ler, “Star Wars, Music, and Myth.” 35. Byrd, “The Star Wars InterÂ�view,” 20. 36. Â�Williams, proÂ�gram notes for his Horn ConÂ�certo, 29 NoÂ�vemÂ�ber 2003, conÂ�cert proÂ� gram, ChiÂ�cago SymÂ�phony OrÂ�chesÂ�tra, SymÂ�phony CenÂ�ter, ChiÂ�cago, IL. 37. Ian Lace, “The Film Music of John Â�Williams,” 1998, www.Â�musicwebinternational.com/film/laÂ�cejw.htm, acÂ�cessed 2 April 2013. 38. Matt Wolf, “The OlymÂ�pics OfÂ�fers John Â�Williams AnÂ�other HeÂ�roic ChalÂ�lenge,” South Coast Today, 21 July 1996.

Not e s to p a g e s 7 5 – 81

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263

39. NorÂ�man LeÂ�brecht, “John Â�Williams—The MagÂ�pie MaesÂ�tro,” La Scena MuÂ�siÂ�cale, 20 NoÂ�vemÂ�ber 2002, www.scena.org/colÂ�umns/leÂ�brecht/021120Â�-Â�NL-williams.html, acÂ�cessed 2 April 2013. 40. Terry, “John Â�Williams EnÂ�counÂ�ters the Pops.” 41. RinzÂ�ler, MakÂ�ing of Star Wars, 336. 42. LarÂ�sen, Film Music, 172–73; and “star wars” on www.riaa.com/goldÂ�andÂ�platÂ�iÂ�num .php, acÂ�cessed 2 April 2013. 43. RinzÂ�ler, MakÂ�ing of Star Wars, 336. As of 1983, this bonus share reÂ�portÂ�edly Â�yielded $300,000: David WesÂ�sel, “The Force Is with Him .€.€. ‘Rich Is Hard to DeÂ�fine,’” BosÂ�ton Globe, 5 July 1983. 44. “Grammy ReÂ�wind: 20th AnÂ�nual Â�Grammy Â�Awards,” 17 JanÂ�uÂ�ary 2012, www .Â�grammy.com/news/Â�grammy-rewind-20Â�th-annual-grammy-awards, acÂ�cessed 2 April 2013. 45. RichÂ�ard Dyer, “John Â�Williams Is New Pops MaesÂ�tro: A Â�Musician’s MusiÂ�cian,” BosÂ�ton Globe, 11 JanÂ�uÂ�ary 1980. 46. RinzÂ�ler, MakÂ�ing of Star Wars, 313–14; and GomÂ�ery, Â�Shared PleasÂ�ures, 228. 47. MiÂ�chael MaÂ�tesÂ�sino, “John Â�Williams Â�Strikes Back,” CD bookÂ�let, The EmÂ�pire Â�Strikes Back, BMG ClasÂ�sics, 1997, 6. 48. Ibid., 12. 49. TranÂ�script from Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace: John Â�Williams Inter­ view, videoÂ�tape, Sony ClasÂ�siÂ�cal, 9 April 1999. 50. Bob Â�Thomas, “Williams Looks BackÂ�ward in ComÂ�posÂ�ing Score for New Star Wars Movie,” NeÂ�vada Daily Mail, 12 May 1999. 51. RichÂ�ard Dyer, “An EnÂ�durÂ�ing Love for Music, MoÂ�vies,” BosÂ�ton Globe, 23 June 2002. 52. JoseÂ�phine Reed, tranÂ�script of an interÂ�view with John Â�Williams, Art Works, proÂ� duced by the NaÂ�tional EndowÂ�ment for the Arts, 2009, http://arts.gov/audio/Â�johnwilliams, acÂ�cessed 2 April 2013. It is worth menÂ�tionÂ�ing that a new Star Wars trilÂ�ogy is in Â�pre-production, with the first inÂ�stallÂ�ment proÂ�jected for reÂ�lease in 2015, and the Â�eighty-one-year-old John Â�Williams has anÂ�nounced that he does plan to comÂ�pose the Â�scores: “So, I’m planÂ�ning my diet very careÂ�fully, eatÂ�ing a lot of WheatÂ�ies!” (Williams durÂ�ing the BosÂ�ton Pops conÂ�cert of 8 June 2013, aired by WGBH Radio on 22 June 2013). 53. J. Smith, Sound of ComÂ�merce, 217. 54. “Star Wars Tops AFI’s List of 25 GreatÂ�est Film Â�Scores of All Time,” 23 SepÂ� temÂ�ber 2005, http://www.afi.com/100years/Â�scores.aspx, acÂ�cessed 2 April 2013. 55. RichÂ�ard Dyer, “John Â�Williams Bows In,” BosÂ�ton Globe, 11 JanÂ�uÂ�ary 1980. 56. “ComÂ�menceÂ�ment CiÂ�taÂ�tion,” BosÂ�ton UniÂ�verÂ�sity Today, 29 May 1985. 57. “PeoÂ�ple,” Time magÂ�aÂ�zine, 5 DeÂ�cemÂ�ber 1977, http://conÂ�tent.time.com/time /magÂ�aÂ�zine/arÂ�tiÂ�cle/0,9171,915779,00.html, acÂ�cessed 2 April 2013. The proÂ�gram also inÂ�cluded GusÂ�tav Â�Holst’s The PlanÂ�ets and RichÂ�ard Â�Strauss’s Thus Spoke ZarÂ�aÂ�thusÂ�tra. 58. Â�William LivÂ�ingÂ�stone, “John Â�Williams and the BosÂ�ton Pops: An Â�American InÂ�stiÂ�tuÂ� tion EnÂ�ters a New Era,” Â�Stereo ReÂ�view 45, no. 6 (DeÂ�cemÂ�ber 1980): 76.

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Not e s to p a g e s 8 2–86

59. PubÂ�licÂ�ity maÂ�teÂ�riÂ�als Â�stored in the LuÂ�casÂ�Film Â�Archives. 60. WesÂ�sel, “The Force Is with Him.” 61. Here is a samÂ�ple list of post–Star Wars films feaÂ�turÂ�ing symÂ�phonic Â�scores: The Black Hole (Gary NelÂ�son, 1979, music by John Barry); Star Trek : The MoÂ�tion PicÂ�ture (RobÂ�ert Wise, 1979, music by Jerry GoldÂ�smith); Conan the BarÂ�barÂ�ian ( John MilÂ�ius, 1982, music by Basil PolÂ�eÂ�douÂ�ris); The Right Stuff (Philip KaufÂ�man, 1983, music by Bill Conti); Out of AfÂ�rica (SidÂ�ney PolÂ�lack, 1985, music by John Barry); SilÂ�veÂ�rado (LawÂ�rence KasÂ�dan, 1985, music by Bruce BroughÂ�ton); Back to the FuÂ�ture (RobÂ�ert ZeÂ�meckis, 1985, music by Alan SilÂ�vesÂ�tri); LiÂ�onÂ�heart (FrankÂ�lin J. SchaffÂ�ner, 1987, music Jerry GoldÂ�smith); WilÂ�low (Ron HoÂ�ward, 1988, music by James Â�Horner); Who Â�Framed Roger RabÂ�bit (RobÂ�ert ZeÂ�meckis, 1988, music by Alan SilÂ�vesÂ�tri); BatÂ�man (Tim BurÂ�ton, 1989, music by Danny ElfÂ�man); in adÂ�diÂ�tion to Â�Williams’s own Â�scores. One of the most hiÂ�larÂ�iÂ�ous and touchÂ�ing homÂ�ages to clasÂ�siÂ�cal HolÂ�lyÂ�wood music is Â�Miklós Â�Rózsa’s last film score, for Dead Men Don’t Wear Plaid (Carl Â�Reiner, 1982). The film is a parÂ�ody of the clasÂ�siÂ�cal noir films for which Rózsa comÂ�posed an afÂ�fecÂ�tionÂ�ate muÂ�siÂ�cal parÂ�ody of his own idiom. 62. RanÂ�dall D. LarÂ�son, MuÂ�sique FanÂ�tasÂ�tique: A SurÂ�vey of Film Music in the FanÂ�tasÂ�tic CinÂ�ema (LonÂ�don: ScareÂ�crow Press, 1985), 293; K. J. DonÂ�nelly, “IntroÂ�ducÂ�tion,” in DonÂ�nelly, Film Music, 13; KalÂ�iÂ�nak, SetÂ�tling the Score, 188; LarÂ�sen, Film Music, 166, 173; MarÂ�morÂ�stein, HolÂ�lyÂ�wood RhapÂ�sody, 401; Â�Miceli, MusÂ�ica per film, 49. 63. Byrd, “The Star Wars InterÂ�view,” 18. 64. SteÂ�phen FarÂ�ber, “Mr. Pops,” Dial—WGBH BosÂ�ton, July 1983, 11. 65. WierzÂ�bicki, Film Music, 216. 66. Ibid., 209–27. 67. KalÂ�iÂ�nak, SetÂ�tling the Score, 187. 68. Dyer, “Where Is John Â�Williams ComÂ�ing From?,” BosÂ�ton Globe, 29 June 1980. 69. MaÂ�lone, ReÂ�cordÂ�ing the Star Wars Saga, 14. 70. Cooke, HisÂ�tory of Film Music, 469. ChapÂ�ter 5 Williams’s Early Years

1. See http://rayÂ�mondÂ�scott.com, acÂ�cessed 3 April 2013. Â�Williams’s famÂ�ily was a muÂ�siÂ�cal one: his two brothÂ�ers beÂ�came perÂ�cusÂ�sionÂ�ists, regÂ�uÂ�larly feaÂ�tured in their Â�brother Â�John’s stuÂ�dio orÂ�chesÂ�tras. His sisÂ�ter beÂ�came a piano Â�teacher. The famÂ�ily traÂ�diÂ�tion has conÂ�tinÂ�ued, as John Â�Williams’s sons Mark and JoÂ�seph Â�started their own muÂ�siÂ�cal caÂ�reers— reÂ�specÂ�tively as a perÂ�cusÂ�sionÂ�ist and as a songÂ�writer and Â�singer, most notÂ�ably for the band Toto. Â�Williams’s grandÂ�chilÂ�dren, BarÂ�bara and Ethan Â�Gruska, are also musiÂ�cians, havÂ�ing Â�formed the folk rock duo The Belle BriÂ�gade. 2. Â�Williams’s biogÂ�raÂ�phy has been reÂ�conÂ�structed from a numÂ�ber of interÂ�views given by the comÂ�poser. The data of the folÂ�lowÂ�ing pages have been reÂ�trieved from RichÂ�ard Dyer, “John Â�Williams: BringÂ�ing HolÂ�lyÂ�wood Magic to the BosÂ�ton Pops,” OvaÂ�tion, June 1983, 14; MiÂ�chael J. ColÂ�burn, “John Â�Williams ReÂ�turns to Bands Where He Began 50

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Years Ago,” InÂ�struÂ�menÂ�talÂ�ist, June 2004, 13; Gail Â�Jennes, “The BosÂ�ton Pops Gets a Movie ComÂ�poser Who Â�Doesn’t Chase Fire EnÂ�gines as Its New Boss,” PeoÂ�ple Â�Weekly, 23 June 1980, 51; Dyer, “Where Is John Â�Williams ComÂ�ing From?,” BosÂ�ton Globe, 29 June 1980; John Â�Williams video interÂ�view for the TV proÂ�gram PerÂ�sonal Notes, proÂ�duced by MiÂ�chael Kerr, BBC, 1988; David Â�Thomas, “King of Â�Themes,” SunÂ�day TeleÂ�graph, 13 July 1997, 49. 3. CasÂ�telÂ�nuÂ�ovo TeÂ�desco was an ItalÂ�ian Jew émÂ�iÂ�gré who had fled the 1938 raÂ�cial laws of his counÂ�try to setÂ�tle in HolÂ�lyÂ�wood, where he Â�worked as an orÂ�chesÂ�traÂ�tor and comÂ�poser. His most notÂ�able conÂ�triÂ�buÂ�tion was And Then There Were None (René Clair, 1945). He was also an Â�in-demand Â�teacher among prosÂ�pecÂ�tive film comÂ�posÂ�ers: other faÂ�mous puÂ�pils were Jerry GoldÂ�smith and Henry ManÂ�cini. 4. ColÂ�burn, “John Â�Williams ReÂ�turns to Bands,” 13. 5. Paul GalÂ�loÂ�way, “AirÂ�man ComÂ�poses Way to Movie CaÂ�reer,” BeaÂ�con, 27 AuÂ�gust 1954. 6. Dyer, “Where Is John Â�Williams ComÂ�ing From?” 7. “RoÂ�sina LhéÂ�vinne,” http://www.naxos.com/perÂ�son/RoÂ�sina_LheÂ�vinne/2230 .htm, acÂ�cessed 3 April 2013. See also the docÂ�uÂ�menÂ�tary The LegÂ�acy of RoÂ�sina LheÂ�vinne by SaÂ�lome RamÂ�ras ArÂ�kaÂ�tov: www.arÂ�kaÂ�tovÂ�proÂ�ducÂ�tions.com/lheÂ�vinne.htm, acÂ�cessed 3 April 2013. 8. Terry, “John Â�Williams EnÂ�counÂ�ters the Pops,” 21. 9. RichÂ�ard Dyer, “Q&A with John Â�Williams,” BosÂ�ton Globe, 27 April 1980. 10. Dyer, “Where Is John Â�Williams ComÂ�ing From?” 11. Derek Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 2,” Films and FilmÂ�ing 24, no. 11 (AuÂ�gust 1978): 32. 12. This piÂ�geonÂ�holÂ�ing was typÂ�iÂ�cal of HolÂ�lyÂ�wood: TiomÂ�kin, for exÂ�amÂ�ple, was known as a “WestÂ�ern comÂ�poser,” Rózsa as the “comÂ�poser for hisÂ�torÂ�iÂ�cal epics.” 13. Dyer, “John Â�Williams: BringÂ�ing HolÂ�lyÂ�wood Magic to the BosÂ�ton Pops,” 14. 14. PriÂ�vate conÂ�verÂ�saÂ�tion with John Â�Williams, BosÂ�ton, MA, 21 May 2008. 15. On ImÂ�ages, see Â�Williams’s interÂ�view in BazeÂ�lon, KnowÂ�ing the Score, 202–6. The score is disÂ�cussed furÂ�ther in Brown, OverÂ�tones and UnderÂ�tones, 178–79. 16. BazeÂ�lon, KnowÂ�ing the Score, 195. 17. ExÂ�periÂ�ment in TerÂ�ror (1962), Â�though exÂ�celÂ�lent both muÂ�siÂ�cally and cinÂ�eÂ�matÂ�iÂ�cally, has been exÂ�cluded to avoid havÂ�ing too many Blake EdÂ�wards films in the samÂ�ple, but also to opt for films made in the secÂ�ond half of the 1960s, when the modÂ�ern style was more steadÂ�ily esÂ�tabÂ�lished. 18. AltÂ�man, SiÂ�lent Film Sound, 52. 19. As conÂ�firmed by Blake EdÂ�wards himÂ�self in his video interÂ�view for EveÂ�ning at Pops, Â�WGBH-Boston SymÂ�phony OrÂ�chesÂ�tra, epiÂ�sode #2804, taped on 24/05/2004, WGBH Â�Archives, BosÂ�ton MA. 20. Hawks is one of the foundÂ�ers of the screwÂ�ball comÂ�edy, while EdÂ�wards can be said to have upÂ�dated the slapÂ�stick comÂ�edy with a touch of Â�Tati’s abÂ�stractÂ�ness. 21. “Wait Until Dark,” music by Henry ManÂ�cini, lyrÂ�ics by Jay LiÂ�vingÂ�ston and Ray Evans, sung by Sue Raney.

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22. The tam tam is a kind of large inÂ�defÂ�iÂ�nite Â�pitched “gong” used in symÂ�phony orÂ�chesÂ�tras. If Â�rubbed with a metal stick inÂ�stead of being hit by a malÂ�let, it proÂ�duces a harsh chillÂ�ing sound Â�largely used for horÂ�ror efÂ�fects. 23. T. Â�Thomas, Music for the MoÂ�vies, 270. ManÂ�cini had alÂ�ready emÂ�ployed Â�quarter-tone Â�scales to Â�create dizÂ�ziÂ�ness in Wait Until Dark: see Jeff Smith, “That Money MakÂ�ing ‘Moon Â�River’ Sound: TheÂ�matic OrÂ�ganÂ�izaÂ�tion and OrÂ�chesÂ�traÂ�tion in the Film Music of Henry ManÂ�cini,” in BuhÂ�ler et al., Music and CinÂ�ema, 257–58. 24. A good exÂ�amÂ�ple of Â�Williams’s underÂ�scorÂ�ing can be found in The ReÂ�ivÂ�ers. When Boon pays a visit to CorÂ�rie, his faÂ�vorÂ�ite misÂ�tress at the MemÂ�phis Â�brothel, and Â�kisses her, the love theme acÂ�comÂ�paÂ�nies the kiss. HowÂ�ever, the meÂ�lodic Â�phrase stops and harÂ�mony reÂ�mains susÂ�pended when CorÂ�rie moves away from him and tries to say a few words. When Boon Â�hushes the woman by kissÂ�ing her again, the music reÂ�sumes and the meÂ�lodic Â�phrase is comÂ�pleted. 25. BazeÂ�lon, KnowÂ�ing the Score, 200–201. 26. Very fast Â�scales in which the inÂ�diÂ�vidÂ�ual tones are fused into a sinÂ�gle asÂ�cendÂ�ing/Â� descending-pitched sound, the glisÂ�sando is typÂ�iÂ�cal of the harp, the Â�strings, the slide tromÂ�bones (in this case it is Â�called porÂ�taÂ�mento), and of any of those inÂ�struÂ�ments that can bend the pitch of the notes. 27. While hitÂ�ting the drumÂ�head, the timÂ�panÂ�ist uses a pedal to Â�change the tunÂ�ing, thus obÂ�tainÂ�ing an asÂ�cendÂ�ing or deÂ�scendÂ�ing efÂ�fect. 28. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 2,” 30. 29. Ray BenÂ�nett, “John Â�Williams, ComÂ�poser,” HolÂ�lyÂ�wood ReÂ�porter, 8 March 2000. ChapÂ�ter 6 Jaws

1. Neil Â�Lerner, “NosÂ�talÂ�gia, MasÂ�cuÂ�linÂ�ist DisÂ�course and AuÂ�thorÂ�iÂ�tarÂ�ianÂ�ism in John Â� Williams’ Â�Scores for “Star Wars” and “Close EnÂ�counÂ�ters of the Third Kind,” in Off the Â�Planet: Music, Sound, and SciÂ�ence FicÂ�tion CinÂ�ema, ed. Â�Philip HayÂ�ward (EastÂ�leigh, UK: John LibÂ�bey PubÂ�lishÂ�ing, 2004), 97. 2. Geoff King, New HolÂ�lyÂ�wood CinÂ�ema: An IntroÂ�ducÂ�tion (LonÂ�don: I. B. TauÂ�ris, 2002), 1. 3. MurÂ�ray Smith, “TheÂ�ses on the PhiÂ�loÂ�soÂ�phy of HolÂ�lyÂ�wood HisÂ�tory,” in ConÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood CinÂ�ema, ed. Steve Neale and MurÂ�ray Smith (LonÂ�don: RoutÂ�ledge, 1998), 6–9. 4. King, New HolÂ�lyÂ�wood CinÂ�ema, 3–5; and ElizÂ�aÂ�beth Cowie, “ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema and ClasÂ�siÂ�cal NarÂ�raÂ�tive,” in Neale and Smith, ConÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood CinÂ�ema, 178–90. 5. LaurÂ�ent JulÂ�lier, Â�L’écran Â�post-moderne: Un cinÂ�éma de Â�l’allusion et du feu Â�d’artifice (Paris: Â�L’Harmattan, 1997) [Il cinÂ�ema postÂ�modÂ�erno, trans. Carla CaÂ�petta (Turin: KaÂ�plan, 2006)]. 6. JusÂ�tin Wyatt, High ConÂ�cept: MoÂ�vies and MarÂ�ketÂ�ing in HolÂ�lyÂ�wood (AusÂ�tin: UniÂ�verÂ�sity of Texas Press, 1994); and Â�Thomas Â�Schatz, “The New HolÂ�lyÂ�wood,” in Film TheÂ�ory Goes to the MoÂ�vies: CulÂ�tural AnalÂ�yÂ�sis of ConÂ�temÂ�poÂ�rary Film, ed. Jim ColÂ�lins, HiÂ�lary RadÂ�ner, and Ava Â�Preacher ColÂ�lins (LonÂ�don: RoutÂ�ledge, 1993), 8–36.

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7. JulÂ�lier, Il cinÂ�ema postÂ�modÂ�erno, 17–35. 8. “ConÂ�tiÂ�nuÂ�ity TheÂ�oÂ�ries” can be found in BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 367–77; and are also at the basis of KrisÂ�tin ThompÂ�son, StoÂ�ryÂ�tellÂ�ing in the New HolÂ�lyÂ�wood: UnderÂ�standÂ�ing ClasÂ�siÂ�cal NarÂ�raÂ�tive CinÂ�ema (CamÂ�bridge, MA: HarÂ�vard UniÂ�verÂ�sity Press, 1999) and David BordÂ�well, The Way HolÂ�lyÂ�wood Tells It: Story and Style in ModÂ�ern MoÂ�vies (BerkeÂ�ley: UniÂ�verÂ�sity of CalÂ�iÂ�forÂ�nia Press, 2006). 9. BordÂ�well, Way HolÂ�lyÂ�wood Tells It, 63. 10. M. Smith, “TheÂ�ses on the PhiÂ�loÂ�soÂ�phy of HolÂ�lyÂ�wood HisÂ�tory,” 11. 11. LeÂ�oÂ�nardo GanÂ�dini, Il film noir Â�americano (Turin: LinÂ�dau, 2001), 113–30. 12. “Grand Â�Narratives’’ (or “Meta-narratives’’) are those overÂ�archÂ�ing exÂ�plaÂ�naÂ�tions of the culÂ�ture, soÂ�ciÂ�ety, and phiÂ�loÂ�soÂ�phy of a given peÂ�riod—for exÂ�amÂ�ple, EnÂ�lightÂ�enÂ�ment for the eighÂ�teenth cenÂ�tury. PostÂ�modÂ�ernÂ�ism posÂ�its that grand narÂ�raÂ�tives are no Â�longer able to exÂ�plain the conÂ�temÂ�poÂ�rary world (yet postÂ�modÂ�ernÂ�ism ofÂ�fers a view of a conÂ�temÂ� poÂ�rary world that is itÂ�self quite simÂ�iÂ�lar to a grand narÂ�raÂ�tive). 13. BordÂ�well, Way HolÂ�lyÂ�wood Tells It, 9; and ThompÂ�son, StoÂ�ryÂ�tellÂ�ing in the New HolÂ�ly­ wood, 8–9. 14. JulÂ�lier, Il cinÂ�ema postÂ�modÂ�erno, 53. 15. King, New HolÂ�lyÂ�wood CinÂ�ema, 74. 16. BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film, 157–62. 17. One of the prinÂ�ciÂ�pal modÂ�els was JoÂ�seph Â�Campbell’s comÂ�parÂ�aÂ�tive myÂ�tholÂ�ogy essay The Hero with a ThouÂ�sand Faces (PrinceÂ�ton, NJ: PrinceÂ�ton UniÂ�verÂ�sity Press, 1949). 18. An Â�in-depth analÂ�yÂ�sis of the clasÂ�siÂ�cal narÂ�raÂ�tion of Back to the FuÂ�ture can be found in ThompÂ�son, StoÂ�ryÂ�tellÂ�ing in the New HolÂ�lyÂ�wood, 77–102. 19. On the defÂ�iÂ�niÂ�tions and conÂ�texts of “postÂ�modÂ�ern,” see John Hill, “Film and PostÂ�modÂ�ernÂ�ism,” in The OxÂ�ford Guide to Film StudÂ�ies, ed. John Hill and PamÂ�ela Â�Church GibÂ�son (OxÂ�ford: OxÂ�ford UniÂ�verÂ�sity Press, 1998), 96–105, which gives a sumÂ�mary of such caÂ�nonÂ�iÂ�cal texts as Â�Jean-François LyoÂ�tard, La conÂ�diÂ�tion postÂ�modÂ�erne: RapÂ�port sur le saÂ�voir (Paris: ÉdiÂ�tions de MinÂ�uit, 1979); FredÂ�ric JameÂ�son, PostÂ�modÂ�ernÂ�ism: Of the CulÂ�tural Logic of Late CapÂ�iÂ�talÂ�ism (LonÂ�don: Verso, 1991); and Jean BauÂ�drilÂ�lard, SimÂ�uÂ�laÂ�cres et SimÂ�uÂ�laÂ�tion (Paris: ÉdiÂ�tions GalÂ�iÂ�lée, 1981). 20. JulÂ�lier, Il cinÂ�ema postÂ�modÂ�erno, 12; and King, New HolÂ�lyÂ�wood CinÂ�ema, 139. 21. For the same reaÂ�son, the term “pasÂ�tiche” will be Â�avoided here. DeÂ�fined by the Â�Merriam-Webster DicÂ�tionÂ�ary as “a litÂ�erÂ�ary, arÂ�tisÂ�tic, muÂ�siÂ�cal, or archiÂ�tecÂ�tuÂ�ral work that imÂ�iÂ�tates the style of preÂ�viÂ�ous work,” the term is typÂ�iÂ�cally used in musiÂ�colÂ�ogy to inÂ�diÂ�cate those works that reÂ�vive and upÂ�date past Â�styles. For exÂ�amÂ�ple, SerÂ�gei Â�Prokofiev’s SymÂ�phony no. 1, “ClasÂ�siÂ�cal SymÂ�phony” (1917, op. 25) is a pasÂ�tiche after Haydn. AlÂ�though apÂ�proÂ�priÂ�ate it might have been in this sense Â�within this book, the term is a probÂ�leÂ�matic one as it has come to be Â�closely asÂ�soÂ�ciated with postÂ�modÂ�ernÂ�ism and given an ideoÂ�logÂ�iÂ�cal conÂ�noÂ�taÂ�tion: “PasÂ�tiche is, like parÂ�ody, the imÂ�iÂ�taÂ�tion of a peÂ�cuÂ�liar or Â�unique, idioÂ�synÂ�cratic style, the wearÂ�ing of a linÂ�guisÂ�tic mask, Â�speech in a dead lanÂ�guage. But it is a neuÂ�tral pracÂ�tice of such mimÂ�icry, withÂ�out any of Â�parody’s ulÂ�terÂ�ior moÂ�tives, amÂ�puÂ�tated of the saÂ�tiric imÂ�pulse, deÂ�void of laughÂ�ter. .€.€. [ It is] the canÂ�niÂ�balÂ�izaÂ�tion of all the Â�styles of the past, the play of

