The Importance of Music in Filmmaking
Music is a Powerful Tool in Filmmaking
In her article "Narrative Film Music," published in Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203), Claudia Gorbman writes that "film music shapes our perception of a narrative" (Gorbman, 1980, p. 183). She believes that music "seeks to breathe into the pictures some of the life that photography has taken away from them" (Gorbman, 1980, p. 187). She also believes that there is a synergistic quality of music in films. For example, if a director was to change the soundtrack in a film, Gorbman's theory infers that the "image track will be transformed" (Gorbman, 1980, p. 202). Hence, Claudia Gorbman's theory of film is founded upon the concept that there are unifying and enhancing effects of music in a film.
The YouTube video noted below is the Official Trailer to the movie "Wolf Totem." As you view the trailer at https://youtu.be/kGv7VDno3J8 , you will experience how powerful music can truly be in shaping a viewer's interpretation of a filmmaking narrative. Suffice it to say that music has power in filmmaking.
The video "Wolf Totem - Official Trailer - In Theaters September" at https://youtu.be/kGv7VDno3J8 was uploaded by Sony Pictures Entertainment to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use." Sample Application of Music to Novel Writing
Building upon Claudia Gorbman's theory of film and the important role that music has in cinematic narrative, I applied this same concept to my epic medieval fantasy novel, The Wolves of Trisidian. In the following excerpt from my book, you will observe the protagonist in the story (Geoffrey Talbot) playing his viol in a musical performance at the request of Lord Brishen Alexander of Stonehaven who was hosting a special visit by Lord Philip Batclif of Actalon. Attended by more than 150 people, the scene in this part of the story takes place at the Great Hall at Castle Stonehaven. To put the scene into proper context, Geoffrey was asked by Lord Alexander to play a sonata on his viol along with Emelie, another member of the Stonehaven Consort who was playing the dulcimer. Geoffrey and Emelie were scheduled to perform the sonata prior to when Lord Alexander was going to be hosting the evening meal for Lord Batclif. Geoffrey chooses to play a song that he wrote about his little sister who had passed away at the tender age of 4 years. Due to certain events that happened surrounding this incident, Geoffrey continues to blame himself for his sister's death. He has continued to carry this guilt throughout his life. Named after his little sister, Geoffrey titled the song, “Diana.” Her name means, “Helper of the woods animals.” As you read the story excerpt, I trust you will see how incorporating a scene with a description of music or song into your novel can have great impact upon the reader.
Musical Excerpt from the Story of The Wolves of Trisidian
The time finally came for me to join my accompanist in the music. As I started to play the song about my little sister, Diana, I did so with my eyes closed. I became oblivious to the entire world around me. My mind entered a world known only to me. My head first inclined slowly at the beginning of the song, admitting the failure on my part. The tender melody continued to fill the Great Hall. My thoughts gravitated to the past and the brief period of time I was able to spend with my little sister, Diana. She was precious to me. I miss her so much.
As we continued to play the song, my mind reflected on what happened to Diana on that horrible day. When the sound of the instruments got stronger, my head would nod up and down with taut jerking movements. My chin would tilt back and forth as my body tried to embrace all of the dignity it could muster in the sweet memory of my little sister, Diana.
Memories of that dreadful time were vivid and clear. Unbidden thoughts haunted me as awful remembrances returned to my mind. The blood in my veins flowed quickly through my body as feelings of guilt and blame about my sister became trapped in my memory. Playing this song was always an emotional experience for me, but it always helped me to heal a little more each time I played it.
In sweeping motion, my right hand guided the bow across the strings as we entered the verse of the song that expressed Diana’s story. At the same time, my left hand moved on its own volition up and down to the lowest part of the strings demonstrating how Diana’s life ended in such a bitter battle. The song had no words penned to the verse. It was an instrumental only. As I continued to play the song in the Great Hall, Diana’s sweet character was known only to me among the crowd. That was best, for only the beauty of the music could convey the tender life and sweet spirit of my little sister. Penning words to paper would only serve as a meager description of her lovability. Truly, this song was an expression of sincere, heartfelt love for my little sister. I believe this was the root source of my love for music and especially my love for this particular song.
With tremendous energy and power that only music could possibly convey, Diana’s song continued to flow out to the audience in the Great Hall. My eyebrows drew together in agony as a hot tear rolled down my cheek. As we entered the chorus, the main theme of the song in my heart overflowed for my sweet sister, Diana. Then, as we entered the bridge of the song, my heart emphasized the reason for repeating the final chorus for her.
I yielded to compulsive sobs for Diana as I continued to play my viol. Tears filled both of my closed eyes as I heard the sweet melody of the dulcimer blending together with my viol in honor of my little sister’s life. Then, as Emelie and I entered the coda and closing part of the song, I felt a sense of loss that was beyond tears. The misery of that terrible day still haunts me. The only things left inside me are the raw, putrefying sores of my aching heart.
The song ended with a final, slowly fading, musical depiction of the soft and tender innocence of childhood. After the song ended, my eyes continued to remain closed for a few brief, still moments as I reflected on the memory of my little sister, Diana.
REFERENCE
Gorbman, Claudia. Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203.
