3.27.2013

Introduction: Welcome to Our Blog


Although the Western musical style, or Classical music as people refer it as, is not widely spoken of or heard on the radio, it is still present in our everyday lives. There are a variety of musical forms that integrate Classical music, a few being the symphony, opera, and even church Mass. People do not recognize that they are probably more familiar with this style music than they think. Not only is it incorporated into other forms of music but can be recognized in current television shows and movies. 

One of the most crucial aspects of a scene in a film is the music, as it has the ability to manipulate what direction a scene may go in. For instance, scary movies commonly have very suspenseful music that succumb the audience to suspense and fright at almost any moment it appears. However, if one were to replace this music with a lighter and happier toned piece, it would have an entirely different affect and may even diminish any signs of horror that the director intended.

The person whom is responsible for transmitting the director’s vision through music is the music supervisor. It is his or her job to choose and incorporate an appropriate song for a scene to specifically contribute to its overall message or desired effect. Music supervisors may have to commission a composer to write new music for a film but are mostly responsible for being well educated and rounded in all genres of music. If a music supervisor does not do his or her job well enough, a film may end up lacking in scenes that produce a memorable effect on their viewers. Classical music is very common in film because its ambience and lack of lyric make it less distracting to a scene. However, in some films a classical piece may be a feature part of the scene rather than just background music. This may be because the connotations and/or content of the song contribute to what is occurring in a scene. This is often the case for Mozart and its placement in films, however our findings proved to be otherwise for Haydn. For our final project we essentially plan to make people aware of this issue and raise the question of what it is about Mozart music that makes it so popular.*

Stages of Development 
  • Met up for the first time to brainstorm ideas for the project and distribute the work that needs to be done evenly
  • It was decided that one person would complete an analysis for 3 movies with Haydn music and the other would do the same for 3 movies with Mozart music
  • During the second meeting, we discussed the problems that arose from our original plan. Haydn is much more inaccessible in terms of finding information for so we proposed a solution that the person doing the movies with Haydn will do a Mozart movies as well, to continue the equality of the division of work. These write-ups would then be posted on the blog page
  • While attempting to create an analysis of Haydn vs. Mozart music in film, it was decided that we would only base our data on one website because there was an overabundance of Mozart data that it would not be suitable to use more than one website.
  • At our final meeting, we decided upon the posters because we wanted to promote our blog page and use this as another outlet to promote Haydn Awareness Week.  

    *In each post links are provided for the pieces and scenes discussed.

    Written by: Arianna Benincasa and Trisha Elegino

Wolfgang Amadeus Mozart: A Historical Context



Wolfgang Amadeus Mozart was born on January 27th 1756 and died on the 5th of December in 1791. One of the most highly known composers from the Classical era, Mozart composed many symphonies, concertos, operas, chamber, and choral music throughout his lifetime. The compositions in the films that will be included on the blog were composed in 1773 and 1787. Mozart was employed as a court musician at the Salzburg court during 1773 under Prince-Archbishop Heironymus Colloredo and dreaded working there due to low wages and lack of freedom in composition (Einstein 32). During the later year of 1787, he worked as a chamber composer under Emperor Joseph II, a time when he composed one of his most famous operas (Einstein 58).
 Many of his compositions have easily recognizable sequences that are known by many today. Exhibited through the songs looked at in the films we will be outlining, is Mozart’s ability to compose dynamic and heavy hitting portions of classical music that make a memorable effect on his listeners. 

Citation:
Einstein, Alfred. Mozart: His Character, His Work. New York: Oxford UP, 1945. Print


Written by: Arianna Benincasa

Mozart in Film: Part I


WILLY WONKA & THE CHOCOLATE FACTORY
Director: Mel Stuart
Music editor: Jack Tillar











IN


        In 1785, Mozart was commissioned to write The Marriage of Figaro (Le nozze di Figaro) also known as "The Day of Madness" ("Ossia la folle giornata"), which premiered at the Burgtheater on the first of May in 1786 (Melograni 189). It was originally a stage comedy written by Pierre Beaumarchais which was turned into a libretto by Lorenzo Da Ponte (Melograni 192). It all takes place during a day of madness as it “makes fun of nobility and invokes freedom of thought and speech” (Melograni 192).
        The very beginning sequence of the overture is the “musical key” that Willy Wonka plays on his musical lock for his characteristic candy room. It is symbolic that The Marriage of Figaro was used for this, as it ensues the madness of the guests’ day at the factory that begins right when the candy room door opens. This lock enters them into Wonka’s “world of pure imagination.” Little Mike Teeve’s mother is mistaken in believing that the musical sequence Wonka plays is written by Rachmaninoff, only represents her headstrong character that is prevalent throughout the whole movie.