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ranÂ�dom styÂ�lisÂ�tic alÂ�luÂ�sion.” JameÂ�son, PostÂ�modÂ�ernÂ�ism, 17–18. AlÂ�though more reÂ�cent studÂ�ies, such as those by InÂ�geÂ�borg HoesÂ�teÂ�rey, PasÂ�tiche: CulÂ�tural MemÂ�ory in Art, Film, LitÂ�erÂ�aÂ�ture (BloomÂ�ingÂ�ton: InÂ�diÂ�ana UniÂ�verÂ�sity Press, 2001) and RichÂ�ard Dyer, PasÂ�tiche (New York: RoutÂ�ledge, 2007) have given Â�broader and more dyÂ�namic defÂ�iÂ�niÂ�tions, “pasÂ�tiche” still Â�sounds too conÂ�nected to postÂ�modÂ�ernÂ�ism to be used here. 22. ReÂ�specÂ�tively in J. Smith, Sound of ComÂ�merce, 136; ErÂ�manno CoÂ�muÂ�zio, MusiÂ�cisti per lo Â�schermo: DizÂ�iÂ�onÂ�aÂ�rio raÂ�gioÂ�nato dei comÂ�posÂ�iÂ�tori cinÂ�eÂ�matÂ�oÂ�grafÂ�ici (Rome: Ente dello SpetÂ�taÂ�colo, 2004), 2:1051; and CrisÂ�tina CatheÂ�rine LoÂ�sada, “Between ModÂ�ernÂ�ism and PostÂ�modÂ�ernÂ� ism: Â�Strands of ConÂ�tiÂ�nuÂ�ity in ColÂ�lage ComÂ�poÂ�siÂ�tions by RochÂ�berg, Berio, and ZimÂ�merÂ� mann,” Music TheÂ�ory SpecÂ�trum 31, no. 1 (April 2009): 57–100. 23. Â�Williams is deÂ�fined as “neoÂ�clasÂ�siÂ�cal” also in Flinn, Â�Strains of UtoÂ�pia, 152; and K. J. DonÂ�nelly, “The ClasÂ�siÂ�cal Film Score ForÂ�ever? “BatÂ�man,” “BatÂ�man ReÂ�turns,” and Â�Post-classical Film Music,” in Neale and M. Smith, ConÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood CinÂ�ema, 151. 24. Lucas and Spielberg as neoclassical filmmakers are discussed in King, New HolÂ�lyÂ�wood CinÂ�ema, 106. 25. Yann MerÂ�luÂ�zeau, “An InterÂ�view with John Â�Williams,” SoundÂ�track! 12, no. 47 (SepÂ�temÂ�ber 1993): 7. 26. The Â�eight-minute CowÂ�boys OverÂ�ture and the Â�twenty-minute suite for narÂ�raÂ�tor and orÂ�chesÂ�tra The ReÂ�ivÂ�ers: An Old Man RemÂ�iÂ�nisces. 27. Duel (1971) was proÂ�duced for teleÂ�viÂ�sion and later exÂ�panded and reÂ�edÂ�ited for theatÂ�riÂ�cal reÂ�lease. ThereÂ�fore, Â�Spielberg’s first feaÂ�ture film made exÂ�pressly for the theÂ�aÂ�ters was The SugarÂ�land ExÂ�press. 28. RichÂ�ard Dyer, “Sounds of SpielÂ�berg,” BosÂ�ton Globe, 24 FebÂ�ruÂ�ary 1998. 29. SteÂ�ven SpielÂ�berg, “Steven SpielÂ�berg & John Â�Williams Talk Music,’’ video interÂ� view, 1982, www.youÂ�tube.com/watch?v=uw4Ngb5F3Hk, acÂ�cessed 3 OcÂ�toÂ�ber 2013. 30. The sucÂ�cess of Jaws led to the inÂ�stiÂ�tuÂ�tion and exÂ�ploiÂ�taÂ�tion of a minor trend, which could be Â�called “zooÂ�logÂ�iÂ�cal disÂ�asÂ�ter moÂ�vies.” ExÂ�amÂ�ples are PiÂ�ranha ( Joe Dante, 1978), in which geÂ�netÂ�iÂ�cally modÂ�ified piÂ�ranÂ�has inÂ�vade a lake near a Â�crowded sumÂ�mer camp, and The Swarm (Irwin Allen, 1978), in which Â�swarms of viÂ�cious Â�killer bees inÂ�vade the Â�United States. Â� 31. See Carl GottÂ�lieb, The Jaws Log (New York: NewÂ�marÂ�ket Press, 2005), and the docÂ�uÂ�menÂ�tary Jaws: The InÂ�side Story, A&E TeleÂ�viÂ�sion, disÂ�tribÂ�uted by Go EnÂ�terÂ�tainÂ�ment Ltd., 2009, DVD. 32. GottÂ�lieb, Jaws Log, 198. 33. Ibid., 89. 34. See Jaws: The InÂ�side Story. 35. The analÂ�yÂ�sis was made on the Â�PAL-system DVD Jaws: 30th AnÂ�niÂ�verÂ�sary, UniÂ�verÂ�sal, 2005. 36. See Jaws: The InÂ�side Story. 37. LaurÂ�ent BouÂ�zeÂ�reau, Jaws, CD bookÂ�let (Decca 2000, 467 045-2), 8. 38. Jon BurÂ�linÂ�game, “John Â�Williams Talks Jaws,” www.Â�horror-movies.ca/2012/08 /Â�john-williams-talks-jaws, acÂ�cessed 3 April 2013. 39. BouÂ�zeÂ�reau, Jaws, 8.

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40. Derek TayÂ�lor, The MakÂ�ing of “RaidÂ�ers of the Lost Ark” (New York: BalÂ�lanÂ�tine Books, 1981), 166. 41. BouÂ�zeÂ�reau, Jaws, 7. 42. ReÂ�becca KeeÂ�gan, “John Â�Williams and SteÂ�ven SpielÂ�berg Mark 40 Years of ColÂ�labÂ�oÂ�raÂ�tion,” Los AnÂ�geles Times, 8 JanÂ�uÂ�ary 2012. 43. On film music reÂ�semÂ�bling heartÂ�beats, see Ben WinÂ�ters, “CorÂ�poÂ�realÂ�ity, MuÂ�siÂ�cal HeartÂ�beats, and CinÂ�eÂ�matic EmoÂ�tion,” Music, Sound and the MovÂ�ing Image 2, no. 1 (Spring 2008): 3–25. 44. BouÂ�zeÂ�reau, Jaws, 8–10. 45. Ibid., 7. 46. Ibid., 8. 47. BurÂ�linÂ�game, “John Â�Williams Talks Jaws.” 48. BouÂ�zeÂ�reau, Jaws, 10–11. 49. The fugue is a reÂ�vered Â�art-music form that can be Â�traced back to the early baÂ�roque peÂ�riod. It is one of the most rigÂ�orÂ�ous comÂ�poÂ�siÂ�tional patÂ�terns, havÂ�ing two or more inÂ�deÂ�penÂ�dent meÂ�lodic lines (voices) interÂ�woven contraÂ�punÂ�tally. A fuÂ�gato is a muÂ�siÂ�cal piece that emÂ�ploys the techÂ�niques of the fugue, withÂ�out deÂ�velÂ�opÂ�ing the Â�fugue’s enÂ�tire forÂ�mal strucÂ�ture. 50. Â�Williams had preÂ�viÂ�ously reÂ�ceived one Oscar for his arÂ�rangeÂ�ments and muÂ�siÂ�cal diÂ�recÂ�tion of FidÂ�dler on the Roof (NorÂ�man JeÂ�wiÂ�son, 1971). 51. Tom Â�Shales of the WashÂ�ingÂ�ton Post, Â�quoted in WierzÂ�bicki, Film Music, 204. 52. Jaws 2: OrigÂ�iÂ�nal MoÂ�tion PicÂ�ture SoundÂ�track, MCA Â�Records, 3045, 1978, reÂ�isÂ�sued in CD by Â�Varèse SarÂ�aÂ�bande, VSD-5328, 1990. 53. Ray BenÂ�nett, “John Â�Williams, ComÂ�poser,” HolÂ�lyÂ�wood ReÂ�porter, 8 March 2000. ChapÂ�ter 7 Williams’s NeoÂ�clasÂ�siÂ�cism

1. EnÂ�cicÂ�loÂ�peÂ�dia della musÂ�ica, ed. AnÂ�drea BriÂ�ganti, GiuÂ�lia FaÂ�rina, AnÂ�drea Lanza (MiÂ�lano: GarÂ�zanti, 1996), 593 (my transÂ�laÂ�tion). 2. Guido SalÂ�vetti, La nasÂ�cita del NovÂ�eÂ�cento, 2nd ed. (Turin: EDT, 1991), 97–99 (my transÂ�laÂ�tion). 3. Ibid., 99. 4. Â�Miceli, MusÂ�ica per film, 248–49 (my transÂ�laÂ�tion). 5. Bob Â�Keefer, “RunÂ�ning Up the Score: John Â�Williams Â�Brings His CinÂ�eÂ�matic ComÂ�poÂ�siÂ�tions to EuÂ�gene,” Â�Register-Guard (OR), 20 SepÂ�temÂ�ber 2012. 6. Dyer, “John Â�Williams Is New Pops MaesÂ�tro.” 7. Â�Miceli, MusÂ�ica per film, 616–18 (my translation). 8. Â�Williams’s idiom is anÂ�aÂ�lyzed in harÂ�monic terms in Â�Jérôme Rossi, “Le dyÂ�naÂ�misme harÂ�moÂ�nique dans Â�l’ecriture filÂ�mique de John Â�Williams: HarÂ�moÂ�nie foncÂ�tionÂ�nelle verÂ�sus harÂ�moÂ�nie non foncÂ�tionÂ�nelle,” in TylÂ�ski, John Â�Williams, 113–40. 9. Cooke, HisÂ�tory of Film Music, 129.

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10. About WagÂ�ner, Â�Williams Â�stated: “The inÂ�struÂ�menÂ�taÂ�tion of Star Wars .€.€. might sound WagÂ�nerÂ�ian to some peoÂ�ple; it Â�doesn’t to me.’’ Â�Keefer, “RunÂ�ning Up the Score.” 11. “There are so many [inÂ�fluÂ�ences]. In the film world, I would have to menÂ�tion again AlÂ�fred NewÂ�man and BerÂ�nard HerrÂ�mann but also KornÂ�gold—the great VienÂ�nese comÂ�poser who went to HolÂ�lyÂ�wood in the early years—he was a great hero of mine and Franz WaxÂ�man—and many, many othÂ�ers. In the conÂ�cert field, there were, again, so many. I have to menÂ�tion Â�William WalÂ�ton, a great faÂ�vorÂ�ite of mine—I adÂ�mire his film and conÂ�cert music. WalÂ�ton was held in very high esÂ�teem in HolÂ�lyÂ�wood. I like Elgar too, and all the RusÂ�sian comÂ�posÂ�ers. The Â�twentieth-century RusÂ�sians: StraÂ�vinÂ�sky, ShosÂ�takÂ�oÂ� vitch, ProÂ�kofÂ�iev—all were great idols of mine as a youngÂ�ster.” Â�Williams, Â�quoted in Ian Lace, “The Film Music of John Â�Williams,” 1998, www.Â�musicweb-international.com /film/laÂ�cejw.htm, acÂ�cessed 3 April 2013. 12. Andy Â�Seiler, “Williams Adds MuÂ�siÂ�cal Magic to Harry PotÂ�ter,” USA Today, 13 NoÂ�vemÂ�ber 2001. 13. John Â�Williams, CD bookÂ�let, RaidÂ�ers of the Lost Ark, DCC ComÂ�pact Â�Classic-Silva Â�Screen, 1995, RaidÂ�ers 001. 14. ZaÂ�chary Â�Woolfe, “A SumÂ�mer BlockÂ�buster, Far from the MultiÂ�plex,” New York Times, 19 AuÂ�gust 2012. 15. The Emperor’s theme is reÂ�prised in Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith (George Lucas, 2005). 16. The seÂ�quence under analÂ�yÂ�sis Â�starts at 4' 10" and stops at 9' 34" (runÂ�ning 5' 24") and inÂ�cludes Â�fifty-four exÂ�plicit Â�synch-points, not countÂ�ing the startÂ�ing and closÂ�ing Â�synch-points. The analÂ�yÂ�sis was made on the DVD inÂ�cluded in the box set The AdÂ�venÂ�tures of InÂ�diÂ�ana Jones, ParÂ�aÂ�mount, 2003. 17. Â�Williams, radio interÂ�view by FranÂ�cine Stock, The Film ProÂ�gramme, BBC Radio 4, 14 April 2006. 18. On the gratÂ�ifiÂ�caÂ�tion efÂ�fect given by the recÂ�ogÂ�niÂ�tion of faÂ�milÂ�iar melÂ�oÂ�dies, folÂ�lowÂ�ing the “law of reÂ�turn” of the GesÂ�talt TheÂ�ory, see Meyer, EmoÂ�tion and MeanÂ�ing in Music, 151–52; and the “pleasÂ�ure of recÂ�ogÂ�niÂ�tion” in Meyer, Style and Music, 210n. 19. Byrd, “The Star Wars InterÂ�view,” 18. 20. BordÂ�well, Way HolÂ�lyÂ�wood Tells It, 63. 21. A numÂ�ber of parÂ�allels are also Â�pointed out in KalÂ�iÂ�nak, SetÂ�tling the Score, 190–92. 22. Derek Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” Films and FilmÂ�ing 24, no. 10 ( July 1978): 23. 23. Max Â�Steiner, Â�quoted in SchreibÂ�man, “MemÂ�oÂ�ries of Max. Part 2,” 25. 24. Wynn DeÂ�lacÂ�oma, “Williams: From CelÂ�luÂ�loid to CSO,” ChiÂ�cago Â�Sun-Times, 28 NoÂ�vemÂ�ber 2003. 25. Â�Miceli, MusÂ�ica per film, 641. 26. James C. McKinÂ�ley Jr., “John Â�Williams Lets His Muses Carry Him Along,” New York Times, 19 AuÂ�gust 2011. 27. McNab, “They Shoot, He Â�Scores.” 28. Max Â�Steiner, Â�quoted in BuhÂ�ler, “AnÂ�aÂ�lytÂ�iÂ�cal and InterÂ�preÂ�tive ApÂ�proaches to Film Music (II),” 45.

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29. BerÂ�nie DoÂ�broÂ�ski and Â�Claire Â�Greene, “Pass the PopÂ�corn: An InterÂ�view with John Â�Williams,” InÂ�struÂ�menÂ�talÂ�ist, no. 38, July 1984, 6. 30. T. Â�Thomas, Film Score, 334. 31. McKinÂ�ley Jr., “John Â�Williams Lets His Muses Carry Him Along.” 32. ClemÂ�ency Â�Burton-Hill, “John Â�Williams, the Music MasÂ�ter,” FiÂ�nanÂ�cial Times, 17 AuÂ�gust 2012. 33. DoÂ�broÂ�ski and Â�Greene, “Pass the PopÂ�corn,” 6. 34. On Â�Korngold’s disÂ�like for techÂ�niÂ�cal aids, see T. Â�Thomas, Music for the MoÂ�vies, 171–72. 35. See the docÂ�uÂ�menÂ�tary Film Music MasÂ�ters: Jerry GoldÂ�smith, by Fred KarÂ�lin, 1995. 36. Â�Burton-Hill, “John Â�Williams, the Music MasÂ�ter.” 37. David Â�Thomas, “King of Â�Themes,” SunÂ�day TeleÂ�graph, 13 July 1997, 50. 38. On NewÂ�man and WaxÂ�man, see Â�Palmer, ComÂ�poser in HolÂ�lyÂ�wood, 69–70, 95; on HerrÂ�mann, see SteÂ�ven C. Smith, A Heart at Â�Fire’s CenÂ�ter: The Life and Music of BerÂ�nard HerrÂ�mann, 2nd ed. (BerkeÂ�ley: UniÂ�verÂ�sity of CalÂ�iÂ�forÂ�nia Press, 2002), 81–82, 135–36, 155–56, 187–88, 209–10, 217–18, 262–63, 336–37. 39. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 2,” 32. 40. SchreibÂ�man, “MemÂ�oÂ�ries of Max. Part 2,” 27. 41. David PatÂ�rick Â�Stearns, “2 Emmys, 4 OsÂ�cars, 15 GramÂ�mys .€.€. But, Hey, Who’s CountÂ�ing? Not John Â�Williams, Â�Hollywood’s Most HonÂ�ored ComÂ�poser,” Arts & EnÂ�terÂ� tainÂ�ment, FebÂ�ruÂ�ary 1993, 22. 42. See apÂ�penÂ�dix 1 for a catÂ�aÂ�logue. When planÂ�ning to perÂ�form Â�suites from the film music repÂ�erÂ�toire, usuÂ�ally one has to conÂ�tact the comÂ�poser or the pubÂ�lisher in order to rent the score and orÂ�chesÂ�tral parts. When the origÂ�iÂ�nal maÂ�teÂ�rial is not availÂ�able, one has to reÂ�sort to more or less faithÂ�ful arÂ�rangeÂ�ments and transcripÂ�tions. As for Â�Williams, alÂ�most forty orÂ�chesÂ�tral sets (conductor’s score plus orÂ�chesÂ�tral parts) are easÂ�ily availÂ�able for purÂ�chase in the same verÂ�sion that Â�Williams himÂ�self conÂ�ducts in conÂ�certs; in adÂ�diÂ�tion, each score also has an introÂ�ducÂ�tory text by the comÂ�poser (see John Â�Williams SigÂ�naÂ�ture EdiÂ�tion seÂ�ries, pubÂ�lished by Hal LeÂ�oÂ�nard). 43. D. Â�Thomas, “Point Blank,” 77. MerÂ�vyn Cooke pinÂ�points the balÂ�letic naÂ�ture of Â�Williams’s writÂ�ing and sees it as a traÂ�diÂ�tion that can be Â�traced back to TiomÂ�kin: “AudÂ�ible links with the RusÂ�sian balÂ�let traÂ�diÂ�tion preÂ�vail to the Â�present day in the music of John Â�Williams and othÂ�ers.” Cooke, HisÂ�tory of Film Music, 120–21. 44. For exÂ�amÂ�ple, in the score for The Three Â�Worlds of GulÂ�liver ( Jack Sher, 1960), Â�Herrmann’s use of Â�closed forms like miÂ�nuets and Â�marches made it posÂ�sible to comÂ�pile a rich conÂ�cert suite from the film score (BerÂ�nard HerrÂ�mann Great Film Music, NaÂ�tional PhilÂ�harÂ� monic OrÂ�chesÂ�tra conÂ�ducted by BerÂ�nard HerrÂ�mann [1974–75], CD, Â�Decca-London 1996, 443 899-2). 45. SimÂ�iÂ�larly, Â�Korngold’s music for the SherÂ�wood amÂ�bush seÂ�quence in The AdÂ�venÂ�tures of Robin Hood (MiÂ�chael CurÂ�tiz, Â�William KeighÂ�ley, 1938) was transÂ�formed with minor modÂ�ifiÂ�caÂ�tions into the conÂ�cert march “Robin Hood and His Merry Men.” ComÂ�pare the forÂ�est amÂ�bush seÂ�quence on the DVD The AdÂ�venÂ�tures of Robin Hood, WarÂ�ner Bros., 2003—in which it is posÂ�sible to lisÂ�ten to the isoÂ�lated music track—with the secÂ�ond moveÂ�ment of

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the conÂ�cert suite on the CD The Film Music of Erich WolfÂ�gang KornÂ�gold, BBC PhilÂ�harÂ�monic conÂ�ducted by Rumon Gamba, ChanÂ�dos, 2005, CHAN 10336. 46. The suite is deÂ�scribed in RichÂ�ard Dyer, “John Â�Williams Casts Spell for ‘Potter’ Score,” BosÂ�ton Globe, 15 NoÂ�vemÂ�ber 2001, and is pubÂ�lished by Hal LeÂ�oÂ�nard in the John Â�Williams SigÂ�naÂ�ture EdiÂ�tion seÂ�ries. 47. ComÂ�pare the conÂ�cert piece AdÂ�venÂ�tures on Earth (“John Â�Williams SigÂ�naÂ�ture EdiÂ�tion,” Hal LeÂ�oÂ�nard, 04490009) with the track tiÂ�tled “AdÂ�venÂ�ture on Earth” in the origÂ�iÂ�nal album of E.T. (MCA Â�Records, 1982, CD, MCLD 19021). 48. Â�Miceli, MusÂ�ica per film, 249–50 (my transÂ�laÂ�tion). 49. Other notÂ�able soÂ�loÂ�ists in Â�Williams’s Â�scores: the perÂ�cusÂ�sionÂ�ist Stomu Â�Yamash’ta in ImÂ�ages (RobÂ�ert AltÂ�man, 1972); the harÂ�monÂ�ica virÂ�tuÂ�oso Toots ThieleÂ�mans in The Sugar­ land ExÂ�press (SteÂ�ven SpielÂ�berg 1974) and CinÂ�deÂ�rella LibÂ�erty (Mark RyÂ�dell, 1973); the trumÂ�pet Â�player Tim MorÂ�riÂ�son in Born on the Â�Fourth of July (OlÂ�iÂ�ver Stone, 1989) and JFK (OlÂ�iÂ�ver Stone, 1991); the Irish group The ChiefÂ�tains in Far and Away (Ron HoÂ�ward, 1992); the guiÂ�tarÂ�ist ChrisÂ�toÂ�pher ParkÂ�enÂ�ing in StepÂ�mom (Chris CoÂ�lumÂ�bus, 1998); the saxoÂ�phonÂ�ist Dan HigÂ�gins in Catch Me If You Can (SteÂ�ven SpielÂ�berg, 2002); and both ItÂ�zhak PerlÂ�man and Yo-Yo Ma in MeÂ�moirs of a GeiÂ�sha (Rob MarÂ�shall, 2005). 50. A sigÂ�nifÂ�iÂ�cant exÂ�amÂ�ple of the difÂ�ferÂ�ence Â�between an album Â�created acÂ�cordÂ�ing to criÂ�teÂ�ria of lisÂ�tenÂ�ing exÂ�peÂ�riÂ�ence and one Â�created with the aim of folÂ�lowÂ�ing “philÂ�oÂ�logÂ�iÂ�cally” the music order in the film is the comÂ�parÂ�iÂ�son Â�between the Star Wars: EpiÂ�sode I: The PhanÂ�tom MenÂ�ace album (Sony ClasÂ�siÂ�cal 1999, CD, SK 61816)—duÂ�raÂ�tion 74'—with the Â�two-disc speÂ�cial ediÂ�tion conÂ�tainÂ�ing the full music track (Sony ClasÂ�siÂ�cal 2000, CD, SK2 89460)— duÂ�raÂ�tion 124'. In the latÂ�ter CD, music fragÂ�menÂ�taÂ�tion is evÂ�iÂ�dent. 51. John Â�Williams, liner notes for the LP album Star Wars, 20th CenÂ�tury Â�Records, 1977, 2T-541 (0898). 52. AnÂ�other exÂ�amÂ�ple is the Â�collector’s ediÂ�tion douÂ�ble CD of The Fury (Brian De Palma, 1978): disc 2 conÂ�tains the origÂ�iÂ�nal album Â�re-recorded with the LonÂ�don SymÂ�phony OrÂ�chesÂ�tra (9 Â�tracks, duÂ�raÂ�tion 40') while disc 1 conÂ�tains the origÂ�iÂ�nal music track (23 Â�tracks, duÂ�raÂ�tion 55' ) reÂ�corded with a freeÂ�lance orÂ�chesÂ�tra. The comÂ�parÂ�iÂ�son Â�between these two discs and the difÂ�ferÂ�ent duÂ�raÂ�tions of the Â�pieces is a case study of this proÂ�cess of comÂ�binÂ�ing difÂ�ferÂ�ent cues, arÂ�rangÂ�ing the forms, and reÂ�orÂ�gaÂ�nizÂ�ing their order from the origÂ�iÂ�nal film score to the album reÂ�lease. “Main Title” lasts 2' 08" on the music track and 3' 08" on the album; “For GilÂ�lian” lasts 1' 48" on the music track and 2' 37" on the album; “ViÂ�sion on the Â�Stairs” lasts 1' 48" on the music track and 4' 03" on the album. Ch ap Â�t e r 8 W i l l i am s’s NayÂ�sayÂ�e rs

1. T. Â�Thomas, Film Score, 18. 2. See WierzÂ�bicki, Film Music, 150–58; and Â�Adorno and EisÂ�ler, ComÂ�posÂ�ing for the Films. 3. DiÂ�miÂ�tri TiomÂ�kin, Â�quoted in Flinn, Â�Strains of UtoÂ�pia, 3.

