A study on Bernard Herrmann’s science fiction film music

Authors : Byung-kyu Park, Johee Lee

Pages : 549-561

Doi:10.12975/rastmd.20231144

View : 62 | Download : 77

Publication Date : 2023-12-30

Article Type : Research

Abstract :The early sound film and "classical-style” Hollywood film periods were important representatives in the history of Hollywood films, producing many classic films as well as many famous film music composers. Among them, Bernard Herrmann was a unique and distinctive representative with his own personal compositional style, and was also the representative composer for thriller, horror, mystery and science fiction films during this period. When analyzing film music, especially Bernard Herrmann’s works, using tonal music analysis, many harmonic progressions cannot be accurately expressed. Harmonic function analysis emphasizes the principles of tonality, while neo-Riemannian theory breaks away from the framework of tonality and harmonic functions, emphasizing the spatial progression between chords. For Bernard Herrmann’s music, using neo-Riemannian theory can reasonably analyze the characteristics and patterns of musical progression, and explain many chord progressions that harmonic functions cannot. One of the films that can be given as an example of this situation is The Day the Earth Stood Still (1951). The Day the Earth Stood Still is a Hollywood science fiction film made in 1951. This work played an important role in the development of later science fiction films. Bernard Herrmann chose to abandon the traditional orchestral instrumentation and used a specific instrumental ensemble to form Herrmann’s unique science fiction film music space. Transformational analysis shows that the music uses modes, hexatonic scales and octatonic scales to form melodies and harmonies with ambiguous characteristics, and the use of these modes and scales also provides important color elements for film music of specific styles. Neo-Riemannian theory has been around for less than 50 years. As an emerging music theory system, it is not yet mature and complete, and is still expanding and improving. However, as an analysis tool for nonfunctional tonal film music, it can provide a brand new perspective. This researcher also believes that neo-Riemannian theory can provide theoretical basis for analyzing various styles of film music as an analytical tool.
Keywords : neo-Riemannian theory, film score, film music, Bernard Herrmann, triadic transformations