Citation:
Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. Chicago: University of Chicago, 2007. Print.

Written by: Arianna Benincasa

Mozart in Film: Part II


ACE VENTURA: PET DETECTIVE
Directed by: Tom Shadyac
Music Supervisor: Peter Afterman



IN



         After his father’s death, Mozart composed Ein musikalischer Spass, more commonly known as a “musical joke”. The music intended to sound funny as it was making fun of “village musicians, third-rate artists who hit wrong notes, played out of key, and produced tonal absurdities” (Melograni 27). This song is very appropriate for Ace Ventura: Pet Detective as it plays during the famous comedian Jim Carrey’s scene in which he comically wears a tutu as a disguise in a mental illness facility. He pretends to have a mental illness in order to gain more clues for a case he is working on.




IN


In another scene, Ace Ventura also includes parts of the second and third movements of Mozart’s Eine Kleine Nachtmusik. This song is appropriately used as he composed this piece in August of the same year that he wrote “musical joke” (Melograni 207). The song is one of his most famous pieces and plays at the beginning of an A-list party that Ace Ventura attends. The scene opens with a shot of the party location that resembles one of the many prestige palaces that Mozart worked in during his life time. (During this time in particular he was working in the palace of the Roman Emperor Joseph II).
This song is meant to set the tone of the classy black tie event that they enter. Ventura’s date warns him that he better not embarrass her, however his obnoxious and humourous behavior serves as a great contrast to the festivities and the music accompanying it.

Citation:
Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. Chicago: University of Chicago, 2007. Print.
Written by: Arianna Benincasa

Mozart in Film: Part III


FAME
Directed by: Alan Parker
Music editor: Norman Hollyn

       From 1783 to 1791, Mozart wrote four horn concerto’s for the French horn player and his close friend Joseph Leutgeb. No.3 in E flat major features two clarinets, two bassoons an strings in a three-movement form, including: an allegro maestoso, into a Romance slower form, back into a rondo Allegro. These pieces were challenging in their inclusion of “stopped” notes, which was “a technique that involved the player’s inserting his right hand into the bell to enable him to play notes otherwise unavailable on the horns of the day” (All Media Guide).



IN




This song is featured in the 1980’s dance film Fame, and is very appropriately incorporated into a classical ballet scene with shots of dancers dancing to a contemporary arrangement of the song that includes guitars.

Historical information from:
All Media Guide. "Wolfgang Amadeus Mozart Composer: Horn Concerto No.3 in Eb, K.447." Classical Archives. N.p., n.d. Web. 26 Mar. 2013. <http://www.classicalarchives.com/work/18900.html#tvf=tracks&tv=about>.

Written by: Arianna Benincasa

Mozart in Film: Part IV


William Shakespeare’s Romeo and Juliet
Directed by: Baz Luhrman
Music supervisor: Laura Zifferan


       In July of 1773, Mozart visited Vienna with his father in hopes of finding more work but went back to Salzburg by September without any success. Symphony No. 25 was composed soon after in October although he most likely started it during his trip to Vienna. It is composed in a minor key that started a trend in the late 1760s and early 1770s. Other minor key compositions of the era were associated with “Sturm und Drag” which is a genre that resembles the sounds of "storm and stress". Although Mozart’s opening allegro does not follow the conventions of this genre its intense and quick string patterns create a sense of urgency.

                                                  Mozart's Symphony No.25

IN



       This piece is appropriately featured in William Shakespeare’s Romeo and Juliet during the scene in which Juliet’s maid is running around the house trying to find her so that she can get ready for the party at the Capulet mansion that evening. This tone foreshadows the same urgency that will continue from the minute she meets her Romeo that night and falls madly in love.


