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Part II: Science Fiction

 A. Preliminary Research

Contents

1. Introduction

1. Introduction

Science fiction is a film category which has always been intriguing due to the diversity of plots and the open-minded, imaginative variety of life forms and locations. Although quite different in their actual form, Intolerance, as well as all films belonging to the silent film era, shares a basic principle with the science fiction genre which is the privilege of increased autonomy in terms of scoring procedures and stylistic approaches.

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In other words, it is thought that a composer, from a purely artistic point of view and by taking out of the equation the pragmatic boundaries of producing a Hollywood film’s score, has a wider field of choices and liberties leaving him or her with an increased sense of space for exploring and experimenting with sounds and harmonies. This is a fact that can be viewed, and will be demonstrated in this chapter, by taking a step back and observing the history of science fiction films and the scoring techniques that have been formed and used throughout time.

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In that respect ,then, one could assume that films that relate, or infer relation, to imaginary exotic places and/or ancient civilizations would perhaps include ethnic music elements and aesthetic methodologies that move away from the conventional sound of Western harmonies and instrumentations. Even more so, if a film is literally portraying a place or culture that indeed existed in the past or has connections with ancient human history.

2. Rationale

2. Rationale

Consequently, this part of the research initially examined the above hypothesis by observing and presenting the outcomes in a number of related science fiction films. The initial criterion considering the choice of investigated films was based on chronology. The rationale was to examine a wide variety of science fiction films, starting from the silent film era through the present day, in order to observe, discuss, compare and evaluate the outcomes, always in conjunction with the initial Middle Eastern music angle. In this way, and by examining the evolution of film music through time, there could be a greater appreciation of music styles, scoring tactics and artistic implementations that film composers are using in their scores.

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Moreover,  the end results were also of significant importance based on the effect they had on shaping the practical scoring procedure, since all the collected composing information as well as the proof of the subject’s problematic nature, meaning the lack of Eastern oriented music idioms to a certain extent, created the amalgam of inspiration and knowledge for realising the music.

 

Following the same procedural technique as the one followed in the previous Intolerance project, it then moved into conducting music experiments that relate to the original angle of Eastern music idiosyncrasies and created original scores for specific films’ segments. This was a method of testing the results of the preliminary assembled information together with the findings that have direct connections to the main issue of Eastern music implementation and originality.

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Finally, by gathering the initial research material together with the creative work’s results, it reached the final discussion in order to establish the legitimacy of the results, and proposed solutions, together with the overall evaluation of the initial hypothesis.

Initial_Flowchart.jpg

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The primary research methodology and overall perspective of this chapter can be demonstrated in the flowchart below:

Preliminary Compositional Survey

3. Preliminary composition survey: Part I

Out of the large selection of movies that had been carefully watched over the period of this chapter of the research, there was a final number of nineteen chosen in order to be initially presented and analysed. The titles of the films, in chronological order, followed by some basic information and trailers can be found below:

Trip to the Moon (Le Voyage dans la Loon) - 1902
Score by Air (2012) & Jeff Mills (2017)

A_Trip_to_the_Moon.jpg

Film Trailer

The Lost World - 1925
Score by Robert Israel (2000) & The Alloy Orchestra (2001)

The_Lost_World.jpg

Film Trailer

Metropolis - 1927
Score by Gottfried Huppertz

Metropolis.jpg

Film Trailer

The Day the Earth Stood Still - 1951
Score by Bernand Hermann

The_day_the_earth_stood_still.jpg

Film Trailer

Forbidden Plannet - 1956
Score by Louis and Bebe Barron

Forbidden_planet.jpg

Film Trailer

Planet of the Apes - 1968
Score by Jerry Goldsmith

Planet of the Apes.jpg

Film Trailer

Journey to the Far Side of the Sun - 1969
Score by Barry Gray

Journey_to_the_far_side.jpg

Film Trailer

Fantastic Planet (La Planete Savvage) - 1973
Score by Alain Goraguer

Fantastic Planet.jpg

Film Trailer

Alien - 1979
Score by Jerry Goldsmith

Alien 1979.jpg

Film Trailer

Blade Runner - 1982
Score by Vangelis Papathanasiou

Blade Runner.jpg

Film Trailer

Dune - 1984
Score by Toto (Prophecy Theme by Brian Eno)

