Part II: Science Fiction
B. Creating the Score: Part I
Contents
1. Prologue
After the analysis and previous demonstration of films’ segments that took place in the last chapter, it was the time to choose the film, or films, that my research would carry on in experimenting with music composition. This search had by now revealed several key identifications that I was looking for in a film in order to connect it with my current study. These prerequisite characteristics would also play a central role in demonstrating my original score as well as presenting any new findings and artistic suggestions along the way. It was also a mean to evaluate and stay closely connected with the science fiction genre by simply combining all the previous theoretical points and literature review with the actual practice of constructing a score.
A substantial aspect of the research, up to this point and based on the so-far gained experience, was found to be the transformations that occur in my personal music ideology adding inspiration in new scoring approaches which in turn sculpted some interesting and unanticipated results. In other words if the methodical procedure had to be reversed and the scoring theoretically had to take place before the preliminary research the end results would be indeed quite different. That was the case with the previous silent era part of the research and that was an expectation, on a greater level I must admit, that I had for this science fiction project as well.
Initially then, and for the above reasons as well as any additional points that were exposed and will be discussed further on, a further preliminary view and examination on a number of different science fiction films took place with the intention of finding examples that will show the capacity of dynamics in view of scoring experimentation.
2. Films' introduction
Out of the films that were observed and re-visited there were two that found to meet the scoring requirements and potentials of new procedures and outcomes. These films are The Phantom Planet (1961) and Voyage to the Prehistoric Planet (1965).
The first aspect which drew my attention in both films was the extraordinary diversity of the scenes. This seemed to be a perfect fit for my initial intentions by providing a wide palette of colours from which I could choose the ones to experiment with and demonstrate my musical thoughts. Additionally, it was found to be a rather important foundation for supporting the rest of the project as it would carry on evolving.
In view of this matter in the first moving picture, The Phantom Planet, which mostly takes place in outer space and on an unknown meteor-planet, I was able to find several segments that could spring inspiration and give birth to new ideas. The scenery varies from humans and places on earth to outer space and floating astronauts, to internal spaceship cockpits onto new planets in which alien encounters occur. As a result, there is indeed a substantial variation to potentially create different layers and aspects of music. This can be also briefly observed by the film’s trailer:
In addition, what was also rather interesting and helpful was that the movie contains segments of scenes that were common, to a certain degree, with previously investigated films. This was also true in the overall sense of the plot’s development. Consequently, viewing and comparing different aspects between similar scenes would be pragmatised in a more effective way.
The latter also gave birth to the initial angle of scoring approach in terms of Eastern exoticism. Since a more direct comparison between The Phantom Planet and similar films could be drawn, instrumentation and scoring approaches could be re-visited in order to form a better picture considering the composers’ stylistic approaches.
A few thoughts that instinctively rise, reflecting the previously examined and congregated information, contemplate the instrumentation, the use of Eastern-flavour modes and perhaps the ellipsis of experimentation with new instruments.
The choice of the film Voyage to the Prehistoric Planet has also been made mainly because of its diversity, but also because of its quite different scenes’ set. Most of the film’s plot, as well as the selected scoring segment for that reason, is evolving on the surface of planet Venus where astronauts are dealing with unexpected findings and problems that may arise.
The difference, as the title suggests, is also in the nature of the alien species, as it seems like the script has a ‘back in time’ character, although there is a basic common line between the two films which is the human form of each planet’s alien natives. Where the Voyage to the Prehistoric Planet segregates is in the addition of dinosaurs and sceneries that suggests a planet that looks more like a prehistoric earth. This is also a rather important criterion as to why this film has been chosen since an exotic representation of the ancient and the prehistoric is often a common ground for ethnic music to exist, as it has been demonstrated in a number of cases of films in the previous chapter.
A trailer of the Voyage to Prehistoric Planet can be viewed below:
What is also imperative to mention at this point, as a supplementary pre-clarifying note, is that this science fiction chapter is differentiating itself from the previous one as to the procedure that will be followed in view of the scoring approach and structure. Overall, as this is going to be discussed thoroughly later on in the chapter considering the composition structure, I felt the need to explore a bit further and demonstrate the sense of coherence that exists in a film score. This is why the compositional approach will commence on lengthier film’s segments.
By proceeding this way, except for trying something that separates from previous approaches, will also be given the opportunity to expose any other potential problems or scepticisms that may arise. It is a different angle which I chose, believing in the diversity and uniqueness of the possible outcomes.
Supplementary information: Films’ plot overview
The Phantom Planet (1961 – Score by Leith Stevens)
As a United States space exploration spaceship strangely disappears, another one has been sent with the purpose of discovering the causes and recovering the lost shuttle. After a problematic and hazardous confrontation of a meteor shower, the astronauts attempt to recover the spaceship with fatal results. One of them is being sucked by outer space while the other one, facing operational issues, is piloting and land the spaceship into a peculiar asteroid. There, an unexpected surprise awaits him as he confronts the alien miniaturized inhabitants as well as the planet’s idiom to miniaturize him as well. Taken into custody, the astronaut falls in love with a native mute woman. Their story develops through the planet’s enemy attacks, an alien race called The Solarities as they want to destroy Rheton (the asteroid-planet) and steal its gravitational idiom.
Voyage to the Prehistoric Planet (1965 - Score by Ronald Stein)
An ambitious human attempt to send a spaceship to planet Venus. Five astronauts and a robot land on the planet’s surface in order to explore it. Venus’ idiomorphic surface is quite unfriendly to the human astronauts. Their exploration will jeopardize their lives as the planet’s surface will prove to be rather hazardous, but they will also be in danger while they experience attacks of prehistoric beasts.
3. Pre-composition: Recording & sound design
Introduction
A decision that has been made from the early stages of this research was to exclusively use ethnic instruments for the scoring of whichever film, or films were selected at the end. It would be a way to receive the baton from Intolerance last scoring attempt (pure exoticism) and progress by transforming into something new. This idea was considered to be better realised, and best suited for this purpose, by adding sound design into the equation.
An initial schematic considering the strategy that is going to be followed is demonstrated in the following flowchart:
The more time was passing and the amount of collected information was growing, the more this idea was turning into a need. Science fiction films over the whole magnificent history of cinema have been given me the sense that they belong in a distinctive category in which experimentation and creativity truly exists. This research has enlightened this personal view since there were moments in almost every decade that music alchemy was strongly present, regardless of the film’s final outcome in terms of popularity and/or success.
After all, we are talking about an art form that describes something that we have not actually experienced before, in a physical manner, therefore fantasy, innovation and spontaneity must exist in multiple simultaneous levels. This is strongly apparent when we are discussing implementing moving pictures with sounds and music; let alone when these moving pictures include technology as one of their primary aspects.
Recording ethnic instruments
The initial part for realising the above idea was to conduct a series of ethnic instruments’ recordings. These recordings would be then processed in numerous ways by using sound design so that the finalised sounds would consist of a sufficient if not large, amount of audio samples ready to be used.