Historical information from:

All Media Guide. "Wolfgang Amadeus Mozart Composer: Symphony No.25 in G-, K.183." Classical Archives. N.p., n.d. Web. 26 Mar. 2013. <http://www.classicalarchives.com/work/18612.html>.

Written by: Arianna Benincasa

Mozart in Film: Part V



THE SHAWSHANK REDEMPTION
Director: Frank Darabont
Music consultant: Arlene Fishbach

















IN



      Mozart’s Le Nozze de Figaro composition can be found in numerous movies in today’s popular culture. One example would be The Shawshank Redemption where the “Duetto-Sul Aria” can be heard as diagetic sound. In this scene, Andy Dufresne locks himself in the loudspeaker room, defying the rules made by the Warden. He then plays this duettino over the loudspeaker for the entire prison to hear. In Le Nozze de Figaro, the dialogue spoken discusses a letter that will expose infidelity. The context of the piece has a subtle connection to the scene in the film because the ultimate reason of Andy’s imprisonment was his wife’s infidelity with another man.

Written by: Trisha Elegino

Mozart Visual Representation


     Using the general consensus of movies on the Naxos website, the films that included Mozart were grouped in form to reveal which of Mozart’s compositions are most popular in film. The largest portion, are his concertos although this includes compositions with featuring different instruments. They were grouped together mainly for simplicity in tallying purposes. In this case if we look at what is next popular is “Eine Kleine Nachtmusik”. This piece is not only perceived to be his most popular composition but also that of which used in films. Identifying this song right away upon hearing it in a scene will make its listener come to the quick conclusion that the director meant to include classical music for a particular reason because he or she assumed the audience will recognize it. Because this song is very popular it would be unlikely for it to be used as background music in the scene but rather featured as it was in Ace Ventura: Pet Detective.
During 1787 the latter year in which most of the works looked at here by Mozart were composed was the time in which he wrote most of his famous works. Working with the information provided on the Naxos website, it is revealed that most of his works used in film are from this time period.

Citation
"Music in Movies." Naxos: The World's Leading Classical Music Group. Naxos Digital Services Limited, n.d. Web. 26 Mar. 2013. <http://www.naxos.com/musicinmovies.asp?letter=A>.

Written by: Arianna Benincasa

Joseph Haydn: A Historical Context



Joseph Haydn was a prominent musical figure during the Classical era. He is highly recognized as a talented musical composer of various classical forms such as string quartet, sonata, concertos, operas, and symphony to name a few. His popularity rose during the mid 1700s when he was employed as a Kapellmeister for the Esterhazy family in 1766. Haydn’s musical works play a major role in the history of Classical music, specifically his contribution to symphony and string quartet areas of music.

Citation: 
Geiringer, Karl. Haydn: A Creative Life in Music. Berkeley: University of California, 1982. Print.

Written by: Trisha Elegino

Haydn Music in Film

SHERLOCK HOLMES
Director: Guy Ritchie
Music editor: Peter Oso Snell




IN


       The 2009 movie Sherlock Holmes uses a piece of music by Haydn. A string quartet piece, specifically Adagio from String Quartet Opus 1 No. 3 in D major, was played during a scene where Watson and Mary, his fiancé, are having dinner with Holmes at a restaurant called “The Royal.” During this part of the film, Sherlock Holmes is using his deductive talents to describe both Mary and Watson. Haydn’s musical piece is used as non-diagetic sound. While the history of the piece and story of the scene do not relate to one another, the fact that Haydn’s works are used in film demonstrates that his music is still relevant today.


Written by: Trisha Elegino

Haydn Music in Television

VAMPIRE DIARIES
Director: Jeffery G. Hunt
Music supervisor: Christopher Mollere

             


    



IN


(Fast forward to 3:30)


A current television show that showcases one of Haydn’s pieces is Vampire Diaries. In a scene from episode four of season two, there is a flashback passage where Stefan and Elena are dancing. During this scene, Haydn’s piece “Emperor” (Quartet 62 – Opus 76 No. 3) is played as non-diagetic sound. Non-diagetic refers to a sound that occurs outside of the actual story of the scene.  This string quartet piece takes the name of “Emperor” because Haydn had played a melody from an anthem that he originally wrote for Emperor Francis II. Although the history of the musical piece does not relate to the scene in the show, it still provides an example of how Haydn’ works are still integrated in today’s society in modern art forms, in this case television.