The Wolves of Trisidian -- A Novel by Adrian Robbe
In her article "Narrative Film Music," published in Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203), Claudia Gorbman writes that "film music shapes our perception of a narrative" (Gorbman, 1980, p. 183). She believes that music "seeks to breathe into the pictures some of the life that photography has taken away from them" (Gorbman, 1980, p. 187). She also believes that there is a synergistic quality of music in films. For example, if a director was to change the soundtrack in a film, Gorbman's theory infers that the "image track will be transformed" (Gorbman, 1980, p. 202). Hence, Claudia Gorbman's theory of film is founded upon the concept that there are unifying and enhancing effects of music in a film.
The YouTube video noted below is the Official Trailer to the movie "Wolf Totem." As you view the trailer at https://youtu.be/kGv7VDno3J8 , you will experience how powerful music can truly be in shaping a viewer's interpretation of a filmmaking narrative. Suffice it to say that music has power in filmmaking.
The video "Wolf Totem - Official Trailer - In Theaters September" at https://youtu.be/kGv7VDno3J8 was uploaded by Sony Pictures Entertainment to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use." Sample Application of Music to Novel Writing
Building upon Claudia Gorbman's theory of film and the important role that music has in cinematic narrative, I applied this same concept to my epic medieval fantasy novel, The Wolves of Trisidian. In the following excerpt from my book, you will observe the protagonist in the story (Geoffrey Talbot) playing his viol in a musical performance at the request of Lord Brishen Alexander of Stonehaven who was hosting a special visit by Lord Philip Batclif of Actalon. Attended by more than 150 people, the scene in this part of the story takes place at the Great Hall at Castle Stonehaven. To put the scene into proper context, Geoffrey was asked by Lord Alexander to play a sonata on his viol along with Emelie, another member of the Stonehaven Consort who was playing the dulcimer. Geoffrey and Emelie were scheduled to perform the sonata prior to when Lord Alexander was going to be hosting the evening meal for Lord Batclif. Geoffrey chooses to play a song that he wrote about his little sister who had passed away at the tender age of 4 years. Due to certain events that happened surrounding this incident, Geoffrey continues to blame himself for his sister's death. He has continued to carry this guilt throughout his life. Named after his little sister, Geoffrey titled the song, “Diana.” Her name means, “Helper of the woods animals.” As you read the story excerpt, I trust you will see how incorporating a scene with a description of music or song into your novel can have great impact upon the reader.
Musical Excerpt from the Story of The Wolves of Trisidian
The time finally came for me to join my accompanist in the music. As I started to play the song about my little sister, Diana, I did so with my eyes closed. I became oblivious to the entire world around me. My mind entered a world known only to me. My head first inclined slowly at the beginning of the song, admitting the failure on my part. The tender melody continued to fill the Great Hall. My thoughts gravitated to the past and the brief period of time I was able to spend with my little sister, Diana. She was precious to me. I miss her so much.
As we continued to play the song, my mind reflected on what happened to Diana on that horrible day. When the sound of the instruments got stronger, my head would nod up and down with taut jerking movements. My chin would tilt back and forth as my body tried to embrace all of the dignity it could muster in the sweet memory of my little sister, Diana.
Memories of that dreadful time were vivid and clear. Unbidden thoughts haunted me as awful remembrances returned to my mind. The blood in my veins flowed quickly through my body as feelings of guilt and blame about my sister became trapped in my memory. Playing this song was always an emotional experience for me, but it always helped me to heal a little more each time I played it.
In sweeping motion, my right hand guided the bow across the strings as we entered the verse of the song that expressed Diana’s story. At the same time, my left hand moved on its own volition up and down to the lowest part of the strings demonstrating how Diana’s life ended in such a bitter battle. The song had no words penned to the verse. It was an instrumental only. As I continued to play the song in the Great Hall, Diana’s sweet character was known only to me among the crowd. That was best, for only the beauty of the music could convey the tender life and sweet spirit of my little sister. Penning words to paper would only serve as a meager description of her lovability. Truly, this song was an expression of sincere, heartfelt love for my little sister. I believe this was the root source of my love for music and especially my love for this particular song.
With tremendous energy and power that only music could possibly convey, Diana’s song continued to flow out to the audience in the Great Hall. My eyebrows drew together in agony as a hot tear rolled down my cheek. As we entered the chorus, the main theme of the song in my heart overflowed for my sweet sister, Diana. Then, as we entered the bridge of the song, my heart emphasized the reason for repeating the final chorus for her.
I yielded to compulsive sobs for Diana as I continued to play my viol. Tears filled both of my closed eyes as I heard the sweet melody of the dulcimer blending together with my viol in honor of my little sister’s life. Then, as Emelie and I entered the coda and closing part of the song, I felt a sense of loss that was beyond tears. The misery of that terrible day still haunts me. The only things left inside me are the raw, putrefying sores of my aching heart.
The song ended with a final, slowly fading, musical depiction of the soft and tender innocence of childhood. After the song ended, my eyes continued to remain closed for a few brief, still moments as I reflected on the memory of my little sister, Diana.
REFERENCE
Gorbman, Claudia. Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203.
The Wolves of Trisidian -- A Novel by Adrian Robbe
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