The following list consists of all of the available physical instruments that I had access to and were performed personally by me (in alphabetical order) :
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Balalaika
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Bayan
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Bendir
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Bouzouki
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Cajon
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Darbuka
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Def
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Frame Drums (Various Sizes)
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Oud
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Saz
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Stamna
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Tzouras
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Various Shakers
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Zilia
Additionally, below is the list of the rest of the ethnic instruments used from sampled sound libraries:
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Chang Erhu
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Didgeridoo
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Duduk
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Hulusi
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Kemence
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Mountain Dulcimer
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Ney
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Overtone Flute
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Pan Flute
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Persian Strings
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Quanun
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Santur
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Eastern Clarinet
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ShakuhachI
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Vocals (Middle Eastern & Mongolian)
Performance techniques
Performance techniques was a part of another significant chapter in the making of the recorded sounds. The ethnic instruments that I was fortunate to have access to, gave inspiration to a number of new ideas considering the performance methodology. This took place in the bigger picture of recording instruments in such a way so they could then be manipulated in order to give diverse results. With that in mind, there was a lot of attention to detail given in view of each instrument’s texture and possible performance which would produce distinctive sounds.
Well established performance techniques in a number of string instruments were found to be rather intriguing in ethnic instruments that are not meant to be performed this way. An example of this would be by using the bow in ethnic instruments like the oud, tzouras or bouzouki. Staccato mode gave one of the most interesting results as well as long notes or chords which were found to be quite useful, especially when putting them under the microscope of granular synthesis, as will be discussed later on.
In addition, different playing positions, variations of performance modes, variety of picks and percussive sounds / rhythmic structures out of ethnic string instruments were some of the added styles used for creating new colours and capture new stimulating resonances.
At the end of this stage, the project ended up with a vast number of ninety-three different samples, out of the many more that have been recorded, all of which have been used later on in composing the score.
All of the recordings and samples together with a screenshot of the actual audio sequencer project can be found below:
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Recording techniques
The variety of performance techniques resulted in a new idea of approaching the recordings. Since there were three available studio rooms in which the instruments could be recorded, all three of them were indeed used to record multiple samples of each instrument. The rationale behind this idea was for us, the mixing engineer and me, to have multiple versions of each instrument’s, and performance in that respect, reaction with the actual rooms it was recorded in so we could then critically revisit the samples and select which parts to finally use and for what reason. Despite the time-consuming experience this seemed to work rather well especially with instruments that had already a distinctive sound in terms of resonance and pitch.
As an example, bowed string instruments’ performances usually worked better in the larger room due to its wavelength attributes provided by the delay of the wooden surfaces’ first reflections. In this way, the end result had a pleasant airy character due to its cleaner, extended high-frequency response which seemed to work best with some instruments' performances. This was also found to be the case for most of the percussion instruments, or non-percussion instruments performed in a percussive way.
On the contrary, darker sounding characters were naturally captured better in the smaller rooms mainly due to the curtain walls and carpet flooring. This small room quality seemed to work better for capturing a warmer, rounder sound such as the sound of a bouzouki’s body.
Another aspect that played a significant role in capturing the desired sound was the microphone placement techniques engaged before the recordings. It was a luxury that he had an array of different sounding microphones in our disposal, something that significantly helped with the procedure by saving time in order to achieve the desired results.
A characteristic example that was found rather interesting in view of the strategy behind it was the recording technique employed in the instruments tzouras and bouzouki in their respected bow performances. Since the initial concept behind this was to design some of the recorded sounds with the intention of creating a dense atmosphere or creepy sound effects, what was found to work best was placing a small diaphragm condenser microphone above the performer’s head pointing from the ceiling down the bow so it would, in such way, give a certain ‘height’ placed sound due to its phasing relationships with the room. In addition, in this way, we could avoid a large amount of the actual wooden body of the instrument so we could end up with a crispy, squeaky sound that could then be manipulated accordingly.
Respected recording techniques as well as a wider choice of room tones, placing the microphones further away in the room etc., took place in the recordings of melodic phrases that were used with the intention of keeping their actual sonic characters.
Photographic material from the recording sessions as well as a few pictures of the actual instruments can be viewed below:
Also, for demonstration purposes, it was thought to be rather useful for the reader to have a more authentic picture of how a number of these instruments actually sound when they are performed in their own unique culture-related mode. Therefore, a number of additional ethnic instruments’ recordings were also pragmatised in order to present the above.
The performances consist of free improvisations in the following instruments’ list followed by the corresponding audio material:
- Ancient Diavlos
- Bouzouki
- Klarino (Middle Eastern style clarinet)
- Politiki Lyra (similar to kemence)
- Tzouras
Sound design
Recorded instruments needed to be presented in a more imaginative manner by altering their sonic attributes. Thus, sound design techniques were employed in order to achieve the desired result. Out of these techniques, I can positively say that granular synthesis was found to be the most ground-breaking and immersive. Through this procedure, I was able to get deeply into the very foundations of each micro-sound so I could manipulate it, transform it and in certain cases combine it with others so I could end up with a unique sounding result.
Granular synthesis was also used as a procedure in sound effects editing, that were used either to create or mix a sound. A characteristic example is the use of granular reverb especially in mid-high pitch instruments as it was observed to pronounce and project the sound in a rather intriguing respect that could not be achieved otherwise.
Also, a major part of granular synthesis was in the construction of the abstract, background sounds. Again, its contribution in this case was invaluable.
There were a number of other mixing and sound designing techniques involved in this effort. Frequency modulation synthesis (FM synthesis) was often used when experimenting with instrument’s waveforms as well as ducking mixing practice which is especially famous for its sonic attributes considering the low frequencies.
A further detailed demonstration of the sound design approach together with audiovisual examples will take place in the following chapter considering the construction and presentation of original film scores.
4. Presenting the score: Part I
Background context - Rationale
As it was briefly discussed before the overall tactic of composing original scores for science fiction films is quite the opposite than the one used in the previous Intolerance chapter. For comparative purposes, and as a reminder, the technical part in scores’ structure for the Babylonian story of the film Intolerance started by cutting the chapter into smaller pieces demonstrating several musical aspects that were observed and drawing comparisons with other related scenes found in different films. This procedure took place before the actual writing of the score.
In the case of science fiction film music, the opposite route was thought to be more appropriate for a number of good reasons. First of all, and as the research had reached its first practical point of music composition, there was a clear need to investigate a number of different films and get to know several different composers’ approaches. By observing how composers have tackled several occasions during the history of the science fiction era was an indispensable lesson in understanding the methods and evaluate the need for new music experimentation. This is one of the main reasons why the previous analysis did not take place in parallel with the actual composition.
The above also gave the right direction as to why and how I should proceed with creating the sounds for my scoring palette. Through observation, I was able to sculpt my opinion on how to suggest new ideas, both affecting the sounds’ conception but also the composition approach, that will play a central role in differentiating the produced music.
An additional motive was the conceptualisation and realisation of a music project which would be unique in terms of Eastern exoticism from its very beginning. This again was an outcome coming from the preliminary research and analysis as it gave birth to the idea of writing a score that would purely consist of two elements, ethnic instruments and sound design.
