james&horner,&aaron&copland,&and&three&fields&of&inquiry...
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James&Horner,&Aaron&Copland,&and&Three&Fields&of&Inquiry! SMT!2017!/!Alexandria,!VA!Scott!Murphy,!University!of!Kansas!([email protected])!
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WORKS!CITED!
!Bates,!Ian.!2012.!“Vaughan!Williams's!Five%Variants%of%“Dives%and%Lazarus”:!A!Study!of!the!Composer's!
Approach!to!Diatonic!Organization.”!Music%Theory%Spectrum%34/1:!34–50.!
Bushard,!Anthony.!2015.!“The!Very!Essence!of!Tragic!Reality:!Aaron!Copland!and!Thomas!Newman’s!
Suburban!Scoring.”!In!Anxiety%Muted:%American%Film%Music%in%a%Suburban%Age,!260–85.!Edited!by!Stanley!C.!Pelkey!II!and!Anthony!Bushard.!New!York:!Oxford!University!Press.!
Caplin,!William!E.!2008.!“Schoenberg’s!‘Second!Melody,’!or!‘Meyerbed’!in!the!Bass.”!In!Communication%in%EighteenthECentury%Music,!160–88.!Edited!by!Danuta!Mirka!and!Kofi!Agawu.!Cambridge:!Cambridge!University!Press.’!
Gjerdingen,!Robert.!2007.!Music%in%the%Galant%Style.!New!York:!Oxford!University!Press.!
Hook,!Julian.!2008.!“Signature!Transformations.”!In!Music%Theory%and%Mathematics:%Chords,%Collections,%and%Transformations,!137–160.!Edited!by!Jack!Douthett,!Martha!M.!Hyde,!and!Charles!J.!Smith.!Rochester:!University!of!Rochester!Press.!
Klein,!Michael.!2005.!Intertextuality%in%Western%Art%Music.!Bloomington:!Indiana!University!Press.!
Kleppinger,!Stanley!V.!2009.!“A!Contextually!Defined!Approach!to!Appalachian%Spring.”!Indiana%Theory%Review!27/1:!45–78.!
Lerner,!Neil.!2001.!“Copland's!Music!of!Wide!Open!Spaces:!Surveying!the!Pastoral!Trope!in!Hollywood.”!The%Musical%Quarterly%85/3:!477–515.!
Morgan,!Robert.!1998.!“Symmetrical!Form!and!CommonbPractice!Tonality.”!Music%Theory%Spectrum!20/1:!1–47.!
Rings,!Steven.!2011.!Tonality%and%Transformation.!New!York:!Oxford!University!Press.!
Seeger,!Charles.!1930.!“On!Dissonant!Counterpoint.”!Modern%Music%7/4:!25b26.!
Tymoczko,!Dmitri.!2011.!A%Geometry%of%Music:%Harmony%and%Counterpoint%in%the%Extended%Common%Practice.!New!York:!Oxford!University!Press.!
EXAMPLES!
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Example!1.!Copland,!Appalachian%Spring,!Suite,!mm.!78–83!(from!Lerner!2001)!
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Example!2.!The!“Copland”!schema,!in!the!manner!of!Gjerdingen!2007.!!
THE COPLAND The Copland, while resembling a cadential gesture, can also serve to initiate a formal unit as a self-contained, albeit concise, idea. Its primary source is the ballet Appalachian Spring by Aaron Copland; however, Copland’s progression continued to tonic harmony. It was taken up by film composers around the turn of the twenty-first century as a concise signifier of Americana and wide-open spaces, but also of the harshness of those spaces, of determination, and of self-determination.
~1 second ~1 second !
! Central Features
• Three relatively long events, with the first beginning on a metrically strong position, usually a downbeat.
• In the melody, a stepwise descent through scale degrees 4, 3, and 2. • In the bass, a stepwise rise through scale degrees 3, 4, and 5. • A progression of three harmonies, usually on tonic, subdominant, and dominant.
Variants
• The inner voices may be altered or even vacated. • The anacrusis may be modified or even omitted. • The melody of the third event may change from scale degree 2. • The third event may be omitted; additionally, the first two events may be played backwards.
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Example!3.!List!of!some!“Coplands”!in!film!music!since!1995.!
!
Title& Composer& Year& Time& Schematic&Alterations&
Narrative&Context&
Apollo%13% James!Horner! 1995!
0:41–
0:54!
