An Analysis of the Musical Aspects and Functions
In 1960 two creative talents combined and crafted a masterpiece horror film. The film, of course was Psycho and the talents were director, Alfred Hitchcock and the score composer, Bernard Herrmann. This collaboration was extremely effective and it had first begun when they worked together on Hitchcock's The Trouble With Harry in 1955. Hitchcock's imaginative and ingenious style in directing and Herrmann's chilling music makes this film, a classic film. My analysis of Herrmann's film score will consider the musical aspects of themes and form, instrumentation, motives, harmony and counterpoint, and unity and variety. This analysis will also discuss the functions of the music, the codes and how well it plays the drama.The first musical aspects of Herrmann's score for Psycho are the themes. In Psycho there are perhaps four main themes to discuss, with most of the other music being variations of these themes.The first theme is the main title (cue #1), which sets the scene for the film. This hard-driving theme reoccurs firstly, when Marion Crane is leaving Phoenix, right after seeing her boss (cue #5). It then occurs after the questioning by a traffic officer and continues when the officer follows her in her
When the violins suddenly change to a high pitch, we are given an insight to the thoughts that might be going through Bates' disturbed mind. This is made up of high string chords that follow a lethargic procession. Within the main title is a motive that is considered to be the motive that is most like a tune, which appears towards the end of the cue. The main title music has a rhythm or pulse that creates a variety of feelings amongst the audience, feelings that would not exist if it were not for the music. Another example where Herrmann excels in playing the drama is the cue titled 'madhouse '. (Appendix: cue sheet) (Prendergast, 1992) The form of the Herrmann's score for Psycho is therefore poly-thematic, meaning more than one theme. Herrmann was known to choose small group arrangements or unusual combinations, so Psycho is no exception. The reason for this is to provide variety to the music to keep it interesting and unity so the audience can make associations with characters and scenes, through the use of good reoccurring themes. Firstly there is the motive that begins when Marion enters the parlour to have dinner with Norman. But the strings did cover the widest range of tones amongst the orchestral groups and Herrmann used their capabilities well. Then there are the sharp downward bow strokes and wild glissandos on violins in short-sharp sequences, that are almost unbearable to listen to, but they are viciously effective. London: Quartet Books limited, 1997. Palmer, Christopher, The Composer In Hollywood. This can be explained by Fred Steiner, in his in-depth study of the score, in it he writes, " Herrmann's analogy becomes perfectly clear. The screaming violins are onomatopoeic because they imitate the screaming voice of the victim, and provide a pulse on the hits that the stabs occur.
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