Dune.jpg

Film Trailer

The Fifth Element - 1997
Score by Éric Serra

The 5th Element.jpg

Film Trailer

Alien vs Predator - 2004
Score by Harald Kloser

Alien_vs_Predator.jpg

Film Trailer

Avatar - 2009
Score by James Horner

Avatar.jpg

Film Trailer

Moon - 2009
Score by Clint Mansell

Moon.jpg

Film Trailer

John Carter - 2012
Score by Michael Giacchino

John Carter.jpg

Film Trailer

Gravity - 2013
Score by Steven Price

Gravity.jpg

Film Trailer

Interstellar - 2014
Score by Hans Zimmer

Interstellar.jpg

Film Trailer

Alien Covenant - 2017
Score by Jed Kurzel

Alien Covenant.jpg

Film Trailer

After observing these films and paying specific attention in view of the scoring structure and semiotic functions, certain key elements were detected and noted so they could form a primitive overall picture of the scores. As a result, tables of main characteristics were created as demonstrated below:   

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An interesting observation coming from these films’ primitive analysis was the immense spectrum of music variety in view of the score. Starting from the silent era which had, as expected, a distinctive colour of earlier classical music composers’ approach, film scoring has developed a greater sense of experimentation starting from the early days of audio implementation in films. One can also observe a strong association between instrumentation and technological progress which played a crucial role in the formation of film music as we know it today.

This of course contributed a great deal to the way a composer thinks about composing a film, in a greater sense, and gave new perspectives on music evolution in general. It is an aspect that will be closely taken into consideration and analysed further on in this chapter by taking a closer look at specific films and examples.

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Another important overall assumption relates to the absence of Eastern-flavour music elements, although there seems to be some experimentation taken place in several films’ examples that needed to be further investigated. This lack of ethnic colour and symbolism is missing even in films that have either a very direct visual representation or a strong resemblance of Eastern-oriented geographic locations. The overall taste that remained after this initial analytical process was also lacking in terms of ethnic instrumentation and in some parts immersion. The scores that were found to tackle this issue, either in view of added ethnic instruments or Eastern flavours, could be characterised as superficial, habitually covered under the cloak of a grand, polyphonic classic orchestra.

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At this point, it is worth mentioning that the last statement is not evaluating a film’s score in terms of musical appeal and objective successfulness. This is a quite diverse subject that belongs perhaps in the wider context of film music popularity and human psychology. Nonetheless, emotion in film music is an aspect of great importance and will be discussed within the margins of this research’s Middle Eastern music angle.

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As a result of the above, there was a greater need created in view of digging deeper into the music processes of the films’ scores. Out of the previous nineteen demonstrated films, a total amount of sixteen was finally chosen to be analysed and discussed to a greater extent.

Preliminary Composition Survey: Part II

4. Preliminary composition survey: Part II

This chapter will demonstrate the music research that took place in a variety of science fiction films. These films are:

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  1. The Day the Earth Stood Still (1951)

  2. Forbidden Planet (1956)

  3. Planet of the Apes (1968)

  4. Fantastic Planet (1973)

  5. Alien (1979)

  6. Blade Runner (1982)

  7. Dune (1984)

  8. The Fifth Element (1997)

  9. Alien vs. Predator (2004)

  10. Avatar (2009)

  11. Moon (2009)

  12. John Carter (2012)

  13. Gravity (2013)

  14. Interstellar (2014)

  15. Alien Covenant (2017)

  16. Black Panther (2018)

  17. Tenet (2020)

The Day the Earth stood still (1951) - Anchor

The Day the Earth Stood Still (1951 – Score by Bernard Herrmann)

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The film’s score has a quite distinctive colour that fits the overall cinematic experience of the 1950s era. This early Hollywood style includes features such as excessively usage of vibrato strings, more than often in divisi mode, the melodic character of most themes and leitmotifs, the dissonance in order to add mystery to the context as well as the use of low brass usually for emphasising the dramatic and/or adventurous scenes. The former one in this situation has been a keen scoring characteristic that can be demonstrated below:

