An Analysis of the Musical Aspects and Functions

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

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Prendergast, Roy M, Film Music: A Neglected Art (second Ed.

This asynchronous counterpoint occurs again in the 'peephole' sequence. (Prendergast, 1992, p140) (Palmer, 1990)

The motives of the theme that is associated with Norman Bates and his 'mother' are exceptionally successful. But because of the amazingly chilling score written by Bernard Herrmann, a score that portrays feelings and thoughts of characters and mimics the drama so well by using recurring themes and motives that heighten the understanding of this great film.

The codes that are used to signify meanings for the music score in Psycho are used accurately.

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**Bibliography**

Bibliography

Karlin, Fred, Listening to Movies: The film lover's guide to Film.

The functions of the music in Psycho, work extraordinarily well both when it works in asynchronous counterpoint and when it directly plays the drama. The problem this created was that it limited the amount of orchestral colour and it meant that he could not use traditional methods for horror film scores, as they required large orchestras. 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. 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. New York: Maxwell Macmillan International, 1994.

Palmer, Christopher, The Composer In Hollywood.

Herrmann has composed a score the plays the drama awesomely.

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