Citation:
"Diegetic and Non-diegetic Sounds." Filmsound.org. N.p., n.d. Web. 27 Mar. 2013.
<http://www.filmsound.org/terminology/diegetic.htm>.

Written by: Trisha Elegino

Haydn Visual Representation

Although both Mozart and Haydn’s musical works can be found in today’s popular culture, it is evident that Mozart’s work is more accessible than Haydn. According to the Naxos website, approximately 65 television shows and movies showcase at least one piece from Mozart while approximately 9 television shows and movies use Haydn pieces.


        The popularity of Mozart is much greater than that of Haydn, apparent from his abundance of musical works in today’s society. Moreover, the history and meaning behind Mozart’s pieces is often somehow correlated to the scene it is playing in. In the movies/shows where Haydn’s pieces are played, the pieces are often used as non-diagetic sound. One of the reasons for this is that many of Mozart’s pieces have implication that are relatable to today’s popular culture unlike Haydn where the significance behind his works are often unknown. Although Western Musical styles are not commonplace in today’s society, it is still integrated into popular culture, by enjoying these pieces through a different avenue, television and movies.


Citation:
"Music in Movies." Naxos: The World's Leading Classical Music Group. Naxos Digital Services Limited, n.d. Web. 26 Mar. 2013. <http://www.naxos.com/musicinmovies.asp?letter=A>.

                                                                                            Written by: Trisha Elegino

Conclusion & Reflection

        This project ultimately showcases the fact that although the works of both Haydn and Mozart are not evident in today’s society, they continue to play a role in popular culture through different media outlets, such as film and television. At first it was only an idea that was thought to lead toward a dead end however after initial research, it can be seen that there are a variety of websites that indicate what musical piece is played in which movie or television show. Although the websites indicate which movies have Haydn and Mozart pieces playing, there were no sites that explained the reason behind why it was chosen or even what scene it was in. In order to fill in these gaps, a blog was created. Its main focus is to show the reader that Mozart and Haydn’s pieces are not something of the past, but a lifelong piece of art that will constantly be remembered.

         The final outcome of this project was successful because we effectively communicated the significance of our finding. Our blog discusses and analyzes popular films, showing the exact scene in the movie where the music was heard, as well as demonstrate to the reader how Mozart’s pieces are more commonly used in films than Haydn’s. Information of this nature was appropriate to display in a blog format because blogs are a very popular form of media outlet today and thus can be easily searched on the Internet for people find.

         Furthermore, utilizing another popular form of communication of putting up posters in various areas of our University of Toronto campus.






This added on a creative side to our project as the posters themselves are a spoof of original movie posters, including Haydn and Mozart’s faces.These posters aim to entice and stimulate people throughout campus to go on the website and check the blog. A strength in this project would be the garnered interest that this project has given to its students. On the other hand, a weakness would be the lack of scholarship in the writing material. There was a major difficulty in finding resources to use as supplementary information. However, this difficulty was used as motivation tool to create the blog in order to spread the knowledge to the public that was otherwise not accessible over the Internet.

Reflection

          Working with classical music in the context of popular culture was quite engaging for us because we were interested in seeing if this kind of music still holds relevance and meaning today. When researching and discovering the many movies that include Haydn and Mozart compositions, we could not wait to relay our information on our website and share it with other students on campus. Identifying the songs in these films gave a whole new meaning to the scenes in which they were in and made us realize that one may miss out on the even greater significance of a movie scene if they are not educated in what lies behind it. We enjoyed gathering information and analyzing the content ourselves as not much scholarship is found on the topic. It is our wish that this may inspire someone to make even further and in depth research on classical Haydn and Mozart music in film.

Conclusion written by: Trisha Elegino
Posters and Site compiled by: Arianna Benincasa