Film Score Deepens Our Experience

When viewing a film, the musical score is one of the first things I think about.  Imagine my surprise when I learned that some people don't pay any attention at all to the score.  The music communicates in a way that goes beyond words whether the scene is happy or tragic, or whether the scene has a sense of foreboding or anticipation.  The score deepens our experience as we watch the film. 

Here’s a short video, narrated by composer John Williams about some of the thinking that goes into a film score:

Students of music history will recognize that the film composers for the Harry Potter series utilized the leitmotiv technique, developed in nineteenth century European opera (notably, Carl Maria von Weber’s Der Freischütz) and especially exploited with a vengeance by opera composer Richard Wagner.  Students of film also will acknowledge that composers for epic films have been using this technique — which associates musical ideas with theatrical ideas — for years, perpetually as far back as the 1930s.  In the Harry Potter clip, we hear the leitmotivs called “The Face of Voldemort” and “Buckbeak’s Flight.”

Unfortunately, film audience members often pay little or no attention to the film score.  Poor dears!  Some of the best in pop culture derives directly from classical culture, and wonderful film scores are no exception. 

Next week: How to Read Music (Reading) 9

Edward Wolfe

Edward Wolfe has been a fan of Christian apologetics since his teenage years, when he began seriously to question the truth of the Bible and the reality of Jesus. About twenty years ago, he started noticing that Christian evidences roughly fell into five categories, the five featured on this website.
Although much of his professional life has been in Christian circles (12 years on the faculties of Pacific Christian College, now a part of Hope International University, and Manhattan Christian College and also 12 years at First Christian Church of Tempe), much of his professional life has been in public institutions (4 years at the University of Colorado and 19 years at Tempe Preparatory Academy).
His formal academic preparation has been in the field of music. His bachelor degree was in Church Music with a minor in Bible where he studied with Roger Koerner, Sue Magnusson, Russel Squire, and John Rowe; his master’s was in Choral Conducting where he studied with Howard Swan, Gordon Paine, and Roger Ardrey; and his doctorate was in Piano Performance, Pedagogy, and Literature, where he also studied group dynamics, humanistic psychology, and Gestalt theory with Guy Duckworth.
He and his wife Louise have four grown children and six grandchildren.

https://WolfeMusicEd.com
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How to Read Music (Reading) 9

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How to Read Music (Reading) 8