Another important reason is coherence. Selecting lengthier segments of the two films seemed to fit perfectly in view of writing scores that can dynamically demonstrate a greater degree of sounding rationality. Furthermore, from a composer’s angle, this was quite helpful in terms of musical expression. It felt it was providing me with the opportunity of having a greater amount of space in which I could express artistically, sculpt my viewpoints and face any potential issues that may be revealed. Additionally, the end result could ardently provide the viewer with a clearer picture of the harmonic development and overall sound aesthetics.
After the music had been written, I could then begin questioning and re-evaluating my experiment by magnifying the score, dividing it into smaller segments and comparing them with a variety of examples that share common visual characteristics.
The Phantom Planet - Score
The following video segment of the film was chosen for scoring purposes mainly because of the diversity of scenes that are taking place in a noticeably small amount of time in view of the film’s total length. It begins with a mechanical problem with dramatic results which is taking place outside the spaceship, moving into a scene where one of the two astronauts struggles to pilot and eventually land the spaceship on a meteor, concluded by the astronaut’s discoveries on the meteor’s / planet’s surface.
The film’s section together with the original score written by Leith Stevens is being demonstrated in the following video clip:
The Phantom Planet (Score by Leith Stevens)
Below is the same clip introducing the newly created score:
The Phantom Planet (Score by E. Chouvardas)
Before proceeding with the discussion of this scoring approach, it is worth including a number of audio examples of the sound design procedure which took place in a number of different instruments and sound recordings. These files have been extracted from the original sequencer project, therefore, have been created, mixed and used specifically for this video project.
These are demonstrated in the following interactive table:
Original Sound
Instrument
Designed Sound
Tzouras 1
Tzouras 3
Tzouras 2
Overtone Flute 1
Balalaika 1
Duduk
Balalaika 2
Overtone Flute 2
Darbuka
Bouzouki 1
Bouzouki 2
Bouzouki 3
Stamna
Eastern Percussion Ensemble
Mongolian Choir
Bouzouki 4
Tzouras + Bayan Combination
Didgeridoo Combination
Original version (Leith Stevens)
The original score by Leith Stevens is using a number of shared techniques, especially concerning the time period in which it was composed. Starting with the strings, one can initially observe the overall dramatic character which has been dressed with vivid vibratos and glissandi performance modes. The description of mystery and unknown has been achieved with a composition that deliberately avoids the use of third intervals, in both chords and harmonic progression, in the majority of the instruments used. The latter is also taking place in repeated motifs that are usually developing in intervals of a fourth or fifth. The orchestration is quite busy with a strong sense of simultaneous movements considering the relationship between the woodwinds, strings and brass.
Observing the presented film’s segment in a linear time mode, a first interesting observation is taking place at 01:27" where the astronauts are opening the spaceship’s exterior hatch, unexpectedly discovering the mechanical problem. It is quite unusual to see that the score is not following the semiotics of the moving picture, which has a rather strong character at this particular point. Stevens prefers to continue developing its previous, mild, motif consisting of what appears to be a xylophone and flute.
Moving on, the next interesting point commences at 02:06" where one of the two astronauts loses his senses. Once more in this situation, the composer chooses not to implement something new in order to emphasize the scene. The score carries on with its character progression in low strings’ intervals of fourths and fifths, resolving in a chromatic counterclockwise movement in the scene where the other astronaut is trying to move him inside the spaceship.
Indeed, there is a strong sense of coherence in the score but at times it felt it was passively skipping important features occurring on the screen. This is also strongly represented a few moments later (02:42") when the astronaut is being hit by an asteroid, loses his control and ends up floating helplessly into deeper space. The score is handling the picture using a very gentle approach, with the variation of adding some extra layers in low woodwinds, which seems to miss the chance in creating, perhaps, the proper excitement for the viewer. Again, there is a general flow in the music’s character but there appears to be no use of variation in harmonic development or dynamics.
This is the same principle that embodies the next scene starting at 03:28". The main role here has been given mostly to the harp and high woodwinds, especially flutes, creating in this way a dreamier, fantasy atmosphere rather than focusing on the drama of the character. These changes occur from 05:20" until 05:55" where the astronaut is attempting an emergency landing on a meteor. At this point, one can observe the implementation of a distinctive dissonance by the introduction of dramatic cues in strings and brass, which emphasises the scene’s adventurous nature.
Moving onto the next scene where the astronaut sets foot on the meteor-planet, Stevens returns to its previous instrumentation approach of having a main thematic idea, developing mainly in a unison performing xylophone and flute motif. This changes when the astronaut starts feeling unwell, by implementing harp glissandi and string tremolos.
Astronaut’s flashback occurring at 07:28" signifies the implementation of sound design in the score. What appears to be a Theremin, which was a quite common and accessible electric instrument at that time, is providing a sense of mystery and movement which connects the constant vibrato pitch with the floating video effect of the picture.
Another observation worth mentioning can be found at 09:03" where the astronaut regains his conscience facing the microscopic, anthropomorphic inhabitants. In this example, the composer is using a vast amount of dynamic articulations in all the instruments available (sfozardo, marcato, et. al.) making this one of the most dynamic moments considering the sound aesthetics.
Lastly, the astronaut’s miniaturising (09:59") has been represented with a glockenspiel fantasy-like pattern in conjunction with a number of background strings’ bowing techniques and clarinet motifs. This is then followed by the distinctive vibrato, high pitched sound of the Theremin which follows the astronaut’s anxiety since he realises that he is now the same size as the planet’s inhabitants.
Preliminary abstract version (E. Chouvardas)
This section of the film was composed with the intention of being an experimental abstract score which, as discussed before, has been created by using Eastern ethnic instruments in conjunction with a variety of sound design methodologies. Furthermore, Eastern influence and implementation has a rather strong and vivid character that will be demonstrated in several cases scenarios, reflecting accordingly with the moving picture’s context.
There are several moments inside the score in which there is an evident character of Eastern exoticism by using ethnic instruments that have not been overly processed with the intention of not losing their initial sonic signature. The use of santur is a characteristic example of this approach as it can be observed in several cases during the first scene in which the astronauts attempt to fix the damage.
The scoring approach considering the starting scene set outside the spaceship has been inspired from previous analysis of science fiction films where a variety of composers use woodwind instruments in a number of cases in order to musically express a mysterious scene. The procedure was to create a sound designed soundscape by using ethnic woodwinds, so it could be used as a background musical context in order again for additional ethnic winds, e.g. the hulusi, to sit in front by introducing a simple harmonic motif. This has also been reinforced by an Eastern female vocal which seemed to fit perfectly and increase the quality of the dramatic atmosphere.
The next and most dramatic outcome of the rescue effort is being presented when the rock hits the astronaut (2:40"-03:13"). This is a moment where it was thought better to describe it with a simple crescendo of two combined Eastern-related modes. The motif begins in a Phrygian mode resulting in an Ionian mode and is performed by an Eastern female vocal in combination with a pan flute. What is also added in the instrumentation is the taiko drum introducing a rhythmic pattern to increase the density of the upwards progression harmonic crescendo. The above tactics seemed to give a satisfying result concerning the use of music dynamics in conjunction with the scene’s development.