What is also important to mention is the use of two Theremin instruments. The Theremin is a rather renowned electric instrument, especially used in the time period of the specific film, which has been used countless times musically addressing the unknown and/or the otherness. Two examples of this aspect can be found in the following clips:

The Theremin can indeed create a mysterious atmospheric background due to its sounding nature. This creative technological achievement can indeed provide the listener with a rather unique musical experience due to Its warm and limited frequency response, especially considering the high frequencies, as well as its distinguishing vibrating, sustained sound and legato performance. In her talk considering Herrmann’s usage of the Theremin in The Day the Earth Stood Still, Leydon (2009) states that ‘Herrmann’s music had made the instrument’s own limitations work in its favour, exacerbating its more freakish qualities through ensemble combinations with other electronic and acoustic resources to best serve the particular narrative goals of the film’ (p.39).

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It is worth noting that the Theremin has been used in an opposite direction as a humorous, satirical instrument having a protagonistic role in newer films such as Tim Burton’s Mars Attacks! (1996). Below one can listen to the characteristic, memorable opening titles' theme:

Mars Attack - Theremin Example

Furthermore, it is worth noting that Herrmann is mainly treating mysterious as well as emotional scenes with the use of either the Theremin, as mentioned before, or wind instruments in combination with mid-high pitched symphonic brass usually composed without much of a melodic context.  This approach, especially the use of wind instruments, has been found to be similar in many ways considering science fiction films of different time periods. A distinctive example of this can be found in the, almost thirty years later on, score of Star Wars IV: A New Hope by the composer John Williams:

Lastly, two interesting observations were found to be quite stimulating in view of the score’s character.  The first one is that the overall score written for the film seems to be quite limited in terms of length. Comparing and contrasting with other films of the same time period, one can observe a certain breath that the film has without being overly composed in each and every moment. This can be also parallelised by the amount of total music written in other categories of films of the same time period. These films usually fall into a different group, such as mystery or adventure, but share common aspects in music scoring with the science fiction genre.

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The second observation concerns the actual connection between the moving picture and the score. The music quite often works literally in parallel with the film following closely the context and pace of a given scene. This can be observed in the following example:

Forbidden planet (1956) - Link / Anchor

Forbidden Planet (1956 – Score by Louis and Bebe Barron)

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Forbidden Planet is a 1950s film that has made its way to the hall of fame considering the science fiction genre and especially in terms of film scoring. Louis and Bebe Barron have created an inspiring, innovative electronic score that differentiates itself from any other film of its time. It is considered to be the first film score that has been created entirely by using electronic sounds.

In his exploration considering the revolutionary films of the science fiction genre, Lambie (2009) characteristically states that ‘there was much that was groundbreaking about Forbidden Planet, but nothing quite as daring as the extraordinary score: created by Bebe and Louis Barron, a married couple who pushed the boundaries of experimental music, it was the cinema’s first entirely electronic soundtrack’ (p.56).

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Below there are two video clips demonstrating this approach:

As one can observe the score predominantly consists of electronically designed sounds without any obvious attempt for harmonic structure development. Exemptions that prove the rule can be observed in certain scenes where there is some increased use of pitch variation in the created sounds. One example can be found in the following scene:

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The film has certain moments in which the score becomes distinctively repetitive. This occurs mainly during the more mysterious scenes and more specifically just before the action takes place. This can be demonstrated in the following examples: 

In conclusion and due to the absence of pitch patterns and physical instruments, there is no sign of intention in using ethnic music elements in the score. 

Planet of the Apes (1968 – Score by Jerry Goldsmith)

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Jerry Goldsmith, one of the most recognizable composers in the history of Hollywood cinema, in this example, scores the film Planet of the Apes in a rather unique way. The composer chooses to make a music statement, moving away from the diatonic and chromatic approaches which used to be the norm in the Hollywood cinema of the 50s-60s, by choosing to use the twelve-note serialism system as his main scoring tool and stays faithful to this approach in the entire film.