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4. See the comÂ�ments to McKinÂ�ley Jr., “John Â�Williams Lets His Muses Carry Him Along,” http://artsÂ�beat.blogs.nyÂ�times.com/2011/08/19/Â�john-williams-lets-his-musescarry-him-along, acÂ�cessed 3 April 2013. 5. SerÂ�gio Â�Miceli and Ennio MorÂ�riÂ�cone, ComÂ�porre per il cinÂ�ema: TeÂ�oria e Â�prassi della musÂ�ica nel film (Rome: BibÂ�lioÂ�teca di BiÂ�anco e Nero/SNC, 2001), 141. 6. RicÂ�cardo PalÂ�mieri, “Marco FriÂ�sina. ViÂ�sioni SinÂ�foÂ�niche,” SET, March 1998, 75 (my transÂ�laÂ�tion). 7. DiÂ�rect tesÂ�tiÂ�mony, 17 March 2004, DAMS, ImÂ�peÂ�ria, Italy. 8. Lack, Â�Twenty Four Â�Frames Under, 329–30. 9. Â�William Booth, “Shark AtÂ�tack?! John Â�Williams Liked the Sound of That,” WashÂ� ingÂ�ton Post, 5 DeÂ�cemÂ�ber 2004. 10. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 24. Â�Williams and SpenÂ�cer can be seen at work in the docÂ�uÂ�menÂ�tary Star Wars: Music by John Â�Williams, by David BuckÂ�ton, BBC, 1980, which is an exÂ�celÂ�lent reÂ�port on Â�Williams’s modus opÂ�erÂ�andi. 11. On Â�Korngold’s orÂ�chesÂ�traÂ�tors, see DuÂ�chen, Erich WolfÂ�gang KornÂ�gold, 164–65. 12. DoÂ�broÂ�ski and Â�Greene, “Pass the PopÂ�corn,” 6. 13. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 24. 14. FerÂ�nando GonÂ�zaÂ�lez, “OrÂ�chesÂ�tratÂ�ing InÂ�diÂ�ana Jones,” BosÂ�ton Globe, 18 June 1989. HerÂ�bert Â�Spencer’s acÂ�count on the comÂ�pleteÂ�ness of Â�Williams’s Â�sketches can be found in KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 37. 15. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 24. 16. KalÂ�iÂ�nak, SetÂ�tling the Score, 191. 17. LeÂ�brecht, “John Â�Williams—The MagÂ�pie MaesÂ�tro.” 18. Ibid. 19. DougÂ�las CanÂ�non Hyde, “The Music Man for Jedis and JonÂ�eÂ�ses,” http://arÂ�tiÂ�cles .cnn.com/2003-05-05/enÂ�terÂ�tainÂ�ment/john.Â�williams, acÂ�cessed 3 April 2013. 20. LeÂ�brecht, “John Â�Williams—The MagÂ�pie MaesÂ�tro.” 21. Ibid. InÂ�ciÂ�denÂ�tally, there are also a Â�couple of misÂ�takes in this pasÂ�sage: the theme from The GodÂ�father was borÂ�rowed from ForÂ�tuÂ�nella (EdÂ�uÂ�ardo De FiÂ�lippo, 1958), not from 8 ½ (FeÂ�derÂ�ico FelÂ�lini, 1963), with which there is no reÂ�semÂ�blance at all; and the music for HiÂ�roÂ�shima Mon Amour is Â�co-composed by GioÂ�vanni Fusco. 22. LeÂ�brecht, “John Â�Williams—The MagÂ�pie MaesÂ�tro.” 23. On the orÂ�iÂ�gins and difÂ�fuÂ�sion of this aesÂ�thetic criÂ�terÂ�ion, see Carl DahlÂ�haus, Die Idee der abÂ�soÂ�luÂ�ten Musik (KasÂ�sel: Â�Bärenreiter-Verlag, 1978), trans. Roger LusÂ�tig as The Idea of AbÂ�soÂ�lute Music (ChiÂ�cago: UniÂ�verÂ�sity of ChiÂ�cago Press, 1991). 24. David Â�Neumeyer, “IntroÂ�ducÂ�tion,” in BuhÂ�ler et al., Music and CinÂ�ema, 21. 25. MarÂ�tin BernÂ�heimer, “Pop! John Â�Williams on PhilÂ�harÂ�monic PoÂ�dium,” Los AnÂ�geles Times, 12 NoÂ�vemÂ�ber 1983. 26. Â�Lerner, “NosÂ�talÂ�gia, MasÂ�cuÂ�linÂ�ist DisÂ�course and AuÂ�thorÂ�iÂ�tarÂ�ianÂ�ism,” 106. 27. On herÂ�meÂ�neuÂ�tics and the methÂ�oÂ�dolÂ�oÂ�gies for film interÂ�preÂ�taÂ�tion, see David BordÂ�well, MakÂ�ing MeanÂ�ing: InÂ�ferÂ�ence and RhetÂ�oÂ�ric in the InterÂ�preÂ�taÂ�tion of CinÂ�ema (CamÂ�bridge, MA: HarÂ�vard UniÂ�verÂ�sity Press, 1989), esp. 247–74.

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28. Â�Jean-Luis CoÂ�molli and Jean NarÂ�boni, “CinÂ�éma/IdéoÂ�loÂ�gie/CriÂ�tique,” CaÂ�hiers du CinÂ�éma, nos. 216, 217 (1969); Â�Jean-Luis CoÂ�molli, “TechÂ�nique et IdéoÂ�loÂ�gie,” CaÂ�hiers du CinÂ�éma, nos. 229, 230, 231, 233, 234, 235, 241 (1971–72); Â�Jean-Louis Â�Baudry, Â�L’effect cinÂ�éma (Paris: AlÂ�baÂ�tros, 1978); Â�Marie-Claire RoÂ�pars, Le Texte diÂ�visé (Paris: PUF, 1981); PaÂ�triÂ�cia White, “FemÂ�iÂ�nism and Film,” in Hill and GibÂ�son, OxÂ�ford Guide to Film StudÂ�ies, 117–34; ShoÂ�hini ChaudÂ�huri, FemÂ�iÂ�nist Film TheoÂ�rists: Laura MulÂ�vey, Kaja SilÂ�verÂ�man, TeÂ�resa de LauÂ�reÂ�tis, BarÂ�bara Creed (New York: RoutÂ�ledge, 2006); and Peter BrunÂ�ette, “Post-Structuralism and DeÂ�conÂ�strucÂ�tionÂ�ism,” in Hill and GibÂ�son, OxÂ�ford Guide to Film StudÂ�ies, 91–95. 29. Booth, “Shark AtÂ�tack?!” 30. On “nostalgia’’ from a postÂ�modÂ�ern perÂ�specÂ�tive, see FredÂ�ric JameÂ�son, The GeoÂ�poÂ�litÂ�iÂ�cal AesÂ�thetic: CinÂ�ema and Space in the World Â�System (BloomÂ�ingÂ�ton: InÂ�diÂ�ana UniÂ�verÂ�sity Press, 1992), 118–21. 31. A brief comÂ�parÂ�iÂ�son with other faÂ�mous diÂ�recÂ�tor/comÂ�poser duos may be useÂ�ful: AlÂ�fred HitchÂ�cock and BerÂ�nard HerrÂ�mann Â�worked toÂ�gether for Â�eleven years and proÂ�duced eight films; SerÂ�gio Leone and Ennio MorÂ�riÂ�cone for Â�twenty years and eight films; FeÂ�derÂ�ico FelÂ�lini and Nino Rota for twenty-six Â� years and sixÂ�teen films; Â�François TrufÂ�faut and Â�Georges DelÂ�eÂ�rue for Â�twenty-three years and Â�eleven films; Â�Claude ChabÂ�rol and Â�Pierre JanÂ�sen for Â�twenty years and Â�thirty films; Blake EdÂ�wards and Henry ManÂ�cini for Â�thirty-five years and Â�twenty-six feaÂ�ture films (not countÂ�ing the TV shows). The most celÂ�eÂ�brated team, SerÂ�gei EiÂ�senÂ�stein and SerÂ�gei ProÂ�kofÂ�iev, Â�lasted for seven years and three films. 32. Â�Miceli, MusÂ�ica per film, 248 (my transÂ�laÂ�tion). 33. Cooke, HisÂ�tory of Film Music, 460. 34. Brown, OverÂ�tones and UnderÂ�tones, 187. 35. CalÂ�aÂ�bretto, Lo Â�schermo soÂ�noro, 60 (my transÂ�laÂ�tion). 36. Ibid., 74–75. Ch ap Â�t e r 9 Ra i d e Â� rs of th e L ost Ark B ac k Â�g rou nd

1. Â�Franco La Polla and Maria TeÂ�resa CaÂ�vina, eds., SpielÂ�berg su SpielÂ�berg (Turin: LinÂ�dau, 1995), 63–65; D. TayÂ�lor, MakÂ�ing of “RaidÂ�ers of the Lost Ark,” 12; Ian Freer, The ComÂ�plete SpielÂ�berg (LonÂ�don: VirÂ�gin PubÂ�lishÂ�ing, 2001), 96. 2. D. TayÂ�lor, MakÂ�ing of “RaidÂ�ers of the Lost Ark,” 13. 3. MoreÂ�over, the Bond charÂ�acÂ�ter has been Â�played by a numÂ�ber of acÂ�tors durÂ�ing the last fifty years, thus givÂ�ing Bond a sort of ageÂ�less look and atemÂ�poÂ�ral exÂ�isÂ�tence; he beÂ�longs to the 1960s as well as to the 1990s and 2000s. Dr. Jones, conÂ�versely, is Â�rooted in a deÂ�fined hisÂ�torÂ�iÂ�cal conÂ�text and has alÂ�ways been Â�played by HarÂ�riÂ�son Ford and, Â�across the seÂ�ries, we can Â�clearly see the charÂ�acÂ�ter aging along with the actor (inÂ�deed, the Â�fourth inÂ�stallÂ�ment is set in the late 1950s, not in the 1930s, so as to be conÂ�gruÂ�ent with Â�Ford’s age). Â�Thanks to Jeff Smith for pointÂ�ing this out. 4. D. TayÂ�lor, MakÂ�ing of “RaidÂ�ers of the Lost Ark,” 13. 5. Ibid.

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6. Ibid., 1–2. 7. Ibid., 14. 8. Ibid., 105. 9. Freer, ComÂ�plete SpielÂ�berg, 99. 10. “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” EmÂ�pire, no. 208, OcÂ�toÂ�ber 2006, 74. 11. Â�Philip TayÂ�lor, SteÂ�ven SpielÂ�berg: The Man, His MoÂ�vies, and Their MeanÂ�ing, 3rd ed. (LonÂ�don: B. T. BatsÂ�ford, 1999), 107. 12. Freer, ComÂ�plete SpielÂ�berg, 97; Omar CalÂ�aÂ�brese, Â�Neo-Baroque: A Sign of the Times (PrinceÂ�ton, NJ: PrinceÂ�ton UniÂ�verÂ�sity Press, 1992), 173; P. TayÂ�lor, SteÂ�ven SpielÂ�berg, 104. 13. P. TayÂ�lor, SteÂ�ven SpielÂ�berg, 105. 14. WarÂ�ren BuckÂ�land, “A Close EnÂ�counÂ�ter with RaidÂ�ers of the Lost Ark: Notes on NarÂ�raÂ�tive AsÂ�pects of the New HolÂ�lyÂ�wood BlockÂ�buster,” in Neale and Smith, ConÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood CinÂ�ema, 170. 15. BuckÂ�land, “A Close EnÂ�counÂ�ter,” 171–72. 16. Field, Â�Screenwriter’s ProbÂ�lem Â�Solver, 269–86. 17. BordÂ�well, NarÂ�raÂ�tion in the FicÂ�tion Film, 158. 18. On “sympÂ�toÂ�matic meanÂ�ing,” see BordÂ�well, MakÂ�ing MeanÂ�ing, 9. For RaidÂ�ers of the Lost Ark as an exÂ�amÂ�ple of ReÂ�agÂ�aÂ�nite enÂ�terÂ�tainÂ�ment, see P. TayÂ�lor, SteÂ�ven SpielÂ�berg, 107; and JulÂ�lier, Â�L’écran Â�post-moderne, 30–32. An interÂ�preÂ�taÂ�tive analÂ�yÂ�sis of the film can be found in Nigel MorÂ�ris, The CinÂ�ema of SteÂ�ven SpielÂ�berg: EmÂ�pire of Light (LonÂ�don: WallÂ�flower Press, 2007), 78–80. On cinÂ�ema in the ReaÂ�gan era, see Sklar, Â�Movie-Made AmerÂ�ica, 339–56. 19. IdeoÂ�logÂ�iÂ�cally, the film does Â�present Â�traits of “OrienÂ�talÂ�ism”—a seÂ�ries of genÂ�erÂ�alÂ� ized and stereoÂ�typed Â�traits Â�created from an EuÂ�roÂ�cenÂ�tric perÂ�specÂ�tive to sepÂ�arÂ�ate WestÂ�ern culÂ�ture from and deÂ�fine it Â�vis-à-vis EastÂ�ern culÂ�ture(s)—as anÂ�aÂ�lyzed by EdÂ�ward Said in OrienÂ�talÂ�ism [1978] (LonÂ�don: PenÂ�guin Books, 2003): “a way of comÂ�ing to terms with the OrÂ�iÂ�ent that is based on the Â�Orient’s speÂ�cial place in EuÂ�roÂ�pean WestÂ�ern exÂ�peÂ�riÂ�ence. .€.€. OrienÂ�talÂ�ism is a style of Â�thought based upon an onÂ�toÂ�logÂ�iÂ�cal and episÂ�teÂ�moÂ�logÂ�ical disÂ�tincÂ� tion made Â�between ‘the Â�Orient’ and (most of the time) ‘the OcÂ�ciÂ�dent.’ .€.€. In brief, beÂ�cause of OrienÂ�talÂ�ism the OrÂ�iÂ�ent was not (and is not) a free subÂ�ject of Â�thought or acÂ�tion. This is not to say that OrienÂ�talÂ�ism uniÂ�latÂ�erÂ�ally deÂ�terÂ�mines what can be said about the OrÂ�iÂ�ent, but that it is the whole netÂ�work of interÂ�ests inÂ�evÂ�iÂ�taÂ�bly Â�brought to bear on (and thereÂ�fore alÂ�ways inÂ�volved in) any ocÂ�caÂ�sion when that peÂ�cuÂ�liar enÂ�tity ‘the Â�Orient’ is in quesÂ�tion” (1–3). LikeÂ�wise, the music reÂ�sorts to a numÂ�ber of “OrienÂ�talÂ�ist” cliÂ�chés traÂ�diÂ�tionÂ�ally emÂ�ployed by WestÂ�ern music, like penÂ�taÂ�tonic Â�scales for EastÂ�ern charÂ�acÂ�ters and chroÂ�matic Â�scales for MidÂ�dle EastÂ�ern ones. 20. RichÂ�ard Dyer, “Williams Â�Poised for Pops,” BosÂ�ton Globe, 26 April 1981. 21. “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” 81. 22. The Music of InÂ�diÂ�ana Jones, video docÂ�uÂ�menÂ�tary by LaurÂ�ent BouÂ�zeÂ�reau, LuÂ�casÂ� film, 2003, inÂ�cluded in The AdÂ�venÂ�tures of InÂ�diÂ�ana Jones, DVD Â�box-set, ParÂ�aÂ�mount Home Video, 2003. 23. MauÂ�rice MurÂ�phy (1935–2010) was one of the Â�world’s best trumÂ�pet virÂ�tuÂ�osi and held the poÂ�siÂ�tion of LSO’s prinÂ�ciÂ�pal trumÂ�pet from 1977 to 2007. His debut as LSO prinÂ�ciÂ�pal was the reÂ�cordÂ�ing of the first Star Wars film in 1977. In the folÂ�lowÂ�ing years,

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Â� Murphy’s unÂ�misÂ�takÂ�able sound was inÂ�delÂ�ibly Â�linked to such Â�Williams Â�scores as SuperÂ�man: The Movie and RaidÂ�ers of the Lost Ark, not to menÂ�tion all the subÂ�seÂ�quent inÂ�stallÂ�ments of the Star Wars saga, which MurÂ�phy renÂ�dered with a heÂ�roic imÂ�peÂ�tus never surÂ�passed and selÂ�dom Â�equaled. See the meÂ�moÂ�rial page at the LSO webÂ�site, http://lso.co.uk/3349, acÂ�cessed 3 April 2013. 24. RaidÂ�ers March, full orÂ�chesÂ�tral score, “John Â�Williams SigÂ�naÂ�ture EdiÂ�tion,” Hal LeÂ�oÂ�nard, 04490015. 25. The James Bond theme was comÂ�posed by Monty NorÂ�man and arÂ�ranged by John Barry, alÂ�though there has been a Â�long-standing conÂ�troÂ�versy on its auÂ�thorÂ�ship: see Geoff LeÂ�oÂ�nard and Pete Â�Walker, “John Barry and James Bond. The MakÂ�ing of the Music,” and Lukas KenÂ�dall, “Who Wrote the Bond Theme?” Film Score Â�Monthly, NoÂ�vemÂ�ber 1995, 15–18. NorÂ�man evenÂ�tuÂ�ally won a legal acÂ�tion, being conÂ�firmed as the auÂ�thor of the theme: “NorÂ�man Wins Bond Libel Suit,” Film Score Â�Monthly, March 2001, 4. 26. Â�Miceli, MusÂ�ica per film, 463–64 (my transÂ�laÂ�tion). 27. TellÂ�ingly, this is a major difÂ�ferÂ�ence with the first draft of the theme: “I went Â�around for weeks with Luke Â�Skywalker’s theme Â�slightly difÂ�ferÂ�ent: the top B flat as only one beat. Then one day, drivÂ�ing home from the stuÂ�dio (and I’d alÂ�ready Â�scored one seÂ�quence with the theme like that), I sudÂ�denly Â�thought how much betÂ�ter it would be with two beats on the top note.” Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 23. 28. M. R. MontÂ�gomÂ�ery, “John Â�Williams’ Quiet Side,” BosÂ�ton Globe, 18 March 1981. 29. ColÂ�burn, “John Â�Williams ReÂ�turns to Bands,” 16. 30. See chap. 4 for the myÂ�thoÂ�logÂ�iÂ�cal naÂ�ture of Star Wars and the arÂ�cheÂ�typal heÂ�roic jourÂ�ney underÂ�linÂ�ing the narÂ�raÂ�tive. Luke SkyÂ�walker is just one of the many inÂ�carÂ�naÂ�tions of the Hero archeÂ�type as is the leitÂ�moÂ�tiv, which can cerÂ�tainly be asÂ�soÂ�ciated with Luke, but above all it comes to repÂ�reÂ�sent the film and the archeÂ�types repÂ�reÂ�sented in it. 31. On “stretchÂ�ing” as a typÂ�iÂ�cally roÂ�manÂ�tic comÂ�poÂ�siÂ�tional stratÂ�egy, see Meyer, Style and Music, 259–71. 32. “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” 82. 33. Since acÂ�cess to the origÂ�iÂ�nal score is not alÂ�lowed, for the muÂ�siÂ�cal analÂ�yÂ�sis of the main Â�themes we have reÂ�ferred eiÂ�ther to transcripÂ�tions by ear (“The Ark’s Motif ” and “The Wrath of God Motif ” in chap. 10) or to the philÂ�oÂ�logÂ�iÂ�cal conÂ�cert verÂ�sions pubÂ�lished by Hal LeÂ�oÂ�nard in the auÂ�thorÂ�iÂ�taÂ�tive seÂ�ries “John Â�Williams SigÂ�naÂ�ture EdiÂ�tion.” 34. See chap. 6 in this book for its apÂ�pearÂ�ance in Jaws. The triÂ�tone is faÂ�mously feaÂ�tured in the tromÂ�bones motif at the beÂ�ginÂ�ning of ModÂ�est Â�Mussorgsky’s fanÂ�tasy for orÂ�chesÂ�tra, Night on Bald MounÂ�tain, which muÂ�siÂ�cally deÂ�scribes a Â�witches’ SabÂ�bath. Ch ap Â�t e r 10 Ra i d e Â� rs of th e L ost Ark A n a lÂ�yÂ�s is

1. The film analÂ�yÂ�sis of RaidÂ�ers of the Lost Ark is based on the Â�PAL-system DVD runÂ�ning at Â�twenty-five Â�frames per secÂ�ond, hereÂ�after f/s (ParÂ�aÂ�mount Home Video, 2003). I have also reÂ�ferred to the CDs from the Â�film’s origÂ�iÂ�nal music track (RaidÂ�ers of the Lost Ark,