The next interesting scene commencing at 03:28" has been dealt with the initial idea of focusing on the astronaut’s despair. That is the reason why the Eastern vocal has again the primary role, followed by some woodwinds that are taking place at 04:15". The scene’s context, as well as the music, changes in approximately 04:50" when the astronaut is starting to pilot the spaceship and looking to safely land it on the meteor. Different vocals are also present but now inside a busier conversation of sounds. There are several sound designed tremolos at the back, especially the ones coming from tzouras, balalaika and oud, as well as the use of percussive woodwinds and a lyra harp. The end landing has been musically dressed with didgeridoo and duduk performances on an Eastern hijaz (phrygian dominant) mode.
During the astronaut’s landing on the planet’s surface, there is a distinctive sense of exoticism provided by the santur’s low notes performance. This has been followed later on by the taiko drums during the flashback scene. The latter was composed with the intention of giving a sense of movement and excitement rather than using more typical stylistic approaches such as nylon harp glissandos or pitched percussion’s dissonant notes, e.g. the glockenspiel, vibraphone, xylophone etc.
At approximately 08:17", in the scene where the astronaut retrieves his senses, there is an introduction of a different sound design technique which was not used up until this point. The motif is coming from an Irish whistle which was mixed with the implementation of granular reverb. This gives a distinctive sonic quality to the reverb’s tail by extending not only the reflections of the modelled space but also a part of the actual sonics of the whistle itself. What was also found to be quite intriguing was the rich metallic character which seemed to fit the picture’s purpose where the astronaut first encounters the miniaturised humans.
This particular sound is also being demonstrated below:
This was also part of the effort to present an ethnic instrument in combination with sound design, which signifies technology, in order to connect visually with the primitive nature of the inhabitants. It is worth noting that this was also an approach that had been previously observed and discussed in several different cases of science fiction films.
From that moment on, and during the next scene (09:06"-09:45"), where the planet’s inhabitants have been revealed to the viewer, the score has a busier orchestration and a stronger sense of Eastern instrumentation development for the exact reason discussed previously.
Moving on, considering the gravitational shrinking that occurs in the main character, beginning at 09:58", there is an intended lack of Eastern music flavour. This is one of the most important and peculiar scenes of the film which sets the ground for most of the films’ plot to evolve. It is a moment that I wanted to approach with a greater sense of fantasy, thus the use of lyra, but also to give an effort to enhance the mystery atmosphere. Therefore, there is the intentional use of many different elements such as santur glissandos, pan flute’s flutter tonguing as well as a tam tam percussion in order to give a certain rhythmic perspective. This is also a moment in which my scoring approach comes into an agreement with the original composer’s intention, with the difference being the use of ethnic instruments that were envisioned to have the protagonistic role.
Finally, the last scene, where the astronaut realises that he has been miniaturised by the planet’s gravitational idiom, has a rather definite exotic character. It is worth mentioning that the specific thematic part has the most ethnic instruments’ performances inside the score. This has been intentionally accomplished in such a way as it was an effort to musically follow the plot since the astronaut was now just like all the rest. Therefore, and as a more generic note, the music intentionally and gradually transforms from being more abstract into more Eastern-exotic, signifying the sense of primitive culture. This has been pragmatised in three phases; the first one starts at the beginning of this video segment, the second one emerges during the first appearance of the miniaturised humans, and the third one with the realisation of the astronaut’s reduced size.
Irish Whistle - Granular Reverb Example
Voyage to the Prehistoric Planet - Score
Voyage to the Prehistoric Planet (Score by Leith Stevens)
Below is the same clip introducing the newly created score:
Voyage to the Prehistoric Planet (Score by E.Chouvardas)
Following the same procedure as in The Phantom Planet, the larger number of sound designed audio files, together with their raw versions, are presented in the table below:
Instrument
Bouzouki 1
Bouzouki 2
Original Sound
Designed Sound
Bouzouki 4
Bouzouki 3
Tzouras 2
Tzouras 3
Tzouras 1
Bouzouki 5
Irish Flute
Oud 1
Pan Flute
Oud 2
Bayan
Shakuhachi
Didgeridoo
Tzouras 4
Eastern clarinet
Original version (Roland Stein)
There is a rather strong sense of resemblance between the Voyage to the Prehistoric Planet and The Phantom Planet scoring approach. Both films bare a quite distinct music colour found in the 1950s–1960s era of science fiction cinema. The difference in which the composer, Roland Stein, distinguishes himself is mainly the complexity and fullness that he achieves in several cases in his score.
From the beginning of this film’s segment, one can observe the intricate musical conversations between the low and high brass instruments. There is also a quite apparent movement of the instrumentation since the tempo is in harmony with the scene’s action. The music style here, as well as in the rest of the film, can be characterised as fairly atonal with often and continuous intervals of fourths and fifths especially apparent in brass and woodwinds.
During the next scene, where the astronauts are sending the robot to help them with retrieving their spaceship, and at about 01:04" the instrumentation resembles numerous occasions of other science fiction films that have been visited before. The use of low brass together with low-mid woodwinds has proven to be a strong and recognisable tool in scenes where the main subject is spinning around the sense of mystery and anxiety. This scene has been written with a continuous and coherent character without experimenting or introducing any instrumentation or dynamics’ changes. Even in cases of re-appearance of potential danger, for example in the 01:13" dinosaur scene, the music seems undisturbed in relation to the moving picture.
The above is also true in several other cases in the film. One of the most apparent is at 02:26" where the astronauts discover a large brontosaurus. Even if the scene implies for a grandeur score to be present, the composer is simply choosing to bypass this visual event perhaps in sacrifice for the music’s overall consistency.
Moving further on, one can, once more, observe the similarities that exist between science fiction and other genres considering this specific point, when the given scene dictates the introduction of dramatic music sequences. Thus, in this case, the beginning of the characters’ drama is reflected in the divisi strings followed up by low-mid woodwinds. This is particularly pronounced at 03:25" with the introduction of the character’s line ‘let’s rest, we’ve very little oxygen left us’.
Another interesting aspect that sets this film apart is the use of an airy female vocal commencing at 05:14". The composer intelligently connects the diegetic with the non-diegetic music following the plot where the astronauts are stopping in a location in order to search for a woman’s voice which one of them claimed to have heard.
As a final observation in the waterfalls’ scene beginning at 06:59", there is an effort to present a richer sounding composition with increased dynamics and instrumentation. This has been achieved to a certain degree, although it falls short in terms of musical variation.
Stein chooses to remain in a single note and although the scene has multiple pictures with multiple potential functions, there seems to be no apparent attempt to follow this nuance.
Preliminary abstract version (E. Chouvardas)
In the case of the Voyage to the Prehistoric Planet film the same scoring procedure as the previous one has been applied with the addition of presenting a more emphatic combination between dissonance and melody. This was a realistically achievable goal because of the distinctive contradiction that existed between scenes.