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Serialism gives the score a distinctive experimental, imaginative, and enigmatic character which is also reinforced by sound design in certain scenes. It is thought to be a bold decision, as serialism in the science fiction genre as well as in the majority of Hollywood productions is indeed very rare, at least in the all-embracing amount which Goldsmith outstandingly uses it in the film.

 

As McGuinney states ‘the music from Planet of the Apes may seem noteworthy today only for its uniqueness and the breadth of imagination that it shows’ (p.227).

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The hybrid direction of the symphonic orchestra together with synthesised sounds and use of audio effects to impart instruments’ character makes itself apparent from the very beginning scenes of the film:

The strong sense of serialism disagreeing intervals is often used within fast-moving scenes where the score’s tempo is deliberately increased. An example can be observed in the following scene:

Another feature of the score is the frequent use of strings performing in divisi mode, an aspect that has been also noticed in the earlier days of American science fiction cinema. This, in conjunction with short length percussion hits and the pronounced use of the twelve-note system in the lower keys of the piano, establishes the composer’s eccentric approach in building various thematic motifs throughout the film.

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A characteristic example of this approach can be demonstrated in the following scene:

As a small parenthesis, piano low notes’ motifs, though not typically scored in a twelve-note system, is indeed an instrumentation feature that was found useful to film composers although not particularly apparent in the science fiction genre.

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An example can be found in Alan Silvestri's score for the original Predator film.

In this case, the composer is using a distinctive low piano repeated motif to build his main theme:

In summary, one might state that Goldsmith is using the twelve-note system as his way of expressing the exotic, the unknown, and was indeed found to be a rather intriguing approach. The film’s potential could suggest and support a well-suited range of ethnic instruments, due to the fact that it combines the unknown with primitivism, though there is no evident use of that in ‘Planet of the Apes’ instrumentation.

 

Nevertheless, the sense of primitivism does exist through the intriguing use of acoustic dodecaphony. As Fitzgerald & Hayward (2013) state "the use of acoustic, rather than electronic, sounds also complements the primitive nature of the ape society as portrayed in the movie" (p. 37).

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Goldsmith’s stimulating score for The planet of the apes has been discussed and analysed in great depth by a number of academics and musicians of the field. One of the latest, and fully accessible, studies in view of the composer’s approach can be found in Vincent Gassi’s thesis:

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Fantastic Planet – La Planete Sauvage (1973 – Score by Alain Goraguer)

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Inspired from a novel by Stefan Wul, Fantastic Planet was found to have a quite controversial approach to film’s scoring based on the previous experience of film analysis. Though not belonging in the Hollywood industry, the film was found to be quite thought-provoking, artistically inspiring and undoubtedly worth exploring due to its unique nature. In his review of the film’s creative angle, Barsanti (2009) comments that ‘the film has a haunting, alien quality that makes it stand out even today; there’s little dialogue, and the backgrounds and character designs are delicate with a dreamlike strangeness’ (p.132).

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Though the film’s score was not found to contain a great amount of experimentation, if none at all for that matter, its rather exclusively popular character was a rather unique feature in relation to the film’s subject and utterly the science fiction category which it falls into.  

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As with the film The Fifth Element which will be presented and discussed later on, Fantastic Planet has a distinctive popular character which is closely following compositional patterns portraying a distinctive sound of the 1970s era. Thus, the score contains a number of different song-like themes together with band background music performances that consists of popular 1970s instrumentation, with an overall dry mixing perspective, including the acoustic drums, harpsichord, electric pianos, electric guitars saxophone, mellotron et al.

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Likewise, a shared similarity between Fantastic Planet and The Fifth Element, as will again be demonstrated further on, is that a number of different musical genres coexist occurring in different scenes throughout the film. A few examples of the scoring approach can be found in the following examples:

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Alien (1979) Link/Anchor

Alien (1979 – Score by Jerry Goldsmith)

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Goldsmith, once again, manages to create a rather unique score in the film Alien by using hybrid instrumentation combining sound design with the symphonic orchestra. It is a harmonically complicated score containing a number of different textures and techniques that contribute a great deal to making the score memorable in its own sense. In his discussion considering the composer, Jerry Goldsmith, Dearborn (2013) points out that ‘The music is again sparse, and the interplay between score and sound effects is carefully and effectively considered’ (p.25).