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DCC ComÂ�pact Â�Classic-Silva Â�Screen, 1995, RaidÂ�ers 001 and RaidÂ�ers of the Lost Ark, ConÂ�cord Â�Records, 2008, CRE-31002-02) to betÂ�ter idenÂ�tify the orÂ�chesÂ�traÂ�tion deÂ�tails in those pasÂ�sages in the film in which the diÂ�alogue and sound efÂ�fects may mask the music. 2. On the charÂ�acÂ�terÂ�isÂ�tics of Â�open-title seÂ�quences in the clasÂ�siÂ�cal HolÂ�lyÂ�wood cinÂ�ema, see BordÂ�well et al., ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, 25–29. 3. “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” 74. 4. At that time Lucas had alÂ�ready Â�planned at least anÂ�other two chapÂ�ters. See D. TayÂ�lor, MakÂ�ing of “RaidÂ�ers of the Lost Ark,” 14. 5. On the “PrinÂ�ciÂ�ple of satÂ�uÂ�raÂ�tion” and the psychoÂ�logÂ�iÂ�cal efÂ�fects Â�caused by osÂ�tiÂ�naÂ�tos and music with proÂ�longed tonal unÂ�cerÂ�tainty, see Meyer, EmoÂ�tion and MeanÂ�ing in Music, 135–38. 6. On the reaÂ�sons why the minor mode typÂ�iÂ�cally Â�sounds eiÂ�ther Â�tragic or sad, see Meyer, EmoÂ�tion and MeanÂ�ing in Music, 222–28. On the conÂ�noÂ�taÂ�tive mechÂ�aÂ�nisms of music, see ibid., 258–72, and the “metaÂ�phoric mimÂ�icry” in Meyer, Style and Music, 128–31. 7. For exÂ�amÂ�ple, Â�low-pitched tromÂ�bones minor Â�chords are used in GottÂ�fried Â�Huppertz’s music for the kidÂ�napÂ�ping of Maria in the catÂ�aÂ�combs in MeÂ�tropÂ�oÂ�lis (Fritz Lang, 1927). This cliÂ�ché had also been regÂ�uÂ�larly used by Max Â�Steiner since The Most DanÂ�gerÂ�ous Game (IrÂ�ving Â�Pichel, ErÂ�nest B. SchoedÂ�sack, 1932). 8. Tone clusÂ�ters are Â�groups of conÂ�tigÂ�uÂ�ous notes Â�played siÂ�mulÂ�taÂ�neÂ�ously and thereÂ� fore soundÂ�ing Â�highly disÂ�soÂ�nant and perÂ�ceived as “fasÂ�tidÂ�iÂ�ously” gratÂ�ing. 9. ExÂ�plicit Â�synch-points puncÂ�tuÂ�ate the spear trap snapÂ�ping shut and the grueÂ�some view of the Â�corpse of an unÂ�lucky exÂ�plorer; the snapÂ�ping of the whip Â�around a beam; the colÂ�lapsÂ�ing of the beam while Â�Satipo is crossÂ�ing over a botÂ�tomÂ�less pit; and a poiÂ�soned arrow hitÂ�ting the torch held by the man with the hat. 10. On the psychoÂ�logÂ�iÂ�cal mechÂ�aÂ�nisms of susÂ�pense in music, see Meyer, EmoÂ�tion and MeanÂ�ing in Music, 163–66. 11. This use of the cresÂ�cendo or the Â�stinger folÂ�lowed by a draÂ�matic muÂ�siÂ�cal siÂ�lence is typÂ�iÂ�cal of Â�Steiner and can be found, for exÂ�amÂ�ple, in The InÂ�former ( John Ford, 1935). 12. AlÂ�though the Â�source is not visÂ�ible, the music volÂ�ume rises or lowÂ�ers as the two charÂ�acÂ�ters move Â�around, which sugÂ�gests a dieÂ�getic Â�source. 13. CD bookÂ�let, RaidÂ�ers of the Lost Ark, DCC ComÂ�pact Â�Classic-Silva Â�Screen, 1995, RaidÂ�ers 001. 14. 1 Kings 19:12 (New Â�American StanÂ�dard Bible). 15. The song is “I Am the MonÂ�arch of the Sea” from the opÂ�erÂ�etta H.M.S. PinÂ�aÂ�fore (1878) by ArÂ�thur SulÂ�liÂ�van and W. S. GilÂ�bert. 16. As in the preÂ�viÂ�ous exÂ�amÂ�ple in which the alÂ�leged torÂ�ture inÂ�struÂ�ment is transÂ� formed into a harmÂ�less Â�clothes Â�hanger, the music conÂ�tribÂ�utes to build a “mounÂ�tain that has Â�brought forth a mouse.” 17. The “show-off modÂ�ulaÂ�tion” (C major to Â�D-flat major) can be spotÂ�ted between Â� measÂ�ures 7–8 in the secÂ�ond muÂ�siÂ�cal exÂ�amÂ�ple in chapÂ�ter 9, p.€156. 18. FragÂ�ments of the main theme are preÂ�sented in gradÂ�uÂ�ally Â�longer conÂ�figÂ�uÂ�raÂ�tions throughÂ�out the film, until the theme is fiÂ�nally Â�stated in its full form in a topÂ�iÂ�cal scene reÂ�quirÂ�ing an emoÂ�tional punch from the music.

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19. The Mark Tree is a seÂ�ries of susÂ�pended small tuÂ�buÂ�lar bells arÂ�ranged in a line from the shortÂ�est (highÂ�est pitch) to the longÂ�est (lowÂ�est pitch). When the bells are Â�rubbed with a stick, they proÂ�duce an asÂ�cendÂ�ing or deÂ�scendÂ�ing silÂ�very sound. A simÂ�iÂ�larly soundÂ�ing inÂ�struÂ�ment is the Bell Tree. 20. GenÂ�eÂ�sis 19:15–26. MarÂ�ion, unÂ�like Lot’s wife, did not open her eyes. 21. “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” 82. 22. With the anÂ�cient natÂ�uÂ�ral horns, as well as with the huntÂ�ing horn, it is posÂ�sible (unÂ�like the modÂ�ern Â�valved Â�French horn) to proÂ�duce only those tones that are Â�within the harÂ�monic seÂ�ries of the Â�instrument’s key. 23. ExÂ�oÂ�dus 19:16, 18–19 (ComÂ�plete JewÂ�ish Bible). Most EnÂ�glish verÂ�sions Â�wrongly transÂ�late “shoÂ�far” as “trumÂ�pet” inÂ�stead of “horn.” 24. Â�Marion’s theme is inÂ�deed far too roÂ�manÂ�tic to exÂ�press her naÂ�ture, and probÂ�ably for this reaÂ�son Â�Williams said that it is often “inÂ�apÂ�proÂ�priÂ�ate emoÂ�tionÂ�ally.” “InÂ�diÂ�ana Jones and the UlÂ�tiÂ�mate TribÂ�ute,” 82. 25. On this readÂ�ing, see the semiÂ�nal MulÂ�vey, “VisÂ�ual PleasÂ�ure and NarÂ�raÂ�tive CinÂ�ema.” 26. The analÂ�yÂ�sis was inÂ�tended to be Â�mainly forÂ�malÂ�ist and not to dwell on ideoÂ� logÂ�iÂ�cal readÂ�ings, but this amÂ�bigÂ�uÂ�ous naÂ�ture of Â�Marion’s theme is nevÂ�erÂ�theÂ�less a good exÂ�amÂ�ple of how a film score—and a Â�classical-style film score in this case—can also have a cogÂ�niÂ�tive funcÂ�tion that sinÂ�gles out conÂ�noÂ�taÂ�tions and paves the way for an interÂ�preÂ�taÂ� tive analÂ�yÂ�sis. The sexÂ�ist or paÂ�triÂ�arÂ�chal ideolÂ�oÂ�gies that may cerÂ�tainly be Â�present in RaidÂ�ers—the beauÂ�tiÂ�ful damÂ�sel in disÂ�tress and the hero who Â�rushes to resÂ�cue her, to later beÂ�come her partÂ�ner—are seen, like the ethÂ�nic stereoÂ�types, as cliÂ�chés from the clasÂ�siÂ�cal popÂ�uÂ�lar cinÂ�ema and as such are reÂ�vived by this film and by this score, along with other Â�traits of the past films. What is of interÂ�est here is their neoÂ�clasÂ�siÂ�cal style, not their ideoÂ� logÂ�iÂ�cal naÂ�ture. 27. The suite is built with “Indy 1” folÂ�lowed by “Indy 2,” then Â�“Marion’s Theme” (love theme), and fiÂ�nally again “Indy 1,” closÂ�ing the end credÂ�its and the film with a powÂ�erÂ�ful orÂ�chesÂ�tral chord. 28. Freer, ComÂ�plete SpielÂ�berg, 106. 29. Part of the neoÂ�clasÂ�siÂ�cal qualÂ�ity of the score is given inÂ�deed by the exÂ�tenÂ�sive use of music. The total duÂ�raÂ�tion of the narÂ�raÂ�tive from the beÂ�ginÂ�ning of the first shot to the beÂ�ginÂ�ning of the end credÂ�its is 106' 20". The end credÂ�its seÂ�quence—which is exÂ�terÂ�nal to the narÂ�raÂ�tive—lasts 3' 50". The Â�film’s total runÂ�ning time from the first frame with the ParÂ�aÂ�mount logo to the end of the end credÂ�its is 110' 20". On film supÂ�port at 24 f/s the total runÂ�ning time of the narÂ�raÂ�tive would be 110' 50", the total runÂ�ning time of the film 115'. Music acÂ�comÂ�paÂ�nies the narÂ�raÂ�tive for 67' 17", plus 3' 50" of end Â�credit music. MoreÂ� over, there are 4' 29" of dieÂ�getic music, Â�mostly feaÂ�tured in the Cairo seÂ�quences. The Â�non-diegetic score covÂ�ers 71' 07" of the film, that is, 65 perÂ�cent of it. HowÂ�ever, watchÂ�ing the film the imÂ�presÂ�sion is that the perÂ�centÂ�age of muÂ�siÂ�cal presÂ�ence is Â�higher. This is probÂ�ably given by the parÂ�ticÂ�uÂ�lar exÂ�uÂ�berÂ�ance and obÂ�truÂ�siveÂ�ness of the muÂ�siÂ�cal writÂ�ing, by the priÂ�mary role that the narÂ�raÂ�tion gives it, and by the presÂ�ence of very long

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seÂ�quences in which the music never stops—as in the first Â�twelve minÂ�utes of the film, where the music is Â�present for 11' 17". 30. D. TayÂ�lor, MakÂ�ing of “RaidÂ�ers of the Lost Ark,” 167–68. 31. Freer, ComÂ�plete SpielÂ�berg, 101. Ch ap Â�t e r 11 B eÂ�yo n d t h e F i l ms

1. Launched in 1974, the ChristÂ�mas seaÂ�son is Â�called “HolÂ�iÂ�day Pops.” BosÂ�ton Pops: The Story of AmerÂ�ica’s OrÂ�chesÂ�tra (BosÂ�ton: BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra Inc., 2000), 24–25. 2. BosÂ�ton Pops, 37. 3. DeÂ�spite the new name, the group was and still is a Â�branch of the BosÂ�ton SymÂ� phony, Â�formed by memÂ�bers of the Â�mother orÂ�chesÂ�tra exÂ�cept for its Â�twelve first Â�chairs. 4. ProÂ�duced by Â�Boston’s WGBH TeleÂ�viÂ�sion (William Cosel, proÂ�ducer) and by the BosÂ�ton SymÂ�phony, the seÂ�ries was broadÂ�cast naÂ�tionÂ�wide by PBS (PubÂ�lic BroadÂ�castÂ�ing SerÂ�vice), alÂ�ways rankÂ�ing in the top poÂ�siÂ�tions of the Â�network’s viewÂ�ing reÂ�ports. On the hisÂ�tory of EveÂ�ning at Pops see Ron BachÂ�man, “BeÂ�hind the Â�Scenes at EveÂ�ning at Pops,” Nine, June 1989, 34–46 (clipÂ�ping in the BSO Â�Archives, SymÂ�phony Hall, BosÂ�ton, MA); and “EveÂ�ning at Pops: PutÂ�ting on the Show,” BosÂ�ton Pops, 44–47. 5. BosÂ�ton Pops, 13. 6. GoodÂ�son, “Yes, Â�There’s Life after FiedÂ�ler.” 7. Tim Smith, “Film ComÂ�poser John Â�Williams to Make BalÂ�tiÂ�more ConÂ�ductÂ�ing Â�Première,” BalÂ�tiÂ�more Sun, 1 June 2013. 8. RichÂ�ard Dyer, “Williams Is CanÂ�diÂ�date for Fiedler’s Â� Job,” BosÂ�ton Globe, 6 JanÂ�uÂ�ary 1980. 9. ConÂ�cert proÂ�gram, 25–26 May 1979 (BSO Â�Archives, SymÂ�phony Hall, BosÂ�ton, MA). 10. GoodÂ�son, “Yes, Â�There’s Life after FiedÂ�ler.” 11. When André PreÂ�vin, a mulÂ�tiÂ�facÂ�eted musiÂ�cian, was given the conÂ�ducÂ�torÂ�ship of the HousÂ�ton SymÂ�phony in 1967 and then the LonÂ�don SymÂ�phony in 1968, his HolÂ�lyÂ�wood outÂ�put had beÂ�come a minor facet of his musiÂ�cianÂ�ship. 12. Dyer, “John Â�Williams Is New Pops MaesÂ�tro.” 13. Margo Â�Miller, “‘A WonÂ�derÂ�ful Â�Choice,’” BosÂ�ton Globe, 11 JanÂ�uÂ�ary 1980. 14. MiÂ�chael Â�Knight, “John Â�Williams Opens SeaÂ�son with Pops,” New York Times, 30 April 1980. 15. Ibid. 16. Dyer, “John Â�Williams Bows In.” 17. BosÂ�ton Pops, 36. 18. “Theme and Dance from Star Wars” was reÂ�leased for the first time on the CD The ArÂ�thur FiedÂ�ler LegÂ�acy: From FabÂ�uÂ�lous BroadÂ�way to Â�Hollywood’s Reel Thing, DeutsÂ�che GramÂ�moÂ�phon, 2007, 477 6124, with the deÂ�cepÂ�tive title “Star Wars: Main Title” but withÂ�out any menÂ�tion of the Â�arrangers’ names, thus passÂ�ing it off as the origÂ�iÂ�nal verÂ�sion.

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19. ConÂ�cert proÂ�gram, 21 June 1981 (BSO Â�Archives, SymÂ�phony Hall, BosÂ�ton, MA). 20. BevÂ�erly Ford and John ImÂ�pemba, “John Â�Williams Quits BosÂ�ton Pops,” BosÂ�ton Â�Herald, 14 June 1984. 21. ConÂ�stance GorÂ�finÂ�kle, “Williams Â�Miffed by Hiss from Pops OrÂ�chesÂ�tra?,” PaÂ�triot LedÂ�ger, 14 June 1984. A later Â�source reÂ�ports that the tarÂ�get of the Â�hisses was SaÂ�lute to Fred AsÂ�taire (arÂ�ranged by Sid Ramin); see Peter CatÂ�aÂ�lano, “John Â�Williams to Leave BosÂ�ton Pops,” Los AnÂ�geles Times, 21 DeÂ�cemÂ�ber 1991. Â�Williams has never conÂ�firmed eiÂ�ther of the verÂ�sions. Larry Katz, “Dr. HolÂ�lyÂ�wood & Mr. Pops,” BosÂ�ton Â�Herald MagÂ�aÂ�zine, 28 April 1985. 22. Margo Â�Miller, “Williams to ReÂ�sign as Pops ConÂ�ducÂ�tor,” BosÂ�ton Globe, 14 June 1984. 23. RichÂ�ard H. StewÂ�art, “We Â�Didn’t Drive Â�Williams Away,” BosÂ�ton Globe, 8 July 1984. 24. Peter GoodÂ�man, “A Great LitÂ�tle VisÂ�itÂ�ing Band,” New York NewsÂ�day, 11 June 1986. 25. “BosÂ�ton Pops MemÂ�bers ReÂ�veal They Hated FiedÂ�ler, His Music,” JourÂ�nal InÂ�quirer, 10 AuÂ�gust 1984. 26. The idea is credÂ�ited to Â�Williams himÂ�self. RichÂ�ard Dyer, “The Â�Williams Years: KnowÂ�ing What Â�Counts,” conÂ�cert proÂ�gram “OpenÂ�ing Night at Pops: A Gala CelÂ�eÂ�braÂ�tion for John Â�Williams,” 12 May 1993 (BSO Â�Archives, SymÂ�phony Hall, BosÂ�ton, MA), 35. 27. In exÂ�change, Â�players not willÂ�ing to play durÂ�ing the Pops seaÂ�son Â�agreed to have the share covÂ�erÂ�ing the peÂ�riod ($7,650) deÂ�ducted from the anÂ�nual stiÂ�pend ($45,000). ConÂ�stance GorÂ�finÂ�kle, “Why John Â�Williams Â�Changed His Mind,” PaÂ�triot LedÂ�ger, 8 AuÂ�gust 1984. 28. Katz, “Dr. HolÂ�lyÂ�wood & Mr. Pops.” 29. GorÂ�finÂ�kle, “Why John Â�Williams Â�Changed His Mind.” 30. RichÂ�ard Dyer, “Pops’ Â�Williams to ReÂ�tire in ’93,” BosÂ�ton Globe, 20 DeÂ�cemÂ�ber 1991. 31. RichÂ�ard Dyer, “Pops Star: The LegÂ�acy of John Â�Williams,” BosÂ�ton Globe, 12 DeÂ�cemÂ�ber 1993. 32. Jon BurÂ�linÂ�game, “A CaÂ�reer of Epic ProÂ�porÂ�tion,” Los AnÂ�geles Times, 3 FebÂ�ruÂ�ary 2002. 33. RichÂ�ard Dyer, “Williams to Stay on as Pops AdÂ�viser,” BosÂ�ton Globe, 4 FebÂ�ruÂ�ary 1994. 34. An analÂ�yÂ�sis of John Â�Williams’s multiÂ�meÂ�dia conÂ�cert forÂ�mats (the “multiÂ�meÂ�dia scene/seÂ�quence” Â�vis-à-vis the “multiÂ�meÂ�dia conÂ�cert piece”) can be found in EmÂ�iÂ�lio AuÂ�disÂ�sino, “John Â�Williams, the BosÂ�ton Pops OrÂ�chesÂ�tra and Film Music in ConÂ�cert,” in CinÂ�ema, criÂ�tique des imÂ�ages, ed. ClauÂ�dia Â�D’Alonzo, Ken Slock, and PhiÂ�lippe DuÂ�bois (Udine: CamÂ�paÂ�notto, 2012), 230–35. 35. For one exÂ�amÂ�ple, GusÂ�tav Â�Holst’s The PlanÂ�ets, op. 32 (1916) was feaÂ�tured in the conÂ�cert “MIT Giant Leaps,” celÂ�eÂ�bratÂ�ing the forÂ�tiÂ�eth anÂ�niÂ�verÂ�sary of the moon landÂ�ing, with space footÂ�age proÂ�jected on the Â�screen and astroÂ�naut Buzz AlÂ�drin as a narÂ�raÂ�tor

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(conÂ�cert proÂ�gram, BosÂ�ton Pops, 11 June 2009, BSO Â�Archives, SymÂ�phony Hall, BosÂ�ton, MA). 36. David PatÂ�rick Â�Stearns, “Music Â�That’s Light on the Baton: USA OrÂ�chesÂ�tras Enjoy a Pops ExÂ�ploÂ�sion,” USA Today, 26 April 1985. The prinÂ�ciÂ�pal Pops orÂ�chesÂ�tras in the Â�United Â�States are AusÂ�tin Pops (est. 2006), Palm Beach Pops (est. 1991), CarÂ�oÂ�lina Pops (est. 2005), CinÂ�cinÂ�nati Pops (est. 1977), CleveÂ�land Pops (est. 1995), Â�Golden State Pops (est. 2002), InÂ�diÂ�anapÂ�oÂ�lis SymÂ�phonic Pops (est. 1999), MinÂ�neÂ�apÂ�oÂ�lis Pops (est. 1950), New York Pops (est. 1983), Â�Philly [ PhilÂ�aÂ�delÂ�phia] Pops (est. 1981), San FranÂ�cisco Pops OrÂ�chesÂ�tra (est. 1949), St. Louis Pops Orchestra (est. 1976), TucÂ�son Pops (est. 1955). 37. “CinÂ�cinÂ�nati Pops: Erich KunÂ�zel and his OrÂ�chesÂ�tra Are a Â�Much-loved CulÂ�tural Asset,” CinÂ�cinÂ�nati EnÂ�quirer, 31 DeÂ�cemÂ�ber 1991. 38. Pops in Space soon beÂ�came the best Â�seller of the PhilÂ�ips ClasÂ�sics catÂ�aÂ�logue at the time. TheoÂ�dore W. LibÂ�bey Jr., “Disks AtÂ�test to the VerÂ�saÂ�tile TalÂ�ents of John Â�Williams,” New York Times, 27 FebÂ�ruÂ�ary 1983. 39. See Saul PinÂ�cus and Mike PeÂ�terÂ�sen, “ReÂ�makÂ�ing Star Wars,” Film Score Â�Monthly, SepÂ�temÂ�ber/OcÂ�toÂ�ber 2005, 40–44. 40. David PatÂ�rick Â�Stearns, “HolÂ�lyÂ�wood ConÂ�ducÂ�tor Taps StuÂ�dio TalÂ�ent,” USA Today, 31 July 1991. 41. The SoundÂ�track Club [Film Score Â�Monthly], NoÂ�vemÂ�ber 1991, 3. 42. ConÂ�ducted by RichÂ�ard KaufÂ�man, Film Score Â�Monthly, May 1996, 4. 43. Jeff Bond, “Stamps of ApÂ�proval,” Film Score Â�Monthly, NoÂ�vemÂ�ber 1999, 24–27. 44. Film Score Â�Monthly, March 2004, 8. 45. Film Score Â�Monthly, WinÂ�ter 1996, 2. 46. From 3 to 20 SepÂ�temÂ�ber 2004: Film Score Â�Monthly, June 2004, 8. 47. The overÂ�ture from The Man Who Knew Too Much, a suite from MarÂ�nie, and the preÂ�lude from North by NorthÂ�west. Kyle ReÂ�nick, “The Halls are Alive,” Film Score Â�Monthly, May 1998, 13. 48. Film Score Â�Monthly, OcÂ�toÂ�ber/NoÂ�vemÂ�ber 1998, 8. 49. Film Score Â�Monthly, March 2000, 8. 50. Proms Â�archive, www.bbc.co.uk/proms/Â�archive/Â�search, acÂ�cessed 3 April 2013. 51. In the 2005/6 seaÂ�son (besides Â�Williams on 25, 26, and 29 NoÂ�vemÂ�ber), there was “SymÂ�phonic HolÂ�lyÂ�wood,” conÂ�ducted by RichÂ�ard KaufÂ�man and feaÂ�turÂ�ing seÂ�lecÂ�tions from Â�Psycho, VerÂ�tigo, ForÂ�rest Gump, and Nuovo CinÂ�ema ParÂ�aÂ�diso (31 March). In the 2007/8 seaÂ�son Joel Â�McNeely conÂ�ducted a BerÂ�nard HerrÂ�mann/AlÂ�fred HitchÂ�cock conÂ�cert (4 April). ConÂ�cert proÂ�grams (ChiÂ�cago SymÂ�phony OrÂ�chesÂ�tra, SymÂ�phony CenÂ�ter, ChiÂ�cago, IL). 52. James Â�Miller, “KeepÂ�ing Time with John: InÂ�side the TanÂ�gleÂ�wood Film Music SemiÂ�nar,” Film Score Â�Monthly, OcÂ�toÂ�ber/NoÂ�vemÂ�ber 1998, 20–21; and RichÂ�ard Dyer, “ComÂ�posÂ�ers Learn Film Music from the MasÂ�ter,” BosÂ�ton Globe, 20 AuÂ�gust 1998. 53. Phil LehÂ�man, “When CapÂ�iÂ�tals ColÂ�lide: MaesÂ�tros SlatÂ�kin and Â�Williams Join Â�Forces for a SeÂ�ries of Film Music FesÂ�tivÂ�ities,” Film Score Â�Monthly, FebÂ�ruÂ�ary 2003, 12, 13, 47. 54. T. Smith, “MaesÂ�tro and the MoÂ�vies,” BalÂ�tiÂ�more Sun, 19 JanÂ�uÂ�ary 2003. 55. Dyer, “Pops Star: The LegÂ�acy of John Â�Williams.”