Starting with the first scene, the dinosaur attack has been composed with the intention of not withdrawing from an action scene approach, as this is essentially the scene’s nature. Instead, it was recognised and approached as one with the only difference being the instrumentation which, as always in this entire project, consists purely of ethnic instruments. As a result, there is a strong rhythmic structure in which everything builds around it, including the qanun and baritone balalaika that replicate the rhythmic pattern and introduce the main motif. This is developing in a crescendo mode by adding together smaller painting strikes of santur, qanun and taiko sticks.
In the next scene commencing at 00:46", there is a completely different approach presented as this scene describes the procedure of sending the robot to help with freeing the spaceship. Sound design character was intended to be quite pronounced here, as opposed to the previous one, as it is the first scene that emphasizes technology. In addition, as opposed to the original film composer’s approach, the important aspects in relation to the picture including the segments that were thought to differentiate in a considerable degree from the rest of the visual were decided to be treated with increased musical emphasis and variation. Therefore, the added danger subscene occurring at 01:12" has been dealt with the analogous music implementation.
The next sub scene’s music approach (01:26"), demonstrating the astronauts’ effort to disengage their spaceship, presents a pronounced Eastern exotic character by introducing the strong upfront character of a duduk motif. This is accompanied by several smaller sound design layers of instruments, producing the background music context for the duduk to take place in.
Moving onto the next scene beginning at 1:54", where the astronauts are wandering on the planet’s surface, sound designed music has again the central role of providing an abstract, mysterious atmosphere. This has been reinforced by a few ethnic instruments, used more in this case as sound effects, at 02:00" and 02:20".
The next brontosaurus’ encounter scene was composed with the intention of providing a fuller, more exciting sound to the picture, as it was suggested by the picture itself. The distinctive use of a major chord corresponds to the greatness of its size but also to the pleasant atmosphere portrayed by the astronauts’ smiles. There are also moments where I felt appropriate to include instruments and specific notes that should be used as a reminder of the hostile planet and the overall bizarre location. Distinctive moments where the above occurs can be observed at 02:36" and 02:40". In these cases, the above idea has been realised with the help of a santur.
Considering the next scene starting at 03:12", the music signifies the beginning of a difficult, as it will prove to be further on, situation considering the two lost astronauts’ survival. An Eastern female vocal together with low drum hits has been used in this case in order to provide the score with the appropriate accentuation of drama.
Moving further on, at 05:20" which is the scene where the astronauts hear the strange female voice, the composition strategy was to employ an array of different instruments, both manipulated and raw, so I could create a large, emphatic, melodic major chord which will reinforce the scenes’ implied question about ancient human existence. An added layer that contributed in that respect was a semitone up Mongolian men's choir, signifying the astronauts’ enigmatic state.
The waterfalls’ scene was found to be, as mentioned earlier, one of the most dynamic scenes in the film. Consequently, it was difficult to bypass the instinct which dictated the flow of the sound, before the score was conceptualised and composed. The music has multiple layers in terms of instrumentation but also a strong character considering the scene’s camera changes.
The smaller subscenes, including the first grand opening, imply a small visual crescendo as they move from showing the waterfalls to a closer view of the running water, to the robot’s feet, resulting in a further away camera viewing angle screening the robot on cataracts’ top cliff. This also occurs before the screen gives any visual reference to the astronauts. As a result, the composition develops a dynamic one chord crescendo resulting in an additional chord (07:27"), reinforced by an emphatic Eastern female vocal. Here again, it was intentionally planned to express this music angle by using both designed and raw sounding ethnic instruments.
The next scene commencing at 07:52" signifies the beginning of a survival struggle for the two astronauts. The music carries the baton from the previous scene with the help of a bridge consisting of two ouds. The score changes its character at 08:07" with an added minimalistic performance consisted of low and high taiko drums. Here again, and because of the drama’s gradual escalation, the composition builds another crescendo by combining expanded dynamics with added instruments.
In the final scene, beginning at 09:00", the viewer is presented with the final act of the two astronauts’ survival attempts. The scene is now inside a cave where the two characters are barely breathing. The score here attempts to create the sense of tragedy by using a simple, slow-paced, motif, again, combining both synthetic and physical sounds.
Additionally, what was thought to be interesting was to end the scene in an emphatic, magnifying and vivid way by following the last ‘I await your orders’ robot’s cue. This was a way to describe the ironic ending of the astronauts’ desperate efforts to get help and the robot’s incompetence to mathematically interpret and comprehend the request.
5. Presenting the score: Part II
Through the discussion of the previous abstract scoring experiment in both films, and as an outcome that leads to the continuation of this exploit, it was believed that an extra effort should be given in view of the clarity of this musically ethnic approach. Although perhaps a bit contradictory in terms of audiovisual relationship especially in view of the first film The Phantom Planet, the idea that came into life was to increase the focus in the score’s Eastern character by composing extra cues for a number of instruments and modify the already created motifs accordingly.
Added level to the sense of an increased Eastern-ethnic focus would also be the slightly different approach considering the audio mixing perspective as it was thought best this time to provide a more centered and upfront image by decreasing the depth of field in which the instruments had been placed. By making these moves the desired result would be a clearer sound of ethnic elements, more focused and distinct, by not overly concentrating in heavily processed and designed sounds, that would form a score with improved definition contributing to the overall level of Eastern music aesthetic.
In any case, it would be an extended experiment in further combination between synthetically processed and well-defined acoustic recordings of ethnic instruments.
Consequently, two newer versions of the selected films’ segments were composed:
The Phantom Planet - Version 2 (Score by E.Chouvardas)
Voyage to the Prehistoric Planet - Version 2 (Score by E.Chouvardas)
These re-composed and re-edited versions present an indeed more vivid and more solid case in terms of Eastern ethnic colouration and authenticity. In view of personal critical thinking considering the end result, I must admit that concerning The Phantom Planet, the score sounds quite experimental and perhaps a bit bolder, always in conjunction with the visual.
Although the score has been composed with prevailing ethnic instrumentation in mind, with the addition of heavy sound design processing, there are nonetheless scenes and moments where this ethnic scope might be more appropriate providing a more satisfactory music result.
An example of this last statement can be found in the scene commencing at around 08:00” where we have the presentation of anthropomorphic, miniature-sized, asteroid inhabitants. In this situation, the score’s ethnic angle can provide the picture with a sense of primitivism describing and giving the impression of an ancient in time, technological unevolved culture.
On the other hand, the Voyage to the Prehistoric Planet visuals are already overwhelmed with the presentation of primitive, dinosaurian creatures. This together with the scenic environment (lakes, volcanoes, deserts etc.) makes the film a more appropriate candidate to support more colourful and traditionally authentic ethnic approaches which can in turn relate and contribute to the ‘prehistoric’ title of the film.