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Starting with memorability, the sense of repetition exists inside the score by using a distinctive motif in several scenes. It is worth noting that this motif is performed by several different symphonic instruments such as clarinets, oboes, strings et. al. Below there are a few moments presented where this can be observed: 

In the last clip (Clip 4) one can additionally notice the composer’s tendency to dress and alter the main theme with a quite rich chromatic orchestration. In this case, the motif has been performed by the French horns while the rest of the instruments (strings, woodwinds, percussion) are performing in dynamic articulations (woodwinds runs, strings tremolo, marcato, sforzando) in order to musically express the alien’s attack scene.

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What is worth noting at this point is the connection that was detected between this music approach and the one that was found in a previous example of the film Planet of the Apes, scored by the same composer. â€‹Although these two scores belong in different sci-fi genres with diverse overall scoring approaches, the above appears to be one of the many characteristics of how Goldsmith is thinking and realising an action and/or mysterious scene. 

 

Goldsmith achieves writing a large amount of score using combinations between classical orchestra and sound design. There is a clear direction towards this approach and a sense of experimentation of the sounds created for that exact purpose. This is also a shared similarity of the composer which was previously noted in the film Planet of the Apes.

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Nevertheless, the music manages to have a darker character rather than an emphatic one, something that should be taken into account in terms of originality. There are times in which the score tries to paint a more abstract picture with bold, anarchy strikes resulting in a dark canvas of mixed colours. This also becomes apparent from the very beginning introduction of the film. A few examples of this observation can be seen in the following clips:               

There is also a quite interesting point taking place in the last clip (Clip 7) in which the score uses algorithmic effects, such as reverbs and delays, in order to transform the sounds. This technique in conjunction with the absence of an overly busy composed and mixed soundscape creates a certain mysterious and almost horrifying mood that is used to indicate the otherness. It also serves a double purpose by describing the technology of the time and place in the future where the film is set.

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Last but not least two important findings must be noted. The first is that there was no profound use of Eastern-related implementation observed either in terms of music composition or instrumentation. Secondly, it is worth mentioning that the overall scoring length seems to be rather small. Perhaps this is more related to the director and the balance that he might want to achieve in terms of acting, scenic environment and scoring. This is an aspect previously viewed during the discussion of Bernard Herrmann’s score in The Day the Earth Stood Still.

Blade Runner

Blade Runner (1982 – Score by Vangelis Papathanasiou)

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Blade Runner has been chosen for the reason that it is considered to be one of the most inspired science fiction films in the history of Hollywood cinema. More specifically, this is also true for the music by Vangelis Papathanasiou since it is one of the few scores of this genre which has been composed almost exclusively with synthetic sounds available at its time.

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It is imperative to mention that this scoring choice reflects the technological metamorphosis of the 1980s. It is a decade that is closely connected with the rise of the production of personal computers and micro-computers, a fact which is also reflected in the music industry. There is a huge step towards electronic music since electronic instruments could now be accessible to the average user, which began sculpting new ideas and formations in view of all the audiovisual media of that time.

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Also, and in reflection to the Blade Runner movie, the new visual technical capabilities (effects, mixing process and post-production in general) are following parallel paths with the music produced creating a fresh artistic breath to the genre. In essence, the scenes are closely and efficaciously connected with the music which is indeed reflecting the technological breakthrough of the current time period.

 

In terms of music composition, the score provides the viewer with rich polyphonic chords especially in scenes that are set in the outside world. These chords are most of the time melodic, an aspect that sets the score away from the dissonance observed in several other science fiction films of the previous three decades. Maybe this also has to do with the very nature of synthetic sounds of the current time period.

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As a parenthesis in view of the Blade Runner film and explaining the previous statement with more detail by comparing it with the classical orchestra, a personal opinion is that due to the fact that a symphonic orchestra can provide a significantly large multitimbral frequency response with extraordinary dynamic range, manipulating and combining different synthetic sounds results in a denser and fuller sound that comes closer in mimicking the classic orchestra. It seems almost like a philosophical statement that this is the sound of the future symphonic orchestra; a dystopian, technologically advanced and at the same time disappointingly melancholic future.