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Not e s to p a g e s 1 97–202

Co n �c l u�si o n

1. J. Smith, Sound of ComÂ�merce, 7. 2. JulÂ�lier, Â�L’écran Â�post-moderne, 37 (my transÂ�laÂ�tion). 3. On sound efÂ�fects in the clasÂ�siÂ�cal era, see Helen HanÂ�son, “Sound AfÂ�fects: Â�Post-production Sound, SoundÂ�scapes and Sound DeÂ�sign in Â�Hollywood’s StuÂ�dio Era,” Music, Sound, and the MovÂ�ing Image 1, no. 1 (Spring 2007): 27–49. 4. Chion, Â�Audio-Vision, 73. 5. Lukas KenÂ�dall, “Danny ElfÂ�man: Part 2,” Film Score Â�Monthly, DeÂ�cemÂ�ber 1995, 11. 6. The leitÂ�moÂ�tiv techÂ�nique reÂ�quires that a theme be Â�clearly Â�stated and then reÂ�prised a numÂ�ber of times so that it can be recÂ�ogÂ�nized by the Â�viewer. If music has not Â�enough aural room in the sound mix, the techÂ�nique is useÂ�less. 7. KarÂ�lin, LisÂ�tenÂ�ing to MoÂ�vies, 200–201. 8. Jeff Bond, “Horner ReÂ�vealed,” Film Score Â�Monthly, FebÂ�ruÂ�ary 2004, 20. 9. ReÂ�mote ConÂ�trol ProÂ�ducÂ�tions, www.remÂ�oÂ�tecÂ�onÂ�trolÂ�proÂ�ducÂ�tions.com, acÂ�cessed 3 April 2013. See Jeff Bond, “Hans ZimÂ�mer Takes Aim at .€.€. FSM!,” Film Score Â�Monthly, 2 SepÂ�temÂ�ber 1997, 21–24; and Jeff Bond, “The FiÂ�nale ConÂ�fronÂ�taÂ�tion: ZimÂ�mer vs. FSM,” Film Score Â�Monthly, OcÂ�toÂ�ber 1997, 17–19; “Media (misad)VenÂ�tures,” Film Score Â�Monthly, DeÂ�cemÂ�ber 2003, 4. 10. Jeff Bond, “The Fall of Troy,” Film Score Â�Monthly, April/May 2004, 18. 11. Bond, “Horner ReÂ�vealed,” 16–20. 12. See Film Score Â�Monthly, AuÂ�gust 1996, 2. 13. Ben Burtt reÂ�ports the datum in Â�Within a MinÂ�ute: The MakÂ�ing of “EpiÂ�sode III,” docÂ�uÂ�menÂ�tary by Tippy BushÂ�kin, LuÂ�casÂ�film, 2005, in Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith, DVD, 20th CenÂ�tury Fox Home EnÂ�terÂ�tainÂ�ment, 2005. 14. Â�Williams, videoÂ�taped lecÂ�ture, 11 JanÂ�uÂ�ary 2006, ThornÂ�ton Â�School of Music, UniÂ�verÂ�sity of SouthÂ�ern CalÂ�iÂ�forÂ�nia–Los AnÂ�geles. 15. BushÂ�kin, Â�Within a MinÂ�ute: The MakÂ�ing of “EpiÂ�sode III.” 16. In the “cusÂ�tomer reÂ�views” secÂ�tion of www.amÂ�aÂ�zon.com reÂ�gardÂ�ing the 2004 DVD box set, the negÂ�aÂ�tive comÂ�ments numÂ�ber Â�nearly eight hunÂ�dred. See www.amÂ�aÂ�zon. com/Â�Trilogy-Empire-Strikes-Return-Widescreen/Â�product-reviews/B00003CXCT /ref=pr_all_sumÂ�mary_cm_cr_acr_txt?ie=UTF8&showÂ�ViewÂ�points=1, acÂ�cessed 3 April 2013. 17. AlexÂ�anÂ�dra DuÂ�Pont, “The Star Wars TrilÂ�ogy,” The DVD JourÂ�nal, 2004, www .dvdjourÂ�nal.com/reÂ�views/s/starÂ�warÂ�strilÂ�ogy.shtml, acÂ�cessed 3 April 2013. 18. See www.amÂ�aÂ�zon.com/Â�Trilogy-Empire-Strikes-Return-Widescreen/Â�productreviews/B00003CXCT/ref=cm_cr_pr_btm_link_next_3?ie=UTF8&showÂ�View Â�points=0&filÂ�terBy=adÂ�dOneÂ�Star&pageÂ�NumÂ�ber=3, acÂ�cessed 3 April 2013. 19. Bill Hunt, “The Star Wars TrilÂ�ogy,” The DigÂ�iÂ�tal Bits, 9 SepÂ�temÂ�ber 2004, http:// www.theÂ�digÂ�iÂ�talÂ�bits.com/site_Â�archive/reÂ�views3/starÂ�warÂ�strilÂ�ogy.html, acÂ�cessed 3 April 2013.

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20. UpÂ�date to the origÂ�iÂ�nal reÂ�view by The DigÂ�iÂ�tal Bits, reÂ�ported Â�widely, inÂ�cludÂ�ing at http://forÂ�ums.audioÂ�revÂ�iew.com/Â�favorite-films/Â�star-wars-dvd-audio-issues-7032.html, acÂ�cessed 3 April 2013. 21. Star Wars: EpiÂ�sode IV—A New Hope, limÂ�ited ediÂ�tion douÂ�ble DVD, 20th CenÂ�tury Home EnÂ�terÂ�tainÂ�ment. 22. A furÂ�ther reÂ�port on conÂ�temÂ�poÂ�rary HolÂ�lyÂ�wood film music as opÂ�posed to Â�Williams’s Â�old-fashioned arÂ�tistry can be found in John JurÂ�genÂ�sen, “The Last Movie MaesÂ�tro,” Wall Â�Street JourÂ�nal, 16 DeÂ�cemÂ�ber 2011. 23. Dyer, “John Â�Williams Is New Pops MaesÂ�tro.” 24. Bruno CouÂ�lais, “Ce qui reste Â�d’enfance en nous .€.€. ,” in TylÂ�ski, John Â�Williams, 171 (my transÂ�laÂ�tion). A p Â�p e n d Â� i x 1 Co m Â�p l e t iÂ� n g t h e P i c tu Â� re

1. David VerÂ�nier, “MagÂ�nifÂ�iÂ�cent ModÂ�ern MaesÂ�tro,” DigÂ�iÂ�tal Audio, March 1988. 2. Jon BurÂ�linÂ�game, “MasÂ�ter Class: Â�Williams Earns HimÂ�self a Spot in Â�Pantheon of ComÂ�posÂ�ers,” VaÂ�riety, 29 NoÂ�vemÂ�ber 2005. The music Â�critic RichÂ�ard Dyer Â�praised the reÂ�sultÂ�ing Â�cross-cultural blend of the score: “Williams’ music is transÂ�parÂ�ent, evocÂ�aÂ�tive, and subÂ�tle, and much of it is colÂ�ored by auÂ�thenÂ�tic JapÂ�aÂ�nese timÂ�bres, muÂ�siÂ�cal gesÂ�tures, and inÂ�struÂ�ments. .€.€. Of Â�course, like everyÂ�thing conÂ�nected with this venÂ�ture, beÂ�ginÂ�ning with the novel writÂ�ten by an Â�American in BrookÂ�line, the score is a WestÂ�ernÂ�ized asÂ�simÂ�iÂ�laÂ� tion of and comÂ�menÂ�tary on traÂ�diÂ�tional JapÂ�aÂ�nese music. But it’s worth reÂ�memÂ�berÂ�ing that bridgÂ�ing the gap Â�between JapÂ�aÂ�nese and WestÂ�ern music was a goal of some JapÂ�aÂ�nese musiÂ�cians even as early as the peÂ�riod of the story (beÂ�fore World War II), and Â�Williams’ score to MeÂ�moirs of a GeiÂ�sha is more than HolÂ�lyÂ�wood music with a few Â�touches of local color ( just as Â�Puccini’s MadÂ�ama ButÂ�terÂ�fly is more than an ItalÂ�ian opera with a few Â�touches of Asian atÂ�mosÂ�phere).” RichÂ�ard Dyer, “John Â�Williams Â�Scores Again: 2005 ProÂ�duces Two More Oscar NomÂ�iÂ�naÂ�tions,” BosÂ�ton Globe, 5 FebÂ�ruÂ�ary 2006. 3. BurÂ�linÂ�game, “MasÂ�ter Class.” 4. Jon BurÂ�linÂ�game, “SpielÂ�berg and Lucas on Â�Williams: DiÂ�recÂ�tors RemÂ�iÂ�nisce about ColÂ�labÂ�oÂ�ratÂ�ing with Â�Hollywood’s GreatÂ�est ComÂ�poser,” The Film Music SoÂ�ciÂ�ety, 8 FebÂ�ruÂ�ary 2012, www.filmÂ�muÂ�sicÂ�soÂ�ciety.org/news_Â�events/feaÂ�tures/2012/020812.html, acÂ�cessed 3 April 2013. 5. SteÂ�ven SpielÂ�berg, Â�speech given at “John Â�Williams 80th BirthÂ�day Gala,” TanÂ�gleÂ� wood FesÂ�tiÂ�val, Lenox, MA, 18 AuÂ�gust 2012. 6. Â�Stearns, “2 Emmys, 4 OsÂ�cars, 15 GramÂ�mys .€.€. But, Hey, Who’s CountÂ�ing?,” 22. 7. Reed, tranÂ�script of an interÂ�view with John Â�Williams, http://arts.gov/audio /Â�john-williams. 8. Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 23.

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Not e s to p a g e s 2 09–220

9. John Â�Williams, CD bookÂ�let for 1941, La-La Land Â�Records, 2011, LLLCD 1179, 7–8. 10. Music and lyrÂ�ics by Louis Prima. “Sing, Sing, Sing” was popÂ�uÂ�larÂ�ized and most faÂ�mously covÂ�ered by Benny GoodÂ�man. 11. The girl is again Â�played by Susan BackÂ�liÂ�nie, who porÂ�trayed ChrisÂ�sie the Â�blonde Â�night-swimmer, the first vicÂ�tim of the shark in Jaws. 12. MarÂ�ian ZaiÂ�lian, “John Â�Williams: MasÂ�ter of Movie Â�Scores,” San FranÂ�cisco Â�Examiner-Chronicle, 18 July 1982. 13. LaurÂ�ent BouÂ�zeÂ�reau, The MakÂ�ing of “E.T. the Â�Extra-Terrestrial,” MCA Home Video, 1996. 14. Ibid. 15. LaurÂ�ent BouÂ�zeÂ�reau, “John Â�Williams InterÂ�view,” CD bookÂ�let, E.T. the ExÂ�tra­ terÂ�resÂ�trial, exÂ�panded ediÂ�tion, MCA, 1996, MCAD-11494, 4. 16. Jon BurÂ�linÂ�game, “E.T. Turns 30 Â�Williams’ Score Soars on New Â�Blu-Ray ReÂ�lease,” The Film Music SoÂ�ciÂ�ety, 10 OcÂ�toÂ�ber 2012, http://www.filmÂ�muÂ�sicÂ�soÂ�ciety.org /news_Â�events/feaÂ�tures/2012/101012.html, acÂ�cessed 3 April 2013. 17. MerÂ�luÂ�zeau, “An InterÂ�view with John Â�Williams,” 9. 18. Freer, ComÂ�plete SpielÂ�berg, 199. 19. RichÂ�ard Dyer, “John Â�Williams: MakÂ�ing Â�Movie-Music HisÂ�tory: SchinÂ�dler ComÂ� poser Is Up for Fifth Oscar,” BosÂ�ton Globe, 20 March 1994. 20. Ibid. 21. John Â�Williams, introÂ�ducÂ�tory note to Dry Your Tears, Â�Afrika, full orÂ�chesÂ�tral score, John Â�Williams SigÂ�naÂ�ture EdiÂ�tion seÂ�ries, Hal LeÂ�oÂ�nard, 044900085. 22. SteÂ�ven SpielÂ�berg, CD bookÂ�let for SavÂ�ing PriÂ�vate Ryan, DreamÂ�Works Â�Records, 1998, DRD 50046. 23. AcÂ�cordÂ�ing to John Â�Williams, in The Music of “A.I.,” docÂ�uÂ�menÂ�tary by LaurÂ�ent BouÂ�zeÂ�reau, DreamÂ�Works Home EnÂ�terÂ�tainÂ�ment, 2002, ArÂ�tiÂ�fiÂ�cial InÂ�telÂ�liÂ�gence, DVD, WarÂ�ner Home Video, 2002. 24. RichÂ�ard Dyer, “An EnÂ�durÂ�ing Love for Music, MoÂ�vies,” BosÂ�ton Globe, 23 June 2002. 25. Â�Williams, Â�quoted in ColÂ�burn, “John Â�Williams ReÂ�turns to Bands,” 15. 26. Â�Williams, in In Â�Flight SerÂ�vice: The Music of “The TerÂ�miÂ�nal,” docÂ�uÂ�menÂ�tary by LaurÂ�ent BouÂ�zeÂ�reau, DreamÂ�Works Home EnÂ�terÂ�tainÂ�ment, 2004, The TerÂ�miÂ�nal, DVD, DreamÂ� Works Home EnÂ�terÂ�tainÂ�ment, 2004. 27. See “SpieÂ�gel InterÂ�view with Tom Â�Cruise and SteÂ�ven SpielÂ�berg,” Der SpieÂ�gel, 27 April 2005, www.spieÂ�gel.de/interÂ�naÂ�tional/spieÂ�gel/0,1518,353577,00.html, acÂ�cessed 3 April 2013; and J. TiÂ�rella, “SteÂ�ven SpielÂ�berg 9/11 obÂ�sesÂ�sion,” 28 DeÂ�cemÂ�ber 2005, http://today.msnbc.msn.com/id/10549050, acÂ�cessed 3 April 2013. 28. Â�Williams, in ScorÂ�ing “War of the Â�Worlds,” docÂ�uÂ�menÂ�tary by LaurÂ�ent BouÂ�zeÂ�reau, DreamÂ�Works Home EnÂ�terÂ�tainÂ�ment, 2005, War of the Â�Worlds, DVD, DreamÂ�Works Home EnÂ�terÂ�tainÂ�ment, 2005.

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29. TellÂ�ingly, the conÂ�cert verÂ�sion is tiÂ�tled “SwashÂ�buckÂ�ler (The AdÂ�venÂ�tures of Mutt)” (first moveÂ�ment of the suite The AdÂ�venÂ�tures of InÂ�diÂ�ana Jones, full orÂ�chesÂ�tral score, John Â�Williams SigÂ�naÂ�ture EdiÂ�tion seÂ�ries, Hal LeÂ�oÂ�nard, 04490826). 30. “BatÂ�tle Cry of FreeÂ�dom” was comÂ�posed in 1862 by Â�George FredeÂ�rick Root. 31. Ray BenÂ�nett, “John Â�Williams, ComÂ�poser,” HolÂ�lyÂ�wood ReÂ�porter, 8 March 2000. 32. Liner notes for the origÂ�iÂ�nal LP DraÂ�cula, MCA Â�Records, 1979. 33. The ReÂ�vampÂ�ing of DraÂ�cula, docÂ�uÂ�menÂ�tary by LaurÂ�ent BouÂ�zeÂ�reau, UniÂ�verÂ�sal StuÂ�dios Home Video, 2004, DraÂ�cula, DVD, UniÂ�verÂ�sal StuÂ�dios Home Video, 2004. 34. On the music for HamÂ�mer films, see LarÂ�son, MuÂ�sique FanÂ�tasÂ�tique, 147–53. 35. The ReÂ�vampÂ�ing of DraÂ�cula. 36. Â�Williams, Â�quoted in Elley, “The Film ComÂ�poser: 3. John Â�Williams, part 1,” 24. 37. Â�Williams, Â�quoted in RichÂ�ard Dyer, “You’ll Be HearÂ�ing From Him,” BosÂ�ton Globe, 31 AuÂ�gust 1989. 38. MerÂ�luÂ�zeau, “An InterÂ�view with John Â�Williams,” 5. 39. Ibid., 6. 40. BenÂ�nett, “John Â�Williams, ComÂ�poser.” 41. Andy Â�Seiler, “Williams Adds MuÂ�siÂ�cal Magic to Harry PotÂ�ter,” USA Today, 13 NoÂ�vemÂ�ber 2001.

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. “TraÂ�diÂ�tionÂ�alÂ�ist for the Pops: John Â�Williams.” New York Times, 11 JanÂ�uÂ�ary 1980. Rodman, Ron. “John Williams’s Music to Lost in Space: The Monumental, the Profound, and the Hyperbolic.” In Music in Science Fiction Television: Tuned to the Future, edited by K. J. Donnelly and Philip Hayward, 34–51. New York: Routledge, 2013. RoÂ�thenÂ�berg, Fred. “BosÂ�ton Pops AlÂ�ters ConÂ�cert Look in Wake of Video RevÂ�oÂ�luÂ�tion.” OrÂ�lando SenÂ�tiÂ�nel, 16 July 1983. RothÂ�stein, EdÂ�ward. “‘Star Wars’ SaÂ�lutes a Brave Old World.” New York Times, 31 JanÂ�uÂ�ary 1997. SafÂ�ford, Edwin. “Pops IrÂ�riÂ�tated Busy Â�Williams.” ProvÂ�iÂ�dence JourÂ�nal, 20 June 1984. Â�Scheurer, TimÂ�oÂ�thy E. “John Â�Williams and Film Music Since 1971.” PopÂ�uÂ�lar Music and SoÂ�ciÂ�ety 21, no. 1 (Spring 1997): 59–72. Â�Seiler, Andy. “Williams Adds MuÂ�siÂ�cal Magic to Harry PotÂ�ter.” USA Today, 13 NoÂ�vemÂ�ber 2001. . “Williams Â�Shapes More Music for Star Wars.” USA Today, 13 NoÂ�vemÂ�ber 2001. Shaw, ArÂ�nold. “John T. Â�Williams.” BMI, FebÂ�ruÂ�ary 1972, 6. Shone, Tom. “How to Score in the MoÂ�vies.” SunÂ�day Times (LonÂ�don), 21 July 1998. Smith, Tim. “Film ComÂ�poser John Â�Williams to Make BalÂ�tiÂ�more ConÂ�ductÂ�ing Â�Première.” BalÂ�tiÂ�more Sun, 1 June 2013. . “MaesÂ�tros and the MoÂ�vies.” BalÂ�tiÂ�more Sun, 19 JanÂ�uÂ�ary 2003. “Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace: John Â�Williams InterÂ�view.” VideoÂ�tape, Sony ClasÂ�siÂ�cal, 9 April 1999. Â�Stearns, David PatÂ�rick. “MaesÂ�tro of the MainÂ�stream: Â�Williams Â�Scores with Pops and HolÂ�lyÂ�wood.” USA Today, 3 AuÂ�gust 1992. . “2 Emmys, 4 OsÂ�cars, 15 GramÂ�mys .€.€. But, Hey, Who’s CountÂ�ing? Not John Â�Williams, Â�Hollywood’s Most HonÂ�ored ComÂ�poser.” Arts & EnÂ�terÂ�tainÂ�ment, FebÂ�ruÂ�ary 1993, 21ff. StewÂ�art, RichÂ�ard H. “We Â�Didn’t Drive Â�Williams Away.” BosÂ�ton Globe, 8 July 1984. Swan, AnÂ�naÂ�lyn, AbÂ�iÂ�gail KuÂ�flik, Lea DoÂ�noÂ�sky, and Ron LaÂ�Brecque. “BosÂ�ton Â�Strikes up the Band.” NewsÂ�week, 21 JanÂ�uÂ�ary 1980, 85–86. Terry, KenÂ�neth. “John Â�Williams EnÂ�counÂ�ters the Pops.” DownÂ�beat 48, March 1981, 20–22. . “John Â�Williams Has Close EnÂ�counÂ�ters of AnÂ�other Kind.” Pan Am ClipÂ�per 22, no. 4, April 1982, 43ff. Â�Thomas, Bob. “Williams Looks BackÂ�ward in ComÂ�posÂ�ing Score for New Star Wars Movie.” NeÂ�vada Daily Mail, 12 May 1999. Â�Thomas, David. “King of Â�Themes.” SunÂ�day TeleÂ�graph, 13 July 1997, 48–50. . “Point Blank: The Total Film InterÂ�view: John Â�Williams.” Total Film, SepÂ�temÂ�ber 1997, 74ff. Â�Thomas, Tony. “A ConÂ�verÂ�saÂ�tion with John Â�Williams.” In Film Score: The Art and Craft of Movie Music, 326ff. BurÂ�bank: RiverÂ�wood Press, 1991. . “InterÂ�view with John Â�Williams.” Cue Sheet, March 1991, 6ff. TichÂ�enor, Â�Mary-Jane. “A TanÂ�gleÂ�wood ExÂ�travÂ�aÂ�ganza.” BosÂ�ton Globe, 12 July 1997. TownÂ�son, RobÂ�ert. CD BookÂ�let of EmÂ�pire Â�Strikes Back: SymÂ�phonic Suite from the MoÂ�tion PicÂ�ture Score. Â�Varèse SarÂ�aÂ�bande, 1980, VSD 5353.

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. “John Â�Williams.” CD BookÂ�let of Great ComÂ�posÂ�ers: John Â�Williams. Â�Varèse SarÂ�aÂ�bande, 1999, VSD-6047. TylÂ�ski, AlexÂ�anÂ�dre, ed. John Â�Williams: Un alÂ�chiÂ�miste muÂ�siÂ�cal à HolÂ�lyÂ�wood. Paris: Â�L’Harmattan, 2011. Tynan, John. “John Â�Williams.” BMI, Â�Spring 1975, 42ff. VerÂ�nier, David. “MagÂ�nifÂ�iÂ�cent ModÂ�ern MaesÂ�tro.” DigÂ�iÂ�tal Audio, March 1988. von Rhein, John. “InterÂ�view with John Â�Williams.” ChiÂ�cago TribÂ�une, 27 JanÂ�uÂ�ary 1980. WaÂ�ters, Jen. “NSO Â�Scores with HolÂ�lyÂ�wood.” WashÂ�ingÂ�ton Times, 1 FebÂ�ruÂ�ary 2003. WesÂ�sel, David. “The Force Is with Him .€.€. ‘Rich Is Hard to DeÂ�fine.’” BosÂ�ton Globe, 5 July 1983. Â�Williams, John. “John Â�Williams on Star Wars.” Liner notes of Star Wars. LP album, 20th CenÂ�tury Â�Records, 1977, 2T-541(0898). “Williams ReÂ�turns to the Pops with His EvÂ�oÂ�luÂ�tionÂ�ary Plans.” EnÂ�terÂ�prise, 3 AuÂ�gust 1984. Wolf, Matt. “The OlymÂ�pics OfÂ�fers John Â�Williams AnÂ�other HeÂ�roic ChalÂ�lenge.” South Coast Today (MA), 21 July 1996. Wood, DanÂ�iel B. “Bang-Up CenÂ�tenÂ�nial at the Pops.” ChrisÂ�tian SciÂ�ence MonÂ�iÂ�tor, 30 April 1985. ZaiÂ�lian, MarÂ�ian. “John Â�Williams: MasÂ�ter of Movie Â�Scores.” San FranÂ�cisco Â�ExaminerChronicle, 18 July 1982. ZarÂ�roli, Jim. “Pops ConÂ�ducÂ�tor John Â�Williams ReÂ�scinds ResÂ�igÂ�naÂ�tion.” MornÂ�ing Union, 3 AuÂ�gust 1984.