By committing to this strong ethnic character and by creating these two altered scores, the audiovisual results formed a new direction in this research topic. Consequently, it was decided for further exploring in view of the originality and contribution of this ethnic approach that it would be a worthy step to commit into the development of reverse research methodology, this time by comparing the newly created scores for The Phantom Planet and Voyage to the Prehistoric Planet to other known films’ scores.
In order for this new angle to be original and truly contribute something new to the already discussed pre-scoring films’ exploration, it was thought appropriate to proceed into the division of each video clip into smaller titled chapters. In this way, the comparison that will take place could be more relevant and focused considering the musical character of specific scenes that could potentially be found in other films.
As an extension to the last, it would then be valid to present in more focus other composers’ approaches discussing the relationship and/or connection that may or may not have in view of these two scored films.
Thus, both films’ video clips were edited, both audio and visual, and recombined into two new title divided versions:
The Phantom Planet - Chapters (Score by E.Chouvardas)
The Phantom Planet - Chapters
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Chapter I: 'The Accident' (03:23")
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Chapter II: 'Lost' (03:12")
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Chapter III: 'A Strange Rock' (02:27")
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Chapter IV: 'Unexpected Encounter' (02:26")
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Chapter V: 'Dimensionality' (01:51")
Voyage to the Prehistoric Planet - Chapters (Score by E.Chouvardas)
Voyage to the Prehistoric Planet - Chapters
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Chapter I: 'We are under attack' (00:56")
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Chapter II: 'Getting out of there' (01:24")
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Chapter III: 'Prodigious discovery' (01:27")
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Chapter IV: 'Leaner hopes' (01:31")
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Chapter V: 'The Search Continues' (00:56")
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Chapter VI: 'Peculiar Sounds' (01:59")
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Chapter VII: 'Waterfalls' (01:05")
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Chapter VIII: 'Running out of oxygen' (01:17")
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Chapter IX: 'Realisation of the Inevitable' (01:28")
In order to get a clearer picture and help with the following comparative analysis, the full titled clips were divided into smaller parts containing each chapter:
The Phantom Planet - Chapters
Chapter I: 'The Accident' (03:23)
Chapter II: 'Lost' (03:12)
Chapter III: 'A Strange Rock ' (02:27)
Chapter IV: 'Unexpected Encounter' (02:26)
Chapter V: 'Dimensionality' (01:51)
Voyage to the Prehistoric Planet - Chapters
Chapter I: 'We are under attack' (00:56")
Chapter II: 'Getting out of there' (01:24")
Chapter III: 'Prodigious discovery' (01:27")
Chapter IV: 'Leaner hopes' (01:31")
Chapter V: 'The Search Continues' (00:56")
Chapter VI: 'Peculiar Sounds' (01:59")
Chapter VII: 'Waterfalls' (01:05")
Chapter VIII: 'Running out of oxygen' (01:17")
Chapter IX: 'Realization of the Inevitable' (01:28")
6. Comparative exploration
The Phantom Planet
Chapter I ('The Accident') was divided into two subcategories/connotations that corresponded to the visual and to the films' exploration results.
Chapter I: 'The Accident'
'Fixing the problem'
'Mission to Mars (2000)'
'Alien Covenant (2017)'
Main Connotations
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Jeopardy
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Anticipation
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Mystery
'Fixing the problem'
Chapter I: 'The Accident'
'Astronaut Lost'
'Mission to Mars (2000)'
'Gravity (2013)'
Main Connotations
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Hazard
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Desolation
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Agony
Mission to Mars (2000 - Score by Ennio Morricone)
Morricone’s unique approach in the genre of science fiction films is appearing once more in this problematic nature scene where the astronauts are trying to fix a problem occurring inside and outside the aircraft. This has been achieved with the uncommon use of a pipe organ, performing typically in descending chords, which plays a protagonistic role in this music cue.
As the scene and music develop, the composer reinforces the pipe organ and paints a larger and fuller instrumentation picture by adding the symphonic strings at 01:20”. This is also the moment where the visual moves outside presenting a broader angle and more distant picture of the aircraft and space.
Gradually, Morricone is adding more symphonic elements such as the trumpets and trombones duplicating the strings’ short attacks (02:30”-02:55) as well as the French horns doubling the pipe organ’s main motif (03:00”-end).
Alien Covenant (2017 - Score by Jed Kurzel)
A similar situation in view of the music approach was found in Jed Kurzel’s previously discussed score for Alien Covenant. The composer introduces a three-note chord motif scored for the woodwinds which are being accompanied by soft pianissimo notes of strings and brass that gradually build up both in dynamics and reinforcement by doubling the main three-note motif.
Chapter I: 'The Accident'
'Astronaut Lost'
Mission to Mars (2000 - Score by Ennio Morricone)
Ennio Morricone is approaching the scene of the astronaut in danger with classical romanticism, a signature of the composer’s style and quite similar to the rest of the music written for the film. Long legato strings performing in a D minor scale in a characteristically rich melodic cue that emphasizes the dramatic character of the scene and charge it with emotional serenity and sadness.
This character slightly changes, considering the pace of the music, in about 01:05” where the composer transposes the score into an A minor key, changing the strings’ long notes to rhythmic chords reinforced by the timpani and introducing a solo flute cue in order to describe the rest of the crew efforts to find a solution and save the astronaut in danger.
On the other hand, and in the next scene commencing at 01:43”, we observe a change of the previous romantic character and a movement towards atonality always following the differently dramatic atmosphere of the scene where there is a desperate and unsuccessful attempt of the astronaut’s wife to save him. The sense of mystery has been dealt here with tremolo strings laying the way for a woodwinds’ repeated interval of ninths which is resulting into a big and impressive atonal cue of the entire symphonic orchestra.
The rest of the scene (02:13”-end) has a slow, minimal in changes, character where the orchestra remains in the previous atonal chord while the composer adds the harp and the piano repeating the chord adding in this way to the mysterious and shocked characters’ reaction. Interesting is also the addition of an electric bass octave motif at 02:25” which gives the sense of tempo in this otherwise minimal motionless cue.
Gravity (2013 - Score by Steven Price)
Steven Price is dealing with the astronaut in danger issue from a quite different perspective. First and foremost the scene, as well as the rest of the score, consists of an amalgam of symphonic orchestra and sound designed instruments. Due to the nature of the scene which is more action-based than the one in the previous Mission to Mars example, the score is considerably more aggressive and rhythmic in character.
The main distinguishing aspect is the use of a two-note motif working as a foundation for several synthetic sounds to evolve, often usable as building blocks effects and tools to increase musical tension. This is a compositional stylistic approach that has been followed in the majority of the film, as discussed earlier in the research.
Chapter II: 'Lost'
Passengers (2016 – Score by Thomas Newman)
The Martian (2015 - Score by Harry Gregson-Williams)
Main Connotations
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Loneliness
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Emptiness
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Desperation
Main Connotations
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Seclusion
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Energetic
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Anticipation
Passengers (2016 – Score by Thomas Newman)
Passengers composer Thomas Newman presents a quite interesting and unique musical opinion in this small video segment which describes the protagonist’s loneliness. First of all, Newman’s approach is highly melodic and minimal; he uses four individual elements in order to achieve this emptiness but without being atonally mysterious since the film’s connotations connect firmly with the importance of human feelings and interaction. These musical elements are a synthesised background pad, the grand piano, a solo woodwind, and symphonic strings.
