TENSION IN FILM MUSIC
For my final year project I investigated the techniques used by various composers to create tension in film music.
The films studied included Psycho and the score by Bernard Herrmann, The Shining and it's selection of modernist music by Bartók, Ligeti and Penderecki and finally Interstellar and the score by Hans Zimmer. These soundtracks were researched and analysed within a historical, musical and psychological context.
The project involved a written research paper followed by a portfolio of compositional studies and scores. It was selected for showcasing at BBC Music Day in Bristol, as well as the University Degree Show.
Please take a listen below - on the left is a playlist of music from the three films and on the right are my related compositional studies.
The films studied included Psycho and the score by Bernard Herrmann, The Shining and it's selection of modernist music by Bartók, Ligeti and Penderecki and finally Interstellar and the score by Hans Zimmer. These soundtracks were researched and analysed within a historical, musical and psychological context.
The project involved a written research paper followed by a portfolio of compositional studies and scores. It was selected for showcasing at BBC Music Day in Bristol, as well as the University Degree Show.
Please take a listen below - on the left is a playlist of music from the three films and on the right are my related compositional studies.
|
|
A brief historical context was provided by research into the use of dissonance throughout classical and contemporary musical styles and how this influenced early film composers.
Historically relevant film soundtracks included Psycho (1960) and The Shining (1980). The key features of these scores were identified as ambiguous chords, unresolved dissonances, drones and repetition.
Hans Zimmer's Interstellar (2014) score was studies in order to explore the composer's minimalist approach to creating suspense, as well as providing an insight into the influence of technology in modern film scores. Key musical devices included repetition, thematic development and the concept of time.
Below are some of the best examples of directors/composers creating tension through music.
Historically relevant film soundtracks included Psycho (1960) and The Shining (1980). The key features of these scores were identified as ambiguous chords, unresolved dissonances, drones and repetition.
Hans Zimmer's Interstellar (2014) score was studies in order to explore the composer's minimalist approach to creating suspense, as well as providing an insight into the influence of technology in modern film scores. Key musical devices included repetition, thematic development and the concept of time.
Below are some of the best examples of directors/composers creating tension through music.
|
|
The docking scene from Interstellar (2014) dir. Christopher Nolan. All rights belong to Paramount Pictures (North America) and Warner Bros. (International)
|
The bat scene from The Shining (1980) dir. Stanley Kubrick. The selected modernist musical language of Penderecki accompanies one of the tensest scenes from the film.
|