I n dex

Note: Page numÂ�bers in italÂ�ics refer to ilÂ�lusÂ�traÂ�tions. 8 ½, 139, 273n21 49th ParÂ�allel, 262n27 1941, xxi, xxv, 6, 84, 123, 209 78 rpm discs, 63 33 1/3 rpm discs, 63 20th CenÂ�tury Fox, 16, 20, 69, 82, 88, 130 “20th CenÂ�tury Fox FanÂ�fare,” 74 20th CenÂ�tury Fox Â�Records, 73 2001: A Space OdysÂ�sey, 69–71, 257n22 AbomÂ�iÂ�naÂ�ble Dr. Â�Phibes, The, xx abÂ�soÂ�lute music, 82, 141 AcÂ�aÂ�demic FesÂ�tiÂ�val OverÂ�ture (AkadÂ�eÂ�misÂ�che Â�Festouvertüre), 33 AcadÂ�emy Â�Awards, 3, 77, 83, 108, 117, 134, 138– 39, 269n50 AcÂ�ciÂ�denÂ�tal TourÂ�ist, The, 6, 224 “Across the Stars,” 79 AdÂ�diÂ�son, John, 61, 67 Â�Adorno, TheoÂ�dor W., 22, 27, 32, 139–40 AdÂ�venÂ�tures of InÂ�diÂ�ana Jones, The, 159 AdÂ�venÂ�tures of Don Juan, The, 147 AdÂ�venÂ�tures of Robin Hood, The, xxiii, xxv, 17, 35– 36, 75, 107, 271n45

AdÂ�venÂ�tures of TinÂ�tin, The, 202, 220 AdÂ�venÂ�tures on Earth, 132, 272n47 AFM (American FedÂ�erÂ�aÂ�tion of MusiÂ�cians), 24 A.I. ArÂ�tiÂ�fiÂ�cial InÂ�telÂ�liÂ�gence, 217 Alamo, The, 23, 66 Alcoa PreÂ�miere, 88 AlÂ�drin, Buzz, 280n35 alÂ�eaÂ�toric music, 32, 70, 90, 102 AlÂ�exÂ�anÂ�der, Van, 68 AlÂ�exÂ�anÂ�der NevÂ�sky, 39 AliÂ�ens, 200 Allen, Irwin, 90 AlÂ�pine SymÂ�phony, An (Eine AlÂ�penÂ�sinÂ�foÂ�nie), 90 AltÂ�man, RobÂ�ert, 110–11 AmarÂ�cord, 60 AmÂ�blin EnÂ�terÂ�tainÂ�ment, 130 AmerÂ�ica, the Dream Goes On, 189 Â�Americana, in music, 90, 108, 123–24, 216, 222 Â�American FedÂ�erÂ�aÂ�tion of MusiÂ�cians (AFM), 24 Â�American GrafÂ�fiti, 64, 69, 260n28, 261n13 Â�American in Paris, An (GershÂ�win), 194 Â�American in Paris, An (MinÂ�nelli), 21 AmisÂ�tad, 123, 215, 222 AnatÂ�omy of a MurÂ�der, 22

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AnÂ�chors Â�Aweigh, 192 AnÂ�derÂ�son, Leroy, 185 And Then There Were None, 265n3 Â�Angela’s Ashes, 225 Anna ChrisÂ�tie, 11 AnÂ�thony AdÂ�verse, 17 AnÂ�tonÂ�iÂ�oni, MiÂ�chelÂ�anÂ�gelo, 57, 259n4 “AnyÂ�thing Goes,” 89, 212 ApartÂ�ment, The, 88 apÂ�plied/funcÂ�tional music, 141 ArÂ�aÂ�besque, 93, 97, 102 ArÂ�gento, Dario, 135 Arlen, HarÂ�old, 194 ArÂ�nold, David, 84 art cinÂ�ema, 57 ArÂ�thur Freed Unit, 21 arÂ�tisÂ�tic moÂ�tiÂ�vaÂ�tion, xx AsÂ�phalt JunÂ�gle, The, 20 AsÂ�sasÂ�siÂ�naÂ�tion of the Duke de Guise, The (L’assassinat du duc de Guise), 195 “The AsÂ�terÂ�oid Field,” 132 AtÂ�mosÂ�pheres, 70 “Augie’s Great MuÂ�nicÂ�iÂ�pal Band,” 125 AvÂ�aÂ�tar, 201 Avery, Tex, 41 Awful Truth, The, 15 Axt, Â�William, 11 BaÂ�call, LaÂ�uren, 62 Bach, J. S., 119, 142 BachÂ�aÂ�rach, Burt, 65, 92, 188 BachÂ�eÂ�lor Â�Father, 88 BachÂ�eÂ�lor in ParÂ�aÂ�dise, 260n37 “Back in Time,” 85 Back to the FuÂ�ture, 85, 107, 264n61, 267n18 BaÂ�dalÂ�aÂ�menti, AnÂ�gelo, 83 BadÂ�ham, John, 223 BAFTA Â�Awards, 3 “BalÂ�let for DivÂ�ers,” 118 Ball of Fire, 22, 62 BarÂ�ber, SamÂ�uel, 141 “BarnÂ�yard Dance,” 192 barÂ�rel chase seÂ�quence, 116, 192 BarÂ�rie, James M., 213 BarÂ�ron, Babe and Louis, 70 Barry, John, 59, 61, 64–65, 67–68, 103, 194, 264n61, 276n25

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Â� Bartók, Bela, 19 BasÂ�chet, Â�François and BerÂ�nard, 91 Bass, Saul, 218 BasÂ�sett, RegÂ�iÂ�nald, 38 BatÂ�man, 84, 198, 264n61 BatÂ�man ReÂ�turns, 84 “BatÂ�tle Cry of FreeÂ�dom,” 222, 285n30 “BatÂ�tle of the HeÂ�roes,” 80 BatÂ�tle of the Trees, The, 79 Â�Baudry, Â�Jean-Louis, 142 BBC Proms, 195 Beach Boys, The, 116 BeatÂ�les, The, 185 Beau Geste, 15 BeauÂ�tiÂ�ful Mind, A, 201 Bee Gees, The, 83 BeeÂ�thoÂ�ven, LudÂ�wig van, 33 Â�Beethoven-centered music canon, 141 Belle BriÂ�gade, The, 264n1 BelÂ�locÂ�chio, Marco, 144 BeÂ�luÂ�shi, John, 209 BenchÂ�ley, Peter, 110 Â�Ben-Hur, 20, 25, 103 “Ben’s Death/TIE Â�Fighter AtÂ�tack,” 132 BergÂ�man, Alan and MarÂ�iÂ�lyn, 188 BergÂ�man, IngÂ�mar, 57 BergÂ�man, InÂ�grid, 35 Berio, LuÂ�ciano, 107, 268n22 BerÂ�nard, James, 223 BernÂ�stein, Elmer, 22–23, 61, 66, 88, 90, 108, 195 BernÂ�stein, LeÂ�oÂ�nard, 46, 88, 194, 227 BevÂ�erly Hills Cop, 83 Bible, 170, 180 “A Big BeauÂ�tiÂ�ful Ball,” 91 Big CounÂ�try, The, 23, 88, 108 Big Sleep, The, 225 Bill Haley and His ComÂ�ets, 63 Bird of ParÂ�aÂ�dise, 14 Birth of a NaÂ�tion, The, 10, 36, 62, 254n7 Bixio, CeÂ�sare AnÂ�drea, 34 BlackÂ�board JunÂ�gle, 63 BlackÂ�hawk: FearÂ�less ChamÂ�pion of FreeÂ�dom, 146 Black Hole, The, 264n61 Black SunÂ�day, 131, 222 Blade RunÂ�ner, 83, 106 Blue DaÂ�nube, The (An der Â�schönen Â�blauen Donau), 70, 257n22

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Blue VelÂ�vet, 83 BoÂ�gart, HumÂ�phrey, 35, 147, 152, 179, 218 BoÂ�lero, 37 BonÂ�nie and Clyde, 104 BordÂ�well, David, xix, 127 Born on the Â�Fourth of July, 224, 272n49 BosÂ�ton Pops OrÂ�chesÂ�tra, 3, 5, 82, 141, 183–96, 225 BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra (BSO), 3, 46, 183–93, 217, 279n4 BosÂ�ton UniÂ�verÂ�sity, 81 BouÂ�lez, Â�Pierre, 29 BradÂ�ley, Scott, 34, 103 Â�Brahms, JoÂ�hannes, 29, 33, 71, 81, 119, 134, 141–42 BraveÂ�heart, 200 BreakÂ�fast at Â�Tiffany’s, 24, 88, 92, 94, 97 Breil, JoÂ�seph Carl, 10, 62 BresÂ�son, RobÂ�ert, 58 Bride of FranÂ�kenÂ�stein, The, 15–16 BringÂ�ing Up Baby, 15, 92 BritÂ�ish Film InÂ�stiÂ�tute, 194 BritÂ�ten, BenÂ�jaÂ�min, 132 Â�Brossé, Dirk, 193 BroughÂ�ton, Bruce, 23, 264n61 Brown, David, 187 Brown, Nacio Herb, 13 Brown, Royal S., 19, 143 BSO. See BosÂ�ton SymÂ�phony OrÂ�chesÂ�tra Buck RogÂ�ers, 69 BurÂ�linÂ�game, Jon, 195, 206 Butch CasÂ�sidy, 65, 188 Cabin in the Sky, 22 CacÂ�tus Â�Flower, 92 Cage, John, 32 CalÂ�aÂ�bretto, RoÂ�berto, 143 CampÂ�bell, JoÂ�seph, 69, 75, 267n17 caÂ�nonÂ�iÂ�cal story forÂ�mat, 29, 106 “CanÂ�tina Band,” 188 Capra, Frank, 15, 219 CapÂ�tain Blood, 15–17, 75 CapÂ�tains CouÂ�raÂ�geous, 15 CarÂ�men FanÂ�tasy, 194 CarÂ�miÂ�chael, Hoagy, 62 CarÂ�mina BuÂ�rana, 78 CarÂ�penÂ�ter, John, 83

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CasÂ�aÂ�blanca, 35, 41, 139, 147, 166, 169, 209 CaÂ�sino RoyÂ�ale, 92 CasÂ�per, 200 CasÂ�taÂ�neda, CarÂ�los, 69 CasÂ�telÂ�nuÂ�ovo TeÂ�desco, Mario, 86, 265n3 CasÂ�tle, Â�William, 21, 255n39 Catch Me If You Can, 139, 218, 272n49 CBS Radio OrÂ�chesÂ�tra, 86 ceÂ�lesta, 226 CGI (computer-generated imÂ�agery), 201, 220 ChabÂ�rol, Â�Claude, 143, 274n31 ChaÂ�plin, Â�Charles, 37, 139 ChaÂ�plin, Saul, 21 Â�Charge of the Light BriÂ�gade, The, 15 CharÂ�iÂ�ots of Fire, 83 CheckÂ�mate, 88 ChiÂ�cago SymÂ�phony OrÂ�chesÂ�tra, 3, 195, 222 ChiefÂ�tains, The, 225, 272n49 Â�Children’s Suite from Harry PotÂ�ter, 132 ChiÂ�naÂ�town, 105 Chion, Â�Michel, 40 “ChristÂ�mas Star,” 225 CiÂ�marÂ�ron, 14 CinÂ�cinÂ�nati Pops OrÂ�chesÂ�tra, 193, 281n36 CinÂ�deÂ�rella LibÂ�erty, 108, 138, 272n49 cinÂ�ema of atÂ�tracÂ�tions, 10, 13 CinÂ�ema ParÂ�aÂ�diso (Nuovo CinÂ�ema ParÂ�aÂ�diso), 281n51 CitÂ�iÂ�zen Kane, xxi, 18–19, 140, 147, 181 City of Fear, 88 Clair, René, 144 ClasÂ�siÂ�cal HolÂ�lyÂ�wood CinÂ�ema, The, xxv clasÂ�siÂ�cal HolÂ�lyÂ�wood music: conÂ�serÂ�vaÂ�tism, 27; forÂ�mal funcÂ�tions, 26, 40–41; ghostÂ�writÂ�ers, 37, 136, 138, 199; lanÂ�guage, xix, xxiv, 26– 33, 41; muÂ�siÂ�cal means, xxiv, 5, 10, 24, 26, 36–37, 41, 57, 61, 77, 83, 102, 116, 121, 127, 199, 206; music deÂ�partÂ�ments, xxiv, 16, 24, 27, 37, 88–89, 130, 254n24; orÂ�chesÂ�traÂ�tion, 37–40, 258n42; techÂ�niques, 33–36 clasÂ�siÂ�cal narÂ�raÂ�tion, 40, 58, 148, 150–52, 267n18 clasÂ�siÂ�cism, in film and music, xxv CliÂ�burn, Van, 87 Close EnÂ�counÂ�ters of the Third Kind, 82, 124–25, 135, 140, 142, 147, 186, 193, 208 cloÂ�sure efÂ�fect, 29, 165, 181 CobÂ�web, The, 22 cogÂ�niÂ�tive psycholÂ�ogy, 30

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Cohen, AnÂ�naÂ�bel J., 30 Color PurÂ�ple, The, 212 CoÂ�lumÂ�bia PicÂ�tures, 88 CoÂ�molli, Â�Jean-Louis, 142 ComÂ�posÂ�ing for the Films, 22 comÂ�poÂ�siÂ�tional moÂ�tiÂ�vaÂ�tion, in film, xx, 64, 151 Conan the BarÂ�barÂ�ian, 264n61 Â�Congruence-Associationist frameÂ�work, 35. See also cogÂ�niÂ�tive psycholÂ�ogy ConÂ�nery, Sean, 213 Conti, Bill, 188, 264n61 Cook, EliÂ�sha, Jr., 22 Cooke, MerÂ�vyn, 40, 143, 271n43 CopÂ�land, Aaron, 23, 90–91, 123–24, 135, 194, 255n26 Cosel, Â�William, 279n4 CouÂ�lais, Bruno, 203 CouÂ�rage, AlÂ�exÂ�anÂ�der, 137, 189, 262n29 CowÂ�boys, The, 23, 90–91, 108–9 CrivÂ�elli, Carlo, 144 CroÂ�nenÂ�berg, David, 203 CurÂ�tiz, MiÂ�chael, 72, 95, 189, 220 CutÂ�throat IsÂ�land, 121–22 Â� Daddy’s Gone Â�A-Hunting, 91, 94, 101 Dadié, BerÂ�nard, 216 DaÂ�mone, Vic, 88 DanÂ�gerÂ�ous MoonÂ�light, 262n27 DanÂ�iels, AnÂ�tony, 193 Â�Danzón CuÂ�bano, 194 “Darth Â�Vader’s Theme” (“The ImÂ�peÂ�rial March”), 79–80, 125 David, Hal, 188 Davis, Miles, 61 Day, Doris, 67, 88 Days of Â�Heaven, 83 Day the Earth Stood Still, The, 70 Dead Men Don’t Wear Plaid, 264n61 DebÂ�ney, John, 121–22 DeÂ�bussy, Â�Claude, 124, 194, 208, 222 deÂ�conÂ�strucÂ�tionÂ�ism, in film, 142 Deep Red (ProÂ�fondo Rosso), 135 Â�degüello, 23 DelÂ�eÂ�rue, Â�Georges, 59, 140 DeÂ�lius, FredeÂ�rick, 90 De Palma, Brian, 224 De Sica, VitÂ�toÂ�rio, 34

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Â� Deutsch, Â�Adolph, 21, 88, 162 DeutschÂ�landÂ�lied, Das, 209 deÂ�vice, in film, xx, xxv, 29, 31–32, 35, 40, 58, 67, 77, 85, 142, 151 Â�Devil-Doll, The, 15 De Vol, Frank, 68, 92 diÂ�alect, in music, xxiv–xxv Dial M for MurÂ�der, 21 Dick Tracy, 198 dieÂ�getic level (narÂ�raÂ�tion), xxiii, 22, 33, 63–64, 252n8 Dies Irae, 80 DieÂ�trich, James, 254n22 DieÂ�trich, MarÂ�lene, 11 DisÂ�honÂ�ored, 11 DisÂ�ney, Walt, 3 “Dixie,” 33 DoÂ�mingo, Â�Plácido, 3 DoÂ�nagÂ�gio, Pino, 135 Donen, StanÂ�ley, 97, 195 Don GioÂ�vanni (MoÂ�zart), 200 Don Juan, 11–12, 147 “Do Not ForÂ�sake Me, Oh My DarÂ�ling,” 23 Don WinÂ�slow of the Navy, 146 DouÂ�ble InÂ�demÂ�nity, 18, 20 “DouÂ�ble TrouÂ�ble,” 227 Down ArÂ�genÂ�tine Way, 192 DraÂ�cula (1931), 15 DraÂ�cula (1979), 78, 84, 131, 223 “Dream Way,” 91 DreamÂ�Works SKG, 130, 201 DreyÂ�fuss, RichÂ�ard, 192 Dr. No, 61 “Drum BooÂ�gie,” 22, 62 “Dry Your Tears, Â�Afrika,” 216 Dr. ZhiÂ�vago, 83, 187 dubÂ�bing, 13, 16 DuÂ�daÂ�mel, GusÂ�tavo, 196 “Duel of the Fates,” 78, 81 DunÂ�ing, Â�George, 68 Dupak, MorÂ�ris, 38 Dvo†rák, Â�Antonín, 71 Dyer, RichÂ�ard (BosÂ�ton Globe), 190, 196, 283n2 EarthÂ�quake, 90–91 Easy Rider, 65, 104 EdÂ�wards, Blake, 94, 96, 265n17, 274n31

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EiÂ�senÂ�stein, SerÂ�gei, 143–44, 274n31 EisÂ�ler, Hanns, 22, 27, 32, 139 El Cid, 20, 66 ElÂ�eÂ�vaÂ�tor to the GalÂ�lows (AsÂ�cenÂ�seur pour Â�l’échafaud ), 61 ElfÂ�man, Danny, 84, 130, 198, 264n61 Elgar, EdÂ�ward, 124, 221, 270n11 EllÂ�ingÂ�ton, Duke, 23 Emmy Â�Awards, 3 Â�Emperor’s theme, 125, 270n15 EmÂ�pire of the Sun, 131, 212 EmÂ�pire Â�Strikes Back, The, 78, 125, 132 EsÂ�plaÂ�nade ConÂ�certs (BosÂ�ton Pops), 184 EsÂ�plaÂ�nade OverÂ�ture, 224 “E.T.’s HalÂ�loÂ�ween,” 133 E.T. the Â�Extra-Terrestrial, 6, 75, 84, 124, 126, 132– 33, 192, 210–11 Evans, Ray, 67, 265n21 EveÂ�ning at Pops, 184, 190, 279n4 ExÂ�cerpts from FidÂ�dler on the Roof, 186 ExÂ�periÂ�ment in TerÂ�ror, 265n17 “ExÂ�sulÂ�tate Justi,” 131, 212 FalÂ�terÂ�meyer, HarÂ�old, 85 FamÂ�ily Plot, 124, 222 faÂ�mous diÂ�recÂ�tor/comÂ�poser duos, 274n31 FanÂ�fare for FenÂ�way, 4 FanÂ�fare for the ComÂ�mon Man, 135 FanÂ�tasÂ�tic VoyÂ�age, 61 Far and Away, 225, 272n49 Fatal AtÂ�tracÂ�tion, 84 FaulkÂ�ner, Â�William, 90 “FawÂ�kes the PhoeÂ�nix,” 123, 226 FelÂ�lini, FeÂ�derÂ�ico, 57, 60, 139, 144, 274n31 femÂ�iÂ�nist film theÂ�ory, 142 FidÂ�dler on the Roof, 110, 132, 138, 269n50 FieÂ�del, Brad, 83 FiedÂ�ler, ArÂ�thur, 184–86, 188, 190, 193 FieldÂ�ing, Jerry, 23 Â�film-concert, 197, 199 film music: anemÂ�paÂ�thetÂ�iÂ�cal, 65; Â�art-cinema Â�against the use of, 59; atoÂ�nalÂ�ity, 21, 26, 32, 61, 123, 208, 220; backÂ�ground music, xxiii; click Â�tracks, 129; Â�closed muÂ�siÂ�cal numÂ�ber, 59–61, 66, 94–96, 217; cogÂ�niÂ�tive funcÂ�tion, xxii, 41, 59, 170, 182, 198, 212, 278n26; comÂ�piÂ�laÂ�tion score, 65, 195, 260n34, 261n13; conÂ�temÂ�poÂ�rary film music, 198–99;

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diÂ�alogue underÂ�scorÂ�ing, 11, 34–36, 60, 72, 102, 126, 163, 166; dieÂ�getic, xxiii–xxiv, 11– 14, 20–22, 33, 35, 58, 63–65, 90, 94, 96, 117, 162, 168, 198, 213, 252n8; ecÂ�lecÂ�tic style, 84, 108, 121–22, 216; ecoÂ�nomic moÂ�tiÂ� vaÂ�tion, 62–65, 67, 198; emÂ�oÂ�tive funcÂ�tion, xxi–xxii, 28, 41, 59, 96, 101, 113–14, 126, 128, 158, 158, 162–64, 169–70, 172, 182, 198, 217; exÂ�plicit Â�synch-point, 162; forÂ�mal funcÂ�tions, xxiv, 64, 198; funcÂ�tional acÂ�comÂ� paÂ�niÂ�ment, xxiv, 254n18; Â�Golden Age, xxiv– xxv, 5, 24, 40, 122; idiom, xxiv–xxv, 26– 27, 84, 97, 107, 122–23; ilÂ�lusÂ�trated songs, 62; inÂ�audÂ�ibilÂ�ity, 29–30, 60; interÂ�poÂ�lated songs, 64; Â�intra-opus style, xxiv–xxv, 84, 102, 139, 153, 219; leitÂ�moÂ�tiv, xxiii, 28, 34– 36, 40–41, 59–60, 64, 66, 71, 84, 92, 94, 97, 112, 112, 114–15, 120–22, 124–25, 152– 53, 198–99, 202, 214, 220–22, 258n1, 282n6; Â�macro-emotive, xxi, 28, 41, 126, 162, 182; Â�Mickey-Mousing, 34–35, 40–41, 59–61, 73, 84, 91–92, 94–95, 98–102, 112, 114, 123, 126, 152–53, 162, 168–69, 174–76, 182, 213–14, 220, 257n27; Â�micro-emotive funcÂ�tion, xxi–xxii, 41, 126, 169, 182, 198; modal music, 19–20, 23, 61, 103, 124, 153, 227; modÂ�ern style, 21–22, 24, 57–68, 77, 84, 91–92, 94–95, 97, 102–3, 117, 128, 131– 32, 140, 143, 158, 198, 201, 258n1; muÂ�siÂ�cal reÂ�alÂ�ism in early sound films, 12–14, 35; Â�non-diegetic, xxiii–xxiv, 11–14, 20–22, 33, 35, 58, 63–65, 90, 94, 96, 117, 168, 198, 213; osÂ�tiÂ�nato, 78, 111–15, 117, 123, 175–76, 198, 208–9, 277n5; pedal point, 166–67, 171, 173–75, 178–79; perÂ�cepÂ�tive funcÂ�tion, xxii, 41, 59, 68, 91–92, 95, 97, 114, 122, 128, 152, 164, 169, 182, 198, 203; Â�sci-fi genre, 70; Â�source music, xxiii, 12, 252n8; spaÂ�tial perÂ�cepÂ�tive, xxii, 41, 59, 68, 91–92, 95–97, 113–14, 122, 128, 162, 164, 169, 182, 203; Â�stinger, 35, 74, 95, 97, 122, 162, 169, 172–73, 175, 179, 182, 277n11; streamÂ�ers, 129; temÂ�poÂ�ral perÂ�cepÂ�tive, xxii, 41, 164, 169, 198; Â�twelve-tone music, 21–23; wallÂ� paÂ�per music, xxiv, 11, 36, 253n13 Film Score Â�Monthly, 194 FiÂ�nale from E.T., 192

308

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FineÂ�gan, Bill, 157 FireÂ�bird, The (L’oiseau de feu), 226 FitzÂ�geÂ�rald, Ella, 185 FitzÂ�willy, 90, 93, 98–99, 103, 222 Â�five-note motif, 208. See also Close EnÂ�counÂ�ters of the Third Kind FlashÂ�dance, 83–84 Flash GorÂ�don, 69 Flinn, Caryl, 28 FlyÂ�ing DutchÂ�man, The (Der flieÂ�gende Â�Holländer), 214 FlyÂ�ing SeÂ�quence from SuperÂ�man, 192 “FlyÂ�ing Theme” from E.T., 210–11 Flynn, Errol, 72, 95, 116, 121, 147 ForÂ�bidÂ�den Â�Planet, 70 Ford, HarÂ�riÂ�son, 147, 161, 169, 274n3 “For GilÂ�lian,” 272n52 forÂ�mal Â�system, in film, xx ForÂ�rest Gump, 281n51 “ForÂ�tress of SolÂ�iÂ�tude,” 124, 158 ForÂ�tuÂ�nella, 273n21 Four FeathÂ�ers, The, 262n27 FranÂ�kenÂ�stein, 15 “The FreeÂ�dom Train,” 226 Freer, Ian, 182 FriedÂ�hofer, Hugo, 16, 24, 38, 137, 256n2 FriÂ�sina, Marco, 135 Funny Face, 88 Fury, The, 84, 223–24, 272n52 GamÂ�bit, 92 GarÂ�funÂ�kel, Art, 65 Gates, Bill, 140 GeÂ�rhardt, Â�Charles, 196 GerÂ�man ExÂ�presÂ�sionÂ�ism, 18, 105 GershÂ�win, Â�George, 185, 194 Getz, Stan, 218 GeÂ�wandÂ�hauÂ�sorÂ�chesÂ�ter, 195 Ghost, 213 Gigi, 21 GilÂ�bert and SulÂ�liÂ�van, 171 GilÂ�lesÂ�pie, Dizzy, 185 Â�Gilligan’s IsÂ�land, 88 GioÂ�vanni, Fusco, 59, 153, 273n21 GiuÂ�lini, Carlo Maria, 141 GladÂ�iÂ�aÂ�tor, 200 Glass BotÂ�tom Boat, The, 68, 92