The synthetic pad creates a permanent background texture by using a fifth interval in which the piano develops its minimal chord progression motifs choosing, together with its conversation with the woodwind, the moments where the emotion is leaning towards happiness and amazement (major chords/scale) and on the other hand towards sorrow and loneliness. It has the feeling of the untranslatable word 'charmolypi' which is a strong human feeling that simultaneously includes both joy and sorrow.
The symphonic strings are entering the score with big chords whenever necessary to reinforce the importance, and usually the grandeur feeling, of the picture. This can be seen at 01:51”, 02:25” where in both cases the camera’s perspective moves further away from the character showing him floating in the empty, vast, surrounding space.
Nevertheless, what makes this scene’s music quite unique, according to this research and until what has been investigated up to this point, is the use of the woodwind and its relationship with the piano. The score is believed to have a confident direction towards the use of Eastern scales and performances and this was found to be indeed a rare case among the science fiction genre.
From the very beginning of this video scene, we hear the idiosyncratic woodwind glissando performance, revoking an Eastern clarinet performance, while the piano sits in between Western harmony and Eastern influences by often using chord progressions like D major to Eb major. The last is a strong suggestion of the two first chords in Phrygian dominant scale (Hijaz mode).
Additionally and in relation to Eastern music influence, Newman is making an even stronger comment in his music at 02:14” where he introduces an ethnic flute, possibly the ney, to begin its own conversation together with the classic piano. What is also quite important in this decision is that the composer chooses to make this move in a highly dramatic and emotional scene where we see a close-up of the character in tears. Nevertheless, Newman chooses not to break his connection with 'charmolypi' and keeps his composition blending with Phrygian dominant and minor chords.
The Martian (2015 - Score by Harry Gregson-Williams)
In the film The Martian, one can observe a completely different scoring approach comparing to the previous ‘Passengers’ film. In this situation, the loneliness has been musically expressed with a combination of sound designed instruments together with a symphonic strings section.
It is a strongly and confidently hybrid cue in which synthetic instruments possess the role of rhythmic structure, making a solid connection between the music and the action-based atmosphere, while symphonic strings are there to enrich this loop-like synthetic background with harmonic context by their slow, simple legato notes performing in D minor.
One could say that in this way the composer seems to relate these two worlds, acoustic and sound designed, by connecting the symphonic orchestra to the character’s psychological state whilst making a bridge between synthesised sounds and advanced technology scenic environment.
There is a quite interesting podcast discussion with the composer itself deconstructing the film's score:
Chapter III: 'A Strange Rock'
Joutney to the far side of the sun (1969)
(Score by Barry Gray)
Main Connotations
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Anxiety
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Tension
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Agony
Journey to the Far Side of the Sun (1969 – Score by Barry Gray)
A similar scene considering the character’s flashback was found in the previously discussed British science fiction film Journey to the Far Side of the Sun. In this case, the composer, Barry Gray, is using a hybrid composition, the classic orchestra with synthesised instruments, leaning more into sound design and using it as his main tool for building both a mysterious and nervous atmosphere.
Important additions in his score, considering the use of the classical orchestra, are the high violins’ repeated trills articulation and the harp glissando which is synonymous in many genres, especially of its time period, with dizziness, vertigo, flashback et. cetera.
Voyage to the Prehistoric Planet
Chapter III: 'Prodigious discovery
Chapter V: 'The Search Continues'
Chapter VI: 'Peculiar Sounds'
Red Planet (2000)
(Score by Graeme Revell)
Moon (2009)
(Score by Clint Mansell)
The last days on Mars (2013) (Score by Max Richter)
Interstellar (2014)
(Score by Hans Zimmer)
Main Connotations
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Mystery
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Exploration
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Awe (Scenery grandeur)
Red Planet (2000 – Score by Graeme Revell)
Revell’s score in relation to the wandering of astronauts, which is in this particular situation on Mars, is using a minimal approach in his instrumentation of both synthesised and symphonic instruments. In most cases throughout the film, as well as in the video clip above, he presents a considerably empty and lean composition with strings and brass long notes usually performing in a simplistic motif.
This uncomplicatedness in music corresponds to Mars’ scenic environments, with vast red deserts and mountains, as well as acting as a tool for increasing the level of mystery in the current scene.
On the other hand, Revell is introducing a sound designed rhythmic arrangement commencing in 00:10” acting as a foundation for the rest of synthesised and acoustic instrumentation to develop. There is also a dominant key double note reinforcement, like a heartbeat, connoting to the viewer that something is not right.
Moon (2009 - Score by Clint Mansell)
In parallel motion with the above Red Planet example, Mansell follows the same overall principle in the largest amount of the film, with an abstract score with heavily processed sounds that keep transforming in the background in conjunction with the classical piano’s minimal phrases that add to the film’s dramatic character.
This is also where the two approaches of Mansell (Moon) and Revell (Red Planet) respond to the different films’ character altogether with the first one being a one-person sci-fi drama whereas the second one being an action-based adventure.
The Last Days on Mars (2013 - Score by Max Richter)
The Last Days on Mars video example does not seem to drift apart from the main scoring personality found in the two previous films. A hybrid score here is being presented with minimal harmonic development especially in view of the classical orchestra which is steadily performing in a static key.
There is also a stronger connection in scoring approach with the Red Planet, given the fact that they belong in the same sci-fi action-adventure genre, which is also noticeable by the synthesised sound arpeggiator which connotes a mysterious tone and creates an underscore hint of something going wrong.
Interstellar (2014 - Score by Hans Zimmer)
Overall the same in character was also the score in Interstellar score by Hans Zimmer. The wandering and discussion of human astronauts in the planet’s surface have been musically described in this case with a steady C major chord with the leitmotif of C major triad to C major diminished fifth and C major augmented fifth (Gb-G-G#) assigned to the violins and moving around in slow-paced variations.
Chapter VII: 'Waterfalls'
Mission to Mars (2000)
(Score by Ennio Morricone)
Planet of the Apes (1968)
(Score by Jerry Goldsmith)
John Carter (2012)
(Score by Michael Giacchino)
Gravity (2013)
(Score by Steven Price)
Interstellar (2014)
(Score by Hans Zimmer)
Alien Covenant (2017)
(Score by Jed Kurzel)
Main Connotations
-
Mystery
-
Exploration
-
Awe (Scenery grandeur)
Planet of the Apes (1968 - Score by Jerry Goldsmith)
In this small segment, Goldsmith retains his serialism scoring character and uses different articulation performances in order to connote the human character’s amazement of cataracts’ visual grandeur. As a result, we observe rich background brass chords progressions followed by high string legato motifs.
As always Goldsmith’s angle is far from being described as static, repetitive and uninteresting, a signature of the time period films’ music, but also a synonym of the composer’s scoring character.