Third!chord!altered!
in!second!
presentation!
Apollo!1!crew!walk!toward!
their!craft,!voicebover!tells!of!
Kennedy’s!challenge!
2:13:30–
2:13:43!
Third!chord!altered!
in!second!
presentation!
Apollo!13!crew!come!aboard!
the!recovery!carrier!U.S.S.!Iwo%Jima;!a!voicebover!summarizes!the!future!events!of!major!
characters!
The%Perfect%Storm% James!Horner! 2000!
1:17–
1:25!None!
Gloucester!City!Hall:!wall!
listing!fisherman!who!have!
lost!their!lives!at!sea!
Joe%Somebody%
George!S.!
Clinton!2001!
6:05–
6:18!No!anacrusis!
Divorced!father!travelling!to!
the!city!to!see!his!daughter!
12:25–
12:46!No!anacrusis,!slower!
Immediate!aftermath!of!father!
humiliated!in!front!of!
daughter!
1:26:19–
1:26:17!None!
Father!heroically!chooses!nonb
violence!at!film’s!climax!
Windtalkers% James!Horner! 2002!
2:10–
2:32!None!
Concludes!opening!aerial!shot!
of!Monument!Valley!during!
title!credits!
31:04–
31:24!None!
Native!American!defends!his!
choice!to!fight!in!WWII!
Flyboys% Trevor!Rabin! 2006!26:30–
27:09!
Anacrusis!and!
chords!separated,!
third!chord!withheld!
then!altered!
a!fresh!set!of!war!planes!for!
the!L'Aéronautique%militaire%of!WWI!arrives!as!an!American!
pilot!looks!on!
Evan%Almighty% John!Debney! 2007!
30:55–
31:40!
First!and!third!
presentations!
followed!by!vi!
(^1!in!treble)!
God!shows!Evan!the!suburban!
valley!as!it!was!first!created,!
and!encourages!him!to!build!
the!ark!
The%Magnificent%Seven%
James!Horner!
and!Simon!
Franglen!
2016!20:12–
20:30!
No!anacrusis,!
modally!
repositioned!
Widow!demands!that!a!bounty!
hunter!hear!her!plea!for!
revenge!against!her!husband’s!
murderer!
! !
!
Example!4.!Dissonant!voice!exchange!in!the!“Copland.”!
!! 9! 7!
!
Example!5.!Cadential!treble!and!bass!lines!in!the!“Copland.”!
!
!
!!
!
Example!6.!Reduction!of!Appalachian%Spring,!mm.!80–97%(from!Kleppinger!2009).!
!!
Example!7.!Minimal!deviations!of!the!“Copland”!from!isochrony!(in!this!case,!in!the!treble!
line)!to!achieve!more!consonance!between!cadential!treble!and!bass!lines.!
!
!! 10! 8! 6b5! 10! 8b7! 5! 10b9! 7! 5! 8! 6! 5!
5!^!
4!^!
3!^!
2!^!
1!^!
5!^!
4!^!
3!^! 1!
^!
!
Example!8.!Two!thematic!transformations!from!John!Williams’s!score!to!Star%Wars%IV:%A%New%Hope.!!!! change!of!tonal!center!relative!to!melody!!0:00:36! 1:56:38!
!!!! !Bb:! F#:!!! change!of!species!!1:55:24!
!G#:!!!!!Example!9.!The!“Copland”!(expressed!diatonically)!transformed!into!Horner’s!“stretched!Copland”!
! !! 9! 7! 9! 7!!!
^!5!
^!5!
^!3!semitone!!tone!! \! /!
semitone!!tone!! \! /!
tone!!semitone!!!! \! /!
!
Example!10.!Two/dimensional!“intratextual!field”!situating!variants!of!the!“stretched!Copland”!in!Field&of&Dreams!
!!Example!11.!James!Horner,!Field&of&Dreams,!1:39:39!(“Coplands”!in!soprano!and!tenor,!marked!by!brackets;!contrasting!lyrical!theme!in!alto)!!!!
!!Example!12.!“Field!of!Dreams”!culmination!as!consequent!of!an!intertextual!transpositional!period.!!Example!1!(in!C).! ! Example!2.! ! Example!11.!! Interruption! T5! !
!! IV! V! I! IV! V! “IV”! “V”! I!
3!!!!!!!!!!3! 6!!!!!!!!!6!
, !
IAC! HC! “IAC”!