I n d ex

Glen or Â�Glenda, 36 “GloÂ�ria,” 131, 224 GobÂ�lin, The, 135 GodÂ�father, The, 60, 62, 139, 224, 273n21 GoldÂ�finÂ�ger, 64, 260n30 GoldÂ�smith, Jerry, 67–68, 70, 85, 88, 129–30, 189, 195, 264n61, 265n3 Gone with the Wind, xxi, xxv, 15–16, 33, 38, 131, 221 “Gonna Fly Now,” 188 “Good FriÂ�day Spell,” 213 GoodÂ�man, Benny, 185, 209, 284n10 GoodÂ�man, John, 255n39 GorbÂ�man, ClauÂ�dia, 30, 40, 256n12 GradÂ�uÂ�ate, The, 65, 67 Grant, Cary, xxii, 33 Â�Graves, RobÂ�ert, 79 Great Race, The, 92, 95 GreenÂ�away, Peter, 144 “GreenÂ�sleeves,” 227 “Green Years,” 67 Â�Gruska, BarÂ�bara, 264n1 Â�Gruska, Ethan, 264n1 Guide for the MarÂ�ried Man, A, 90–91, 93, 97, 100, 103, 136 Guns of NavÂ�aÂ�rone, The, 66, 88 Guy Named Joe, A, 213 Hale, Alan, 35 HalÂ�loÂ�ween, 83 HamÂ�burg Opera, 90 HamÂ�lisch, MarÂ�vin, 188 HamÂ�mer Films, 223, 285n34 HampÂ�ton, LiÂ�oÂ�nel, 185 HanÂ�del, Â�George FriÂ�deric, 103 Hard Day’s Night, A, 67 Harry PotÂ�ter and the ChamÂ�ber of SeÂ�crets, 123, 139, 226 Harry PotÂ�ter and the PrisÂ�oner of AzÂ�kaÂ�ban, 131, 226 Harry PotÂ�ter and the Â�Sorcerer’s Stone, 123, 132, 226 HaÂ�skin, Byron, 219 Hawks, HoÂ�ward, 30, 92, 96, 265n20 Haydn, JoÂ�seph, xxv, 32, 267n21 HeartÂ�beeps, 206 “Hedwig’s Theme,” 123, 226–27 Heidi, 90

I n d ex

HeirÂ�ess, The, 255n26 Â�Hell’s AnÂ�gels, 106 HellÂ�zaÂ�popÂ�pin, 22, 107 Henry V, 262n27 HepÂ�burn, KathÂ�aÂ�rine, 151 Â�Herman’s HerÂ�mits, 65 Â�hero’s jourÂ�ney, 29, 106, 158 HerrÂ�mann, BerÂ�nard, xxi–xxiii, xxv, 18–19, 24, 27, 39, 67–68, 70, 89, 123, 130–31, 135, 139–40, 143–44, 194–95, 218, 222–24, 262n27, 270n11, 271n38, 271n44, 274n31, 281n51 HidÂ�den ForÂ�tress, The (Kakushi-toride no Â�san-akunin), 69 HigÂ�gins, Dan, 272n49 High and the Â�Mighty, The, 134 High Noon, 23, 139 High SoÂ�ciÂ�ety, 22 HiÂ�roÂ�shima Mon Amour, 59, 273n21 HiÂ�saiÂ�shi, Joe, 144 His Girl FriÂ�day, 15 HitchÂ�cock, AlÂ�fred, 11, 19, 67, 139–40, 143–44, 218, 222–23, 274n31, 281n51 H.M.S. PinÂ�aÂ�fore, 277n15 HolÂ�iÂ�day Pops conÂ�certs, 183, 279n1 HolÂ�lenÂ�beck, PatÂ�rick, 137 HolÂ�lyÂ�wood Bowl, 81, 194–95 HolÂ�lyÂ�wood Bowl OrÂ�chesÂ�tra, 130, 193–94 HolÂ�lyÂ�wood Revue of 1929, The, 13 Holst, GusÂ�tav, 71, 76, 141, 195, 263n57, 280n35 Home Alone, 131, 136, 225 Home Alone 2: Lost in New York, 225 Hook, 121–22, 124, 132, 213–14 Horn ConÂ�certo No. 2 in E Flat, K. 417, 186 Â�Horner, James, 200–201, 264n61 HoÂ�ward, Ron, 225 How the West Was Won, 25, 66 How to Steal a MilÂ�lion, 90–91, 93, 100, 103, 222 Huey Lewis and the News, 85 HuÂ�moÂ�resque, 194 HupÂ�pertz, GottÂ�fried, 277n7 “Hymn to the FalÂ�len,” 217 hyperÂ�clasÂ�siÂ�cal, in film, 105, 107, 127 “I Am the MonÂ�arch of the Sea,” 277n15 ideolÂ�ogy, in film, 28, 143, 152

•

309

“I Like MyÂ�self,” 192 ImÂ�ages, 4, 90, 94, 102, 111, 138, 265n15, 272n49 “I’m Into SomeÂ�thing Good,” 65 “The ImÂ�peÂ�rial March” (“Darth Â�Vader’s Theme”), 79–80, 125 imÂ�presÂ�sionÂ�ism, in music, 83, 119, 124, 208 InÂ�deÂ�penÂ�dence Day, 84 InÂ�diÂ�ana Jones (charÂ�acÂ�ter), 125, 146–47, 153, 155, 158, 161, 212–13, 220 InÂ�diÂ�ana Jones and the KingÂ�dom of the CrysÂ�tal Skull, 145, 202, 220 InÂ�diÂ�ana Jones and the Last CruÂ�sade, 85, 126, 131, 137, 145, 158, 213 InÂ�diÂ�ana Jones and the TemÂ�ple of Doom, 85, 89, 145, 147–48, 212 “InÂ�diÂ�ana Jones Theme,” 123, 125, 153–58, 220. See also RaidÂ�ers March InÂ�disÂ�creet, 12 InÂ�former, The, 16, 35, 167, 209, 277n11 InterÂ�naÂ�tional ComÂ�posÂ�ers FesÂ�tiÂ�val, 194 InÂ�visÂ�ible Ray, The, 15 inÂ�visÂ�ible stoÂ�ryÂ�tellÂ�ing, in film, 29 “Irina’s Theme,” 220 IrÂ�ving, Amy, 224 IsÂ�land of the Lost Souls, 15 IsÂ�rael PhilÂ�harÂ�monic OrÂ�chesÂ�tra, 194 It’s AlÂ�ways Fair Â�Weather, 192 JackÂ�son, HoÂ�ward, 13 JackÂ�son, MaÂ�halia, 88 James Bond (charÂ�acÂ�ter), 61, 64, 145–46, 154 “James Bond Theme,” 154, 276n25 Jane Eyre, 4, 90, 124, 131, 138, 206 JanÂ�sen, Â�Pierre, 143, 274n31 Jarre, MauÂ�rice, 25, 61, 68, 83, 92, 187, 191 Jaws, 6, 71, 77, 103, 109–12, 114–18, 123, 126, 131, 133, 135, 138, 140, 142, 147, 162, 173, 187, 192, 208–9, 276n34, 284n11 Jaws 2, 84, 117 jazz, 21–23, 61, 65, 68, 84, 87, 91, 97, 102, 108, 120, 123, 185, 200, 218–19, 221, 227, 259n15 Jerry MaÂ�guire, 105 JFK, 221, 224–25, 272n49 John GoldÂ�farb, Â�Please Come Home!, 90 John Â�Quincy Â�Adams’s trumÂ�pet theme, 123

310

•

Jones, Â�Quincy, 92, 212 JourÂ�ney to the CenÂ�ter of the Earth, 148 “JourÂ�ney to the IsÂ�land,” 123 JuÂ�lius CaeÂ�sar, 20 JulÂ�lier, LaurÂ�ent, 106, 197 JuÂ�rasÂ�sic Park, 123–25, 131, 214–15 Kahn, BerÂ�nard, 38 KalÂ�iÂ�nak, KathÂ�ryn, 40, 138 Karam, Eddie, 137, 189 KarÂ�lin, Fred, 40 KasÂ�dan, LawÂ�rence, 147 KaufÂ�man, RichÂ�ard, 281n42 Kelly, Gene, 101, 192 KenÂ�nedy, John F., 221 Kern, JeÂ�rome, 213 KiesÂ�lowÂ�ski, KrzyszÂ�tof, 144 Kilar, WojÂ�ciech, 140 KillÂ�ers, The, 89, 94, 97–98, 101 King Kong, xxv, 14, 40, 106, 110, 117 King of Jazz, 22 King of Kings, 20, 22, 66 King Â�Solomon’s Mines, 147 Kings Row, 17, 75, 76, 123 KiÂ�tano, TaÂ�keÂ�shi, 144 klezÂ�mer, 219 Â�Knight of the Rose, The (Der RoÂ�senÂ�kavÂ�aÂ�lier), 217 Â�Knights of the Round Table, 20 KornÂ�gold, Erich W., xxii–xxv, 15–17, 27, 35–36, 39, 71–72, 74–76, 81, 95, 98, 103, 116, 121– 23, 129–30, 137, 139, 153, 189, 194, 197, 200, 203, 214, 220, 252n7, 255n27, 270n11, 271n34, 271n45, 273n11 Kraft SusÂ�pense TheÂ�aÂ�ter, 88 Krull, 200 Krupa, Gene, 62 KuÂ�brick, StanÂ�ley, 32, 65, 70–71, 139, 217–18, 257n22 KunÂ�zel, Erich, 193 Lack, RusÂ�sell, 58–59, 136, 138 L.A. ConÂ�fiÂ�denÂ�tial, 105 Lai, FranÂ�cis, 61, 64, 188 “La MarÂ�seilÂ�laise,” xxi, 100 “Lara’s Theme,” 187 LarÂ�sen, Peter, 40

I n d ex

Last PicÂ�ture Show, The, 65 Laura, 18, 20, 90 LawÂ�rence of AraÂ�bia, 25, 83, 147 Lean, David, 83, 191 LeÂ�brecht, NorÂ�man, 138–40 LegÂ�end, 85 LeÂ�grand, Â�Michel, 61, 64 Leone, SerÂ�gio, 30, 60, 128, 143–44, 274n31 Â�Lerner, Neil, 142–43 LhéÂ�vinne, RoÂ�sina, 87, 265n7 LiÂ�geti, Â�György, 70 “Light My Way,” 226 Â�Lights of New York, 12 LinÂ�coln, 221 LiÂ�onÂ�heart, 264n61 Lion in WinÂ�ter, The, 61, 68 LipÂ�pinÂ�cott, Â�Charles, 70 “The LitÂ�tle PeoÂ�ple Work,” 132 LiÂ�vingÂ�ston, Jay, 67, 265n21 Lloyd WebÂ�ber, AnÂ�drew, 135 LockÂ�hart, Keith, 191, 193 “LonÂ�don Â�Bridge Is FallÂ�ing Down,” 33 “LonÂ�donÂ�derry Air,” 186 LonÂ�don SymÂ�phony OrÂ�chesÂ�tra (LSO), 73, 77–78, 81–82, 85, 121, 131, 152–53, 186, 194, 200, 223–24, 262n27, 272n52, 275n23, 279n11 Long GoodÂ�bye, The, 90 “Look Down, Lord,” 226 Lord of the Rings, The, 203 Lorre, Peter, 167 Los AnÂ�geles InterÂ�naÂ�tional Music FesÂ�tiÂ�val, 130 Los AnÂ�geles Opera House, 3 Los AnÂ�geles PhilÂ�harÂ�monic OrÂ�chesÂ�tra, 81, 141, 195–96 “The Lost Boys BalÂ�let,” 132 Lost HoÂ�riÂ�zon, 15 Lost in Space, 88, 90 Lost WeekÂ�end, The, xxii, 18, 20 Lost World, The, 214–15 Love on the Run (L’amour en fuite), 59 Love Story, 187 LSO. See LonÂ�don SymÂ�phony OrÂ�chesÂ�tra LuÂ�bitsch, Ernst, xxiv, 11 Lucas, Â�George, 4–5, 47, 69–73, 77, 79–81, 104, 107, 118, 124–25, 136, 145–46, 148, 162, 201–2, 222, 261n17, 277n4

I n d ex

LuÂ�casÂ�film, 145, 202 Â�Luke’s theme/leitÂ�moÂ�tiv (Star Wars), 72, 74, 79, 154, 157–58. See also “Main Title” (Luke’s theme) from Star Wars Lux AeÂ�terna, 70 Lynch, David, 83, 105 Ma, Yo-Yo, 132, 206, 272n49 MacÂ�beth, 227 Madam Satan, 11 “The Magic of HalÂ�loÂ�ween,” 133 MagÂ�nifÂ�iÂ�cent Seven, The, 23, 66, 108 MahÂ�ler, GusÂ�tav, 17, 26, 36, 124, 139 “Main Title” (Luke’s theme) from Star Wars, 72, 74–76, 76, 79, 123, 132, 135, 154, 155, 157– 58, 279n18 MaÂ�loÂ�ney, Paddy, 225 MalÂ�tese FalÂ�con, The, 162, 218 MalÂ�tin, LeÂ�oÂ�nard, 261n14 Man and a Woman, A (Un homme et une femme), 64, 67 ManÂ�cini, Henry, 24, 59, 61, 66–68, 88, 92, 94– 98, 102, 132, 218, 260n37, 265n3, 265n21, 266n23, 274n31 Manne, Â�Shelly, 22 Man’s FaÂ�vorÂ�ite Sport?, 92, 96, 102 Man Who Knew Too Much, The, 67, 262n27, 281n47 Man Who Loved Cat DancÂ�ing, The, 91 Man with the Â�Golden Arm, The, 22, 24 Man with the Steel Whip, 147 “The March of the VilÂ�lains,” 124 “Mars, the Â�Bringer of War,” 76, 76 MarÂ�salis, BranÂ�ford, 200 MarteÂ�not, MauÂ�rice, 255n33 MasÂ�cagni, PieÂ�tro, 103 Â�Masked MarÂ�vel, The, 146 Mask of Zorro, The, 201 MaÂ�thieÂ�son, Muir, 24 MatÂ�iÂ�nee, 255n39 MaÂ�trix, The, 106 MauÂ�ceri, John, 28, 193–94 McLaÂ�glen, AnÂ�drew V., 89 Mean Â�Streets, 65 Media VenÂ�tures. See ReÂ�mote ConÂ�trol ProÂ�ducÂ�tion “The MeetÂ�ing in SicÂ�ily,” 224

•

311

MehlÂ�man, BerÂ�nard, 215 Mehta, Zubin, 46, 81–82, 194 MeÂ�moirs of a GeiÂ�sha, 4, 206, 272n47, 283n2 MenÂ�delsÂ�sohn, Felix, xx, 99 MenÂ�doza, David, 11 “Men of YorkÂ�town March,” 222 “The Menu,” 117 MerÂ�cer, Â�Johnny, 24, 90, 95 “Merry ChristÂ�mas, Merry ChristÂ�mas,” 225 MeÂ�tropÂ�oÂ�lis, xxi, 195, 277n7 Meyer, LeÂ�oÂ�nard B., xxi, xxiv–xxv, 32 MGA (MusiÂ�cians Guild of AmerÂ�ica), 24 MGM (Metro-Goldwyn-Mayer), 21, 34, 89, 103, 212 Â�Miceli, SerÂ�gio, 120, 143, 154 MIDI, 129, 199 MidÂ�night ExÂ�press, 83 MidÂ�way, 222 “MidÂ�way March,” 222 MilÂ�land, Ray, xxii Â�Miller, Glenn, 157 miniÂ�malÂ�ism, in music, 83, 197, 217, 219 MiÂ�norÂ�ity ReÂ�port, 125, 218 “Miss AusÂ�tria,” xxiii, 252n7 MisÂ�souri Â�Breaks, The, 91, 138 ModÂ�ern Times, 37 MonoÂ�gram PicÂ�tures, 69 MonÂ�sigÂ�nor, 78, 131, 224 MonÂ�teÂ�carlo, 11 “Moon River,” 24, 95, 97 MorÂ�ley, AnÂ�gela, 137, 189, 262n29 MorÂ�oder, GiorÂ�gio, 83 MoÂ�ross, JeÂ�rome, 23, 90, 108 MorÂ�riÂ�cone, Ennio, 4, 23, 30, 39, 59–61, 67, 83, 107, 128, 130, 135–36, 139, 143–44, 200, 274n31; on the “Main Title” from Star Wars, 135 MorÂ�riÂ�son, Tim, 272n49 MorÂ�ton, ArÂ�thur, 137, 262n29 Most DanÂ�gerÂ�ous Game, The, 14, 277n7 MoÂ�zart, WolfÂ�gang A., xxv, 16, 32, 71, 141, 186, 200 Mr. Deeds Goes to Town, 15 Mr. RobÂ�inÂ�son CruÂ�soe, 254n18 “Mrs. RobÂ�inÂ�son,” 65 M Squad, 88

312

•

MTV, 65, 81 MulÂ�holÂ�land Drive, 105 MulÂ�vey, Laura, 62 Mummy, The, 254n22 Muni, Paul, 13 MurÂ�ders in the Rue Â�Morgue, 15 MurÂ�phy, MauÂ�rice, 153, 275n23 MusiÂ�cians Guild of AmerÂ�ica (MGA), 24 Music Lover, The, 78 muÂ�sique Â�concrète, 70 “Mutt’s Theme,” 220. See also “SwashÂ�buckÂ�ler (The AdÂ�venÂ�tures of Mutt)” Muzak (Mood), 30, 96, 103 “My Heart Will Go On,” 201 My Man GodÂ�frey, 15 Naked Gun, The, 65 Naked JunÂ�gle, The, 152 NarÂ�boni, Jean, 142 narÂ�raÂ�tive level, in film, xxi NaÂ�tional PhilÂ�harÂ�monic OrÂ�chesÂ�tra (UK), 82, 271n44 NaÂ�tional SymÂ�phony OrÂ�chesÂ�tra (USA), 195 neoÂ�clasÂ�siÂ�cism, in music, 119–21 neoÂ�forÂ�malÂ�ism, in film, xix–xxi, 251n1 “NesÂ�sun Dorma,” 224 NeuÂ�feld, John, 137 Â�Neumeyer, David, 141 Never Say Never Again, 64–65 New HolÂ�lyÂ�wood cinÂ�ema, 5, 104–7, 121, 148 NewÂ�man, AlÂ�fred, 15–16, 25, 33, 67, 74, 88–89, 130–31, 194, 203, 254n18, 262n30, 270n11 NewÂ�man, LiÂ�oÂ�nel, 77, 122, 203 New York PhilÂ�harÂ�monic OrÂ�chesÂ�tra, 3, 11, 87, 131, 195 “Nice To Be Â�Around,” 108 NichÂ�oÂ�las BrothÂ�ers, 192 nickÂ�elÂ�oÂ�deÂ�ons, 9, 36 Night in CasÂ�aÂ�blanca, A, 107 Night on Bald MounÂ�tain, 276n34 Night VisÂ�iÂ�tor, The, 93–94, 97, 102 “NimÂ�bus 2000,” 226–27 NiÂ�notchka, 15 Nixon, 224 noir film, 18, 220, 225, 264n61

I n d ex

Â�non-diegetic level (narÂ�raÂ�tion), xxiii, 22, 33, 63– 64, 252n8 None But the Brave, 89, 91 NorÂ�man, Monty, 61, 276n25 North, Alex, 22, 66, 70 North by NorthÂ�west, xxii, 19, 281n47 nosÂ�talÂ�gia ( psychoÂ�analÂ�yÂ�sis/ideolÂ�ogy), 28, 143, 256n4, 274n30 Notre Dame, 15 Not with My Wife, You Don’t!, 90–91, 93, 97, 99, 103 Now, VoyÂ�ager, 159 NutÂ�cracker, The, 226 Nyman, MiÂ�chael, 144 Obama, BaÂ�rack, 4 ObÂ�long Box, The, 68 ObÂ�sesÂ�sion, 68, 223 OedÂ�iÂ�pus Rex, 120 Of Mice and Men, 255n26 OlymÂ�pics, 4, 194 Omen, The, 68, 164 Ondes MarteÂ�not, 20, 255n33 Orb and ScepÂ�tre, 124 OrÂ�chesÂ�tra Wives, 192 orÂ�chesÂ�traÂ�tors in HolÂ�lyÂ�wood, 16, 21, 37–40, 89, 136–38, 189, 199, 257n35. See also clasÂ�siÂ�cal HolÂ�lyÂ�wood music OrÂ�chesÂ�tre de Paris, 121 orienÂ�talÂ�ism, 167, 275n19 OrÂ�well, Â�George, 69 OsÂ�cars. See AcadÂ�emy Â�Awards Out of AfÂ�rica, 264n61 Ozawa, Seiji, 190 Â� package-unit Â�system, in film, 63, 259n25 Â�Palmer, ChrisÂ�toÂ�pher, 27 panÂ�diÂ�aÂ�tonÂ�iÂ�cism, 123–24, 135 “PaÂ�rade of the Ewoks,” 124 ParÂ�aÂ�mount on PaÂ�rade, 13 ParÂ�aÂ�mount PicÂ�tures, 11, 161–62 ParkÂ�enÂ�ing, ChrisÂ�toÂ�pher, 272n49 Â�Parker, Alan, 226 ParÂ�siÂ�fal, 213 Party, The, 66, 93–94

I n d ex

PasÂ�sion of the Â�Christ, The, 206 pasÂ�tiche, 106, 182, 267n21 PatÂ�ton, 68 Â�pay-off, 151, 172 PBS, 82, 190, 279n4 Pearl HarÂ�bor, 200 PenÂ�deÂ�recki, KrzyszÂ�tof, 208 PeneÂ�lope, 90, 93, 97, 99 penÂ�taÂ�tonic scale, 108, 167, 212, 275n19 PepÂ�per, Art, 218 PerlÂ�man, ItÂ�zhak, 132, 272n49 Peter Gunn, 88 Peter Pan (charÂ�acÂ�ter), 122, 213 Peter Pan, 213 PhanÂ�tom Lady, 22 PhanÂ�tom of the Opera, The, xx Pink PanÂ�ther, The, 218 “The Pink PanÂ�ther Theme,” 95 PiÂ�oÂ�vani, NiÂ�cola, 144 PiÂ�ranha, 110, 268n30 PiÂ�rates of the CarÂ�ibÂ�bean: Dead Man’s Chest, 200 PiÂ�rates of the CarÂ�ibÂ�bean: On Â�Stranger Tides, 200 PittsÂ�burgh SymÂ�phony OrÂ�chesÂ�tra, 82 “Planet KrypÂ�ton,” 124 Â�Planet of the Apes, 68, 70 PlanÂ�ets, The, 71, 76, 76, 141, 263n57, 280n35 plot (syuÂ�zhet ), 40, 57, 258n50 PlyÂ�mouth AdÂ�venÂ�ture, 20 PolÂ�eÂ�douÂ�ris, Basil, 264n61 polyÂ�toÂ�nalÂ�ity, 26, 123 Pook, JoceÂ�lyn, 140 Pope, ConÂ�rad, 137 Pops in Space, 193, 281n38 Â�Porter, Cole, 89, 212 PoÂ�seiÂ�don AdÂ�venÂ�ture, The, 90 postÂ�clasÂ�siÂ�cal, in film, 105 postÂ�modÂ�ernÂ�ism, 105–7, 267n12, 267n19, 267n21, 268n22, 274n30 postÂ�recÂ�ordÂ�ing, 13, 254n14 “The Power of Love,” 85 PreÂ�isÂ�ner, ZbigÂ�niew, 144 PreÂ�minger, Otto, 20 PrenÂ�derÂ�gast, Roy, 39 PreÂ�sumed InÂ�noÂ�cent, 224 PreÂ�vin, André, 78, 82, 186, 279n11