Mission to Mars (2000 - Score by Ennio Morricone)
In this situation, Morricone remains faithful to his overall melodic scoring angle. The specific cue has a strong sentimental character without any hints of atonalism to perhaps connote the vast, empty, enigmatic planet. As a result, the scene’s grandeur does not suggest any danger or sense of mystery to the viewer.
The composer’s tendency towards romanticism gives the human astronaut characters a heroic/majestic dimension especially with the addition of the female choir that becomes quite apparent at about 00:22”.
John Carter (2012 - Score by Michael Giachinno)
In this example, Giachinno blends percussive rhythmic cues together with symphonic instruments painting a music picture with richer ethnic character and pace. Although a quite different situation compared to previous films in view of the plot and genre this film falls into, John Carter score continues in its glorifying music path and it is worth observing in this case scenario because of its musical diversity, always comparing with similar films’ scenes.
Nevertheless, ethnic elements are politely implemented without being overly vivid or Eastern-authentic which would perhaps break the sound monopoly of the symphonic orchestra.
Gravity (2013 - Score by Steven Price)
Interstellar (2014 - Score by Hans Zimmer)
These two films can be used together in this case as a combined example since both composers are tackling this issue with a quite common philosophy. Minimal is thought to be the most appropriate characterisation, with a propensity of leaving the picture talks for itself. Both composers are creating their scores from an obvious hybrid perspective with long sustained chords, not too harmonically profound, and minor/slow thematic progressions.
One of the few differences is perhaps the use of piano in Hans Zimmer’s Interstellar scene, charging the atmosphere with a bit more dramatic, empty, lonely personality.
Alien Covenant (2017 - Score by Jed Kurzel)
Additionally to the already discussed Alien Covenant, Jed Kurzel’s score has something different to offer in this case.
While his instrumentation consists of both sound design and the symphonic orchestra, one can observe a balance between the two and a sense of coexistence where these two musical aspects collaborate and talk to each other.
This makes its initial appearance from the very beginning of the scene where there is a connection between the frequency responses of a background synthesised pad and high pitched violins. This, in turn, results in a motif introduction by the cellos and contrabasses, continued with an answer of D major augmented fifth motif (Bb – A – F# - D) by the violins and violas. This choice of notes suggests a mysterious and at the same time ostentatious feeling that follows the scene’s world distant perspective.
Another proof of the composer’s continuous dialogue between sound design and classical orchestra is a few seconds later where he expands the strings' motif (00:23”) together with the implementation of a pulsating, synthesised repetitive pattern. As an overall statement, the score was found to be less repetitive and more imaginative in terms of music development and harmonic complexity.
Chapter IX: 'Realization of the Inevitable'
Red Planet (2000)
(Score by Graeme Revell)
Approaching the Unknown (2016)
(Score by Paul Damian Hogan)
Main Connotations
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Asphyxia
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Stress
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Desperation
Red Planet (2000 – Score by Graeme Revell)
In this example, Revell is building his score gradually as the scene progresses. In the beginning, the composer relies entirely upon the strings’ section. By finishing his first chords’ progression (00:34”) a music conversation initiates between the low contrabass and high pitched violins signifying the starting point of his building cue that connotes the tragedy and agony of astronauts’ running out of oxygen. More elements, especially designed sounds, are being added as the time runs out (01:20” - end).
Clearly, at this point, the composer is building his score by blocks, triggering elements collectively to create tension as the scene’s dramatic character rises.
What is also worth mentioning is that Revell is using stinger sounds, both synthesised and real, to achieve this result and this is mainly the fact with fast percussive/drum sounds.
Approaching the Unknown (2016 - Score by Paul Damian Hogan)
In a different situation and mostly describing the despair rather than the character’s agony, Paul Damian Hogan chooses to score with a palette of long, expanding, harmonic orchestral chords. The music that corresponds to the character running out of time is not so immediate and attacking as in the previous Red Planet example but so is the visual since his death is not a matter of a few seconds.
Also, the dialogue’s nature, the character’s voice sound, and the unenergetic and dramatic visual suggest something calm and tragic that relates to the self-realisation of his condition. As a result, a smoother, quieter in terms of dynamics and pace, score character is thought to be more appropriate and justified.
7. Summary
The overall procedure and final results in this first science fiction chapter were found valuable in view of presenting original experimentation with Eastern instruments and their potential practice in situations that are far out of their typical use, especially in film music. Sound design together with Eastern ethnic structures, such as scales/modes, instruments’ performances and assembled harmonies, was indeed a combination not recognizable in other science fiction films reviewed. This was the rationale behind the reverse supplementary research, meaning after the scores had been realised.
The audiovisual connection between the highly processed sounds seemed to work successfully, as positively and somewhat unexpectedly the initial sounds’ processing results were found to be. In that respect, and especially in the first version of the film The Phantom Planet, the score has an idiosyncratic abstract character which contributes greatly in describing principally the emptiness/massiveness of space.
Furthermore, the combination between the latter and the implementation of more upfront, less manipulated, Eastern instruments, gave the score a distinctive ethnic character but keeping the balance between the vivid ethnic colouration and the more synthetic composition. Especially in parts such as chapter III: ‘A strange rock’ , there is significant attempt to blend the unique sounding physiognomies of the unaltered implemented ethnic instruments, an example being the use of a low-pitch didgeridoo, together with the granular synthetic process in a way that the end mixture is almost indistinguishable between the two.
In the case of the Voyage to the Prehistoric Planet, the visuals dictated a small divergence in the overall scoring perspective. The music in this case has an even more harmonic personality, when compared to The Phantom Planet, due to the fact that the surrounding environment is more complex and contains significantly more life forms. In other words, in Voyage to the Prehistoric Planet one is being presented with an alien location with continuous visual motion consisted of a variety of plants, underground smokes, polymorphic surrounding sceneries and dinosaurian creatures, in comparison with the emptier, ‘colder’ comet scenic environment of The Phantom Planet.
What is also imperative is the variance in view of the aliens’ morphology. This is a feature that has greatly influenced the scoring procedure. Firstly, and in association with the above, one of the main differences between the two films is the overall motion speed, which relates directly to the alien forms. The Phantom Planet has an ominously slow and static character while on the other hand Voyage to the Prehistoric Planet has a more energetic and fast, action-like, personality. This translates to the score accordingly; on the one hand, in The Phantom Planet, the motifs are quite long in development and slow in tempo. This together with the overall synthetic textural background creates an appropriate atmosphere of the scenes to evolve. On the other hand, in Voyage to the Prehistoric Planet, there is a profound implementation of rhythmic structures and faster moving motifs that imprint and impersonate the visual pace.
The previous audiovisual connections raised the question on how composers deal with different alien morphologies and how much do the visual dictates the path which a composer is following in view of his/her applied techniques and aesthetic methodologies. This, as well as the important audio-visual link with the directly presented, or implied, scenic environment was a new aspect which formed as a question out of this and the previous chapters combined. Therefore, alien forms exploration was thought as a natural continuation of this research, therefore valid and beneficial, always in combination with the initial Eastern-ethnic perspective.