•

313

PreÂ�vin and the PittsÂ�burgh, 82 Â�Prince and the PauÂ�per, The, 17 “PrinÂ�cess Â�Leia’s Theme,” 72, 153 PrisÂ�oner of Zenda, The, 15 PriÂ�vate Lives of ElizÂ�aÂ�beth and Essex, The, 15 ProÂ�kofÂ�iev, SerÂ�gei, 39, 78, 81, 117, 124, 143, 169, 194–95, 200, 267n21, 270n11, 274n31 “PromÂ�eÂ�nade (TourÂ�ists on the Menu),” 133 Â�Psycho, xxi, xxiii, 19, 123, 281n51 psychoÂ�analÂ�yÂ�sis, 28, 30, 142 PucÂ�cini, GiaÂ�como, 17, 26, 224, 283n2 PulÂ�ciÂ�nella, 119 quarÂ�tal harÂ�mony, 123, 135 QuarÂ�terÂ�main, Allan, 147 “Que Sera, Sera,” 67 Quiet Man, The, 209, 211, 225 Quo Vadis, 20 RachÂ�manÂ�iÂ�nov, SerÂ�gei, 23, 26, 81, 87, 103 RaidÂ�ers March (conÂ�cert verÂ�sion), 153, 156, 158, 158. See also “InÂ�diÂ�ana Jones Theme” RaidÂ�ers of the Lost Ark, 146, 148, 150, 152, 154, 156, 158, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 180, 182; aesÂ�thetÂ�ics of seÂ�riÂ�als in, 150, 162; “The Ark’s Motif,” 159–60, 160, 166–67, 170–72, 174, 178– 79, 181; “Indy 1” (“InÂ�diÂ�ana Â�Jones’s A Theme”), 153, 156, 158, 165–66, 168, 172, 175–78, 181; “Indy 2” (“InÂ�diÂ�ana Â�Jones’s B Theme”), 158, 158, 165, 176–77; “Marion’s Theme,” 153, 159, 159, 166, 168–69, 172– 73, 176–77, 180–81, 212, 220, 278n24; orÂ�iÂ�gins of, 145; Â�quasi-racist stereoÂ�types in, 152; as ReÂ�agÂ�aÂ�nÂ�ite enÂ�terÂ�tainÂ�ment, 152, 275n18; typÂ�age in, 152; use of Â�villains’ Â�chords, 163, 166–69, 174–75; “The Wrath of God Motif,” 180, 180, 276n33 “RainÂ�drops Keep Â�Fallin’ on My Head,” 65, 188 “The Rakes of MalÂ�low,” 209 Â�Rake’s ProgÂ�ress, The, 120 RakÂ�sin, David, 20, 37 Ramin, Sid, 189, 280n21 Raney, Sue, 265n21

314

•

Rapée, Erno, 62 Rare Breed, The, 89, 91 RathÂ�bone, Basil, 35, 121 Ravel, MauÂ�rice, 37, 71 RayÂ�mond Scott QuinÂ�tette, 86 RCA ClasÂ�sic Film Â�Scores seÂ�ries, 196 reÂ�alisÂ�tic moÂ�tiÂ�vaÂ�tion, in film, xx, 62, 94 Real OrÂ�questa Â�Sinfónica, 195 ReÂ�cordÂ�ing Arts OrÂ�chesÂ�tra of Los AnÂ�geles, 192 Red Pony, The, 255n26 Red Sox, 4, 135 Reger, Max, 119 ReÂ�ivÂ�ers, The, 68, 90, 108–9, 266n24, 268n26 ReÂ�mote ConÂ�trol ProÂ�ducÂ�tion, 199 ReÂ�pubÂ�lic PicÂ�tures, 69 ReÂ�quiem, 70 ReÂ�snais, Alain, 57, 59, 140 ReÂ�turn of the Jedi, 78, 85, 124–25 Revue TeleÂ�viÂ�sion StuÂ�dios, 88 RieÂ�senÂ�feld, Hugo, 12 Right Stuff, The, 264n61 Â�Rimsky-Korsakov, NiÂ�koÂ�lai, 124, 226 Rio Bravo, 23 Rite of Â�Spring, The (Le Sacre du prinÂ�temps), 103, 215 River of No ReÂ�turn, 262n30 RKO, 14, 23 RobÂ�ertÂ�son, Harry, 68 Robin Hood (charÂ�acÂ�ter), xxiii, 73 “Robin Hood and His Merry Men,” 271n45 Rock, The, 84, 200 Rocky, 188 RoemÂ�held, Heinz, 38 RohÂ�mer, Eric, 59 RoÂ�mancÂ�ing the Stone, 85 Roma SinÂ�foÂ�nietta, 195 RoÂ�pars, Â�Marie-Claire, 142 RoÂ�senÂ�man, LeÂ�oÂ�nard, 22, 61, 195 RoseÂ�wood, 226 RosÂ�sini, GioacÂ�chino, 227 Rota, Nino, 60–61, 128, 130, 139, 144, 224, 274n31 Royal AcadÂ�emy of Music, 194–95 Royal AlÂ�bert Hall, 82, 191 Royal PhilÂ�harÂ�monic OrÂ�chesÂ�tra, 193 Royal WedÂ�ding, 192 Rózsa, Â�Miklós, xxii, 19–20, 22, 25, 27, 39, 66, 71,

I n d ex

97, 103, 130–31, 134, 139, 203, 262n27, 264n61,265n12 Ruick, BarÂ�bara, 87 Â�Ryan’s DaughÂ�ter, 61, 68, 83 RyÂ�dell, Mark, 108 Â� Saint-Saëns, CaÂ�mille, 195 SalÂ�inÂ�ger, ConÂ�rad, 21, 89, 189 SalÂ�vetti, Guido, 119–20 San FranÂ�cisco SymÂ�phony OrÂ�chesÂ�tra, 194 Sarde, PhiÂ�lippe, 121–22 Satie, Erik, 144 SatÂ�urÂ�day Night Fever, 83 SavÂ�ing PriÂ�vate Ryan, 217 ScarÂ�face, 13 “Scherzo for MoÂ�torÂ�cyÂ�cle and OrÂ�chesÂ�tra,” 213 Â�Scheurer, TimÂ�oÂ�thy E., 29 SchiÂ�frin, Lalo, 61 Â�Schindler’s List, 132, 138, 207, 215 SchoenÂ�berg, ArÂ�nold, 194, 208 Scott, LisÂ�beth, 206 Sea, The (La Mer), 194 Sea Hawk, The, xxii, 17, 35, 75, 189 SearchÂ�ers, The, 23, 69 Sea Wolf, The, xxv SeÂ�cret BeÂ�yond the Door, 20 SeÂ�cret of the Incas, 147–48 Send Me No FlowÂ�ers, 68 SerÂ�off, VicÂ�tor, 39 Â�set-up, 151 Seven Â�Brides for Seven BrothÂ�ers, 21, 192 Seven Years in Tibet, 132, 206 “ShadÂ�ows of Paris,” 95 ShakeÂ�speare, Â�William, 184, 227 shark theme/motif from Jaws, 112–17, 112, 115, 123, 126, 142, 173 SherÂ�lock Â�Holmes: A Game of ShadÂ�ows, 200 Shire, David, 61 shoÂ�far, 180, 278n23 Shore, HoÂ�ward, 39, 130, 202 ShosÂ�takÂ�oÂ�vitch, DmiÂ�tri, 124, 270n11 Shot in the Dark, A, 92, 95 Show PeoÂ�ple, 107 SieÂ�gel, Don, 89 SilÂ�veÂ�rado, 23, 264n61 SilÂ�vers, Louis, 12

I n d ex

SilÂ�vesÂ�tri, Alan, 85, 264n61 Simon, Paul, 65 S1m0ne, 106 SiÂ�naÂ�tra, Frank, 89 SingÂ�ing Fool, The, 11–12 Â�Singin’ in the Rain, 21, 189, 192 “Sing, Sing, Sing,” 209, 284n10 SisÂ�ters, 68 “Skull Theme,” 220 SlatÂ�kin, LeÂ�oÂ�nard, 195–96 Smith, Jeff, 197, 254n11, 256n4, 274n3 “Smoke Gets in Your Eyes,” 213 SneakÂ�ers, 200 Sodom and GoÂ�morÂ�rah, 20 Some Like It Hot, 88 “SomeÂ�where in My MemÂ�ory,” 225 sound track, deÂ�fined, xxiii SoundÂ�track: Music and Film FesÂ�tiÂ�val, 195 Sousa, John P., 157, 185, 222 South PaÂ�cific, 88 Space Camp, 206 Â�Spaghetti-Westerns, 60 SparÂ�taÂ�cus, 66 SpellÂ�bound, 20, 139 SpenÂ�cer, HerÂ�bert W., 136–37, 189, 262n29, 273n10 SpielÂ�berg, SteÂ�ven, 46, 71, 104, 107–12, 116, 118, 130, 136, 143–48, 182, 201, 207–21, 268n27 Spy Â�Smasher, 147 StaiÂ�ger, Janet, xxv stairÂ�step conÂ�strucÂ�tion, in film, 29, 106 StanÂ�ley & Iris, 6, 224 StanÂ�wyck, BarÂ�bara, 22, 62 “Star of BethÂ�leÂ�hem,” 225 Star Â�Tracks, 193 Star Trek: The MoÂ�tion PicÂ�ture, 264n61 Star Trek: The Wrath of Khan, 200 Star Wars, 3–6, 68–70, 72, 74–85, 103–4, 106–7, 117–18, 120, 123–25, 127, 132, 135, 137–39, 141–42, 145–46, 152–55, 157, 161–62, 186, 188–89, 192–93, 195, 201–2, 208, 261n13, 261n17, 262n34, 263n42, 263n52, 270n10, 275n23, 276n30, 279n18; Â�box-office reÂ�cepÂ� tion, 77; comÂ�plaints about the reÂ�masÂ�tered ediÂ�tion, 201

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Star Wars: A New Hope. See Star Wars Star Wars: EpiÂ�sode I—The PhanÂ�tom MenÂ�ace, 78, 81, 85, 125 Star Wars: EpiÂ�sode II—AtÂ�tack of the Â�Clones, 79, 139 Star Wars: EpiÂ�sode III—ReÂ�venge of the Sith, 80, 124, 201, 270n15 Star Wars in ConÂ�cert, 192 Star Wars Suite, 82 Â�Statue of LibÂ�erty, 4 Â�Steele, Harry, 147, 162 Stein, RoÂ�nald, 68 Â�Steiner, Max, xxi–xxii, xxiv–xxv, 12–17, 23, 27, 33, 35, 38, 40–41, 74, 99, 108, 110, 122–23, 126–29, 131, 139, 152–53, 167, 172, 182, 194, 203, 207, 209, 220, 225, 257n27, 277n7, 277n11 Â�Stella DalÂ�las, 15 SteÂ�vens, MorÂ�ton, 189 StewÂ�art, James, 23, 89 StockÂ�hauÂ�sen, KarlÂ�heinz, 29 Â�Stoker, Bram, 223 Stone, OlÂ�iÂ�ver, 224–25 story (faÂ�bula), 40, 258n50. See also plot (syuÂ�zhet) Story of a Woman (Storia di una donna), 90 StoÂ�thart, HerÂ�bert, 194 Â�Strait-Jacket, 68 Â�Strange Love of MarÂ�tha Ivers, The, 20 Â�Strauss, JoÂ�hann, Jr., 70, 134 Â�Strauss, JoÂ�seph, 195 Â�Strauss, RichÂ�ard, 17, 26, 36, 70–71, 90, 124, 134, 153, 208, 215, 217, 263n57 StraÂ�vinÂ�sky, Igor, 103, 119–20, 124, 194, 214, 226, 270n11 StreetÂ�car Named DeÂ�sire, A, 22 “Strike for the Â�Shores of Dover,” 17 style, deÂ�fined, xxiv–xxvi styÂ�lisÂ�tic level, in film, xxi, 29 SugarÂ�land ExÂ�press, The, 108, 268n27, 272n49 “Sugar Plum Fairy Dance,” 226 SunÂ�rise, 12 SunÂ�set BouleÂ�vard, 139 Sun ValÂ�ley SereÂ�nade, 192 SuperÂ�man: The Movie, 4, 75, 78, 83–84, 104, 124, 154, 275n23 SwanÂ�son, GloÂ�ria, 12 Swarm, The, 268n30

316

•

“SwashÂ�buckÂ�ler (The AdÂ�venÂ�tures of Mutt),” 285n29. See also “Mutt’s Theme” “Swing, Swing, Swing,” 209 SymÂ�phony Hall (BosÂ�ton), 183, 185, 193, 217 SymÂ�phony no. 1, “ClasÂ�siÂ�cal SymÂ�phony,” 267n21 SymÂ�phony no. 6, op. 68, 33 SymÂ�phony of Six MilÂ�lion, 14 sympÂ�toÂ�matic meanÂ�ing, in film, 152, 275n18 synÂ�coÂ�pated Â�rhythms, 23, 123 syntheÂ�sizer, 20, 78, 83–84, 108, 129, 199–200, 206, 217, 220, 224 TakÂ�eÂ�mitsu, Toru, 144 TakÂ�ing of PelÂ�ham 123, The, 61 TangeÂ�rine Dream, 85 TanÂ�gleÂ�wood FesÂ�tiÂ�val Â�Chorus, 217 TanÂ�gleÂ�wood Music CenÂ�ter, 195 TanÂ�gleÂ�wood Music FesÂ�tiÂ�val, 190 Taras Bulba, 66 “Tara’s Theme,” xxi Tati, Â�Jacques, 94, 265n20 TavÂ�iÂ�ani, Paolo and VitÂ�toÂ�rio, 144 Taxi Â�Driver, xxiii, 68 TchaiÂ�kovÂ�sky, Pyotr, 26, 71, 78, 141–42, 226 TerÂ�miÂ�nal, The, 219 TerÂ�miÂ�naÂ�tor, The, 83 TerÂ�ror, The, 68 TeÂ�shigÂ�aÂ�hara, HiÂ�roÂ�shi, 144 That Touch of Mink, 68 theÂ�matic level, in film, xxi “Theme and Dance from Star Wars,” 188–89, 279n18 theme and variÂ�aÂ�tions (techÂ�nique), 34, 97, 257n24 Theme, VariÂ�aÂ�tions and FiÂ�nale, op. 13, 134 TheoÂ�dorÂ�aÂ�kis, Mikis, 188 thereÂ�min (inÂ�struÂ�ment), 20, 70, 220, 223, 255n33 ThereÂ�min, Lev, 255n33 ThieleÂ�mans, Toots, 108, 272n49 Â�Things to Come, 262n27 ThompÂ�son, KrisÂ�tin, xix Three Ages, 107 Three Â�Worlds of GulÂ�liver, The, xxv, 19, 262n27, 271n44 “The Â�Throne Room and End Title,” 82, 124 Thus Spoke ZarÂ�aÂ�thusÂ�tra (Also Â�sprach ZarÂ�aÂ�thusÂ�tra), 70 THX 1138, 69

I n d ex

TilÂ�son Â�Thomas, MiÂ�chael, 194 TinÂ�gler, The, 21 TiomÂ�kin, DiÂ�miÂ�tri, 16, 23, 30, 89, 103, 108, 134, 139, 194, 265n12, 271n43 TiÂ�tanic, 200 To Have and Have Not, 62 To Kill a MockÂ�ingÂ�bird, 61, 88 Tom and Jerry carÂ�toons, 34, 103, 225 Tom Jones, 61 Too Hot to HanÂ�dle, 147 Top Hat, 33 Torn CurÂ�tain, 67 TowÂ�erÂ�ing InÂ�ferno, The, 90 transÂ�texÂ�tual moÂ�tiÂ�vaÂ�tion, in film, xx TreasÂ�ure of the Â�Sierra Madre, The, xxii, 147, 179 TrisÂ�tan and Â�Iseult (TrisÂ�tan und Â�Isolde), 124, 223 triÂ�tone (augÂ�mented Â�fourth), 115, 115, 159, 226, 276n34 Troy, 201 TrufÂ�faut, Â�François, 59, 274n31 TurÂ�tles, The, 97 “Two LovÂ�ers,” 213 Two Mules for SisÂ�ter Sara, 200 UnÂ�heard MelÂ�oÂ�dies: NarÂ�raÂ�tive Film Music, 30 Â�United ArtÂ�ists, 69 UniÂ�verÂ�sal PicÂ�tures, 24 UniÂ�verÂ�sal TeleÂ�viÂ�sion StuÂ�dios, 88 “Uno di qua, Â�l’altra di là,” 90 Van Eps, RobÂ�ert, 86 VanÂ�geÂ�lis, 83 VaÂ�noni, OrÂ�nella, 90 VauÂ�ghan Â�Williams, Ralph, 90, 124, 224, 262n27 VerÂ�tigo, 19, 24, 114, 194, 223, 281n51 Â�Vienna PhilÂ�harÂ�monic OrÂ�chesÂ�tra (WieÂ�ner PhilÂ� harÂ�moÂ�niker), 28 “ViÂ�sion on the Â�Stairs,” 272n52 Viva Arts FesÂ�tiÂ�val, 195 Von SternÂ�berg, JoÂ�seph, 12 WagÂ�ner, RichÂ�ard, xxiii, 26, 34, 36, 60, 71–72, 119, 124, 134, 153, 213, 270n10 Wagon Train, 88 Wait Until Dark, 93, 96, 266n23 “Wait Until Dark,” 265n21

I n d ex

WalÂ�ton, Â�William, 71, 124, 195, 262n27, 270n11 WannÂ�berg, KenÂ�neth, 201 War Horse, 124, 221 “War March of the Â�Priests” (“KriegÂ�smarsch der Â�Priester”), xx WarÂ�ner, Jack, 15, 199 WarÂ�ner Bros., xxiv, 11, 72, 116, 159, 199, 212 War of the Â�Worlds, 219–20 WashÂ�ingÂ�ton, Ned, 23 WaxÂ�man, Franz, 15–16, 66, 89, 130–31, 139, 194, 270n11, 271n38 Wayne, John, 108, 211 Way We Were, The, 188 “The Way We Were,” 188 “WednesÂ�day SpeÂ�cial,” 108 Â�Welles, Orson, 18 Wells, RobÂ�ert, 95 WesÂ�sel, David, 82 West Side Story, 88 WGBH, 279n4 What Price Glory, 62 What ScounÂ�drels Men Are! (Gli uoÂ�mini, che masÂ�calÂ�zoni! ), 34 White GodÂ�dess, 79 WhiteÂ�law, JorÂ�dan N., 187 Who Â�Framed Roger RabÂ�bit, 264n61 Wild Bunch, The, 23 Â�Williams, John: on arÂ�rangÂ�ing film music for conÂ�certs, 131; careÂ�fully superÂ�vises alÂ�bums, 132; comÂ�parÂ�iÂ�son with ArÂ�thur Â�Fiedler’s treatÂ�ment of film music, 187–88; conÂ�ducÂ� tor, 3, 82, 88, 129–30, 141, 184–87, 189–91, 193, 195–96, 203; deadÂ�lines, dealÂ�ing with, 136–37; deÂ�tracÂ�tors of, 135–44; on diÂ�alogue underÂ�scorÂ�ing, 98; first conÂ�cert as BosÂ�ton Pops conÂ�ducÂ�tor, 187; first press conÂ�ferÂ� ence as BosÂ�ton Pops conÂ�ducÂ�tor, 187; on the flyÂ�ing theme from E.T., 210; fondÂ�ness for symÂ�phony orÂ�chesÂ�tras, 127; on forthÂ� comÂ�ing 2015 Star Wars film, 263n52; fuÂ�gato, use of, 117, 131, 222, 227, 269n49; gradÂ�ual disÂ�cloÂ�sure of the main theme techÂ�nique, 126–27, 178, 210, 216; InÂ�diÂ�ana Jones films, on scorÂ�ing, 152–53; inÂ�fluÂ�ence on other orÂ�chesÂ�tras of his BosÂ�ton Pops conÂ�ducÂ�torÂ� ship, 193; inÂ�noÂ�vaÂ�tions at the BosÂ�ton Pops,

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190; jazz Â�chords, use of, 123; JuilÂ�liÂ�ard Â�School, 87; on march form, 157; as a melÂ�oÂ� dist, 124–25; multiÂ�meÂ�dia presÂ�enÂ�taÂ�tions of film music, 191–92; neoÂ�clasÂ�siÂ�cal style, 5–6, 84–85, 91, 107–9, 114, 120–33, 200; notÂ�able soÂ�loÂ�ists feaÂ�tured in film Â�scores, 132, 272n49; orÂ�chesÂ�traÂ�tion, 136–38; overÂ�all conÂ�triÂ�buÂ� tion with the BosÂ�ton Pops, 190; parÂ�allel caÂ�reer in conÂ�cert music, 130; perÂ�fect fifth, use of, 75, 76, 154–56, 158–59; picÂ�tured, 42–53; plaÂ�gal caÂ�dence, use of, 124; preÂ�ferÂ� ring not to read Â�scripts, 127; reÂ�acÂ�tionÂ�ary comÂ�poser, seen as, 142–43; on the reÂ�cordÂ�ing stage, 129; resÂ�igÂ�naÂ�tion from the BosÂ�ton Pops, 189; on Â�song-writing, 91; SpielÂ�berg, colÂ�labÂ�oÂ�raÂ�tion with, 207–21; SpielÂ�berg/Â� Williams duo, neÂ�glected by acÂ�aÂ�demÂ�ics, 143–44; typÂ�iÂ�cal work rouÂ�tine, 129–30; verÂ�saÂ�tilÂ�ity of, 91, 205–7, 226; ViÂ�oÂ�lin ConÂ� certo, 141 Â�Williams, John Â�Towner, Sr., 86 Â�Williams, JoÂ�seph, 264n1 Â�Williams, Mark, 264n1 Â�Williams, Paul, 108 WilÂ�low, 200, 264n61 Wind and the Lion, The, 68 Â�Witches of EastÂ�wick, The, 224 WitÂ�ness, 84 WizÂ�ard of Oz, The, 107, 194 WoodÂ�bury, Al, 138, 262n29 Â�Wright, RayÂ�burn, 40 WuÂ�therÂ�ing Â�Heights, 15 Wyler, Â�William, 100, 110 Â� Yamash’ta, Stomu, 91, 272n49 Yared, GaÂ�briel, 140, 201 Year of LivÂ�ing DanÂ�gerÂ�ously, The, 84 Young, VicÂ�tor, 16, 209, 211 Young InÂ�diÂ�ana Jones ChronÂ�iÂ�cles, The, 145 Young Â�Person’s Guide to the OrÂ�chesÂ�tra, The, op. 34, 132 ZimÂ�mer, Hans, 84, 107, 122, 130, 199–201, 268n22 Zorba the Greek, 188 Â�Zucker-Abrahams-Zucker, 65

w i s ­c o n ­s i n f i l m s t u d ­i e s John Â�Williams’s Film Music: “ Jaws,” “Star Wars,” “RaidÂ�ers of the Lost Ark,” and the ReÂ�turn of the ClasÂ�siÂ�cal HolÂ�lyÂ�wood Music Style EmÂ�iÂ�lio AuÂ�disÂ�sino The Â�Foreign Film ReÂ�naisÂ�sance on Â�American Â�Screens, 1946–1973 Tino Balio Â� Marked Women: ProsÂ�tiÂ�tutes and ProsÂ�tiÂ�tuÂ�tion in the CinÂ�ema RusÂ�sell CampÂ�bell Depth of Field: StanÂ�ley KuÂ�brick, Film, and the Uses of HisÂ�tory EdÂ�ited by GeofÂ�frey Cocks, James DieÂ�drick, and Glenn PeÂ�ruÂ�sek Tough as Nails: The Life and Films of RichÂ�ard Â�Brooks DougÂ�lass K. DanÂ�iel Dark LaughÂ�ter: SpanÂ�ish Film, ComÂ�edy, and the NaÂ�tion Juan F. Egea Glenn Ford: A Life Peter Ford Luis Â�Buñuel: The Red Years, 1929–1939 Román GubÂ�ern and Paul HamÂ�mond Â�Screen Nazis: CinÂ�ema, HisÂ�tory, and DeÂ�mocÂ�racy SaÂ�bine Hake

Es�cape Art�ist: The Life and Films of John �Sturges Glenn Lo�vell I �Thought We Were Mak�ing Mo�vies, Not His�tory Wal�ter Mi�risch Giant: �George Ste�vens, a Life on Film Mar�i�lyn Ann Moss The Cin�ema of Ser�gei Par�a�janov James Stef�fen