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It is also a fact that electronic sounds of the past have been used either in conjunction with the classical orchestra, for example, the previously demonstrated famous Theremin, or as an exclusive scoring feature but with the intention of blurring the lines between music and sound effects with no intent in the creation of a score with rich harmonic content, e.g. the previous discussed Forbidden Planet (1956).

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Thus, in that respect we can observe that the score frequently uses major chords descending in semitone progression together with long slow tempo arrangements developing gradually by adding extra doubling instruments’ layers. The score’s semitone progression in addition to the stereo field and time-pitch manipulating audio effects, e.g chorus, flanger, delays, creates a sense of dizziness which accompanies the camera’s angle and rotation. This can be demonstrated in the following scene:

Another reason that it is thought to be relevant to the overall melodic score’s character is the thematic unity of the film’s plot iself. There is no strong sense of the otherness at least in the view of an alien form which humanity has to confront. Nor there seems to be a far-away atmosphere of the unknown and chaotic space. On the contrary, the film has a futuristic anthropocentric meaning. Therefore, emotional evocation reflects the human perspective and this translates into music written in a more ‘understandable’, melodic form.

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In the matter of music exoticism, the score has indeed numerous moments with direct references to ethnic sounds and cultures. This is taking place in several different scenes inside the film and has been treated musically with extraordinary stylistic variety. Stiller (1997) in this discussion given the film’s score states that ‘Vangelis created for Blade Runner a score that closely parallels the visual dramatic elements of the film, and that encompasses a variety of different styles suitable to the varied milieu of the movie’s action’ (p196).

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The use of Eastern-colour scales is apparent in many cases as well as the use of Eastern vocals and percussion instruments. What is also quite interesting is the use of improvisation in a few scoring moments. Though common in global ethnic music, the use of improvisation does not seem to appear quite often in the cinematic world, even in cases where ethnic music influence is apparent both in terms of harmonic progression and instrumentation. This can be demonstrated by the following synthetic instruments’ performance in C minor Naw’ Athar mode (also known as Neweser/Navient-Kambir).The sound character shares similarities with the ones found in Eastern ethnic woodwinds such as zournas, duduk etc.

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Near the previous video clip’s end, one can observe the introduction of a female Eastern vocal motif performing in a variation of C major Hijaz mode (Phrygian dominant). The variation concentrates in the mode’s sixth interval, in this case A flat. This is a quite common technique, especially in Middle Eastern improvisation, in Hijaz and Hijaskar mode as ethnic instruments’ performances usually increase the sixth interval by one semitone while ascending, using the original mode’s form while descending.

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It is also apparent in Eastern music tradition in the microtonal performances of fretless instruments, the oud being one example, where the sixth interval, using the C major Hijaz mode as an example, is in between an A and A flat. This has been further discussed and presented with examples previously in the research; it was a technique used in my initial scoring attempt for Intolerance Clip 2 where the santur forms a bridge by performing a motif between these modal variations.

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The vocal motif becomes clearer a few moments later by increasing its volume and decreasing the added reverb in the mix. Below is the extracted film’s clip in addition to an original santur recording demonstrating the scale's variation:  

Santur_Improvisation(Blade_Runner)
00:00 / 00:26

The score also consists of an Eastern oriented male vocal motif which can be found in the next video clip. In this case the instrumentation follows a repeated rhythmic pattern and the harmonic content, assigned to a synthetic woodwind mentioned earlier, moves again around the previously mentioned Naw’ Athar mode. The vocal, which also performs in a Naw’ Athar mode, becomes mostly apparent during 00:55”-1:10”, right after the dialogue stops and about twenty seconds after the actor’s line ‘Do you ever buy snakes from the Egyptian café?’

Another quite significant moment in the film considering Eastern instrumentation comes with the addition of a tabla percussion instrument, dominantly building the rhythmic mode laying the foundation for synthetic strings and solo flute to perform in an Eastern oriented music style.    

Dune Link/Anchor

Dune (1984 – Score by Toto / Prophecy theme by Brian Eno)

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The score in the film Dune has a quite different and interesting approach. Although it is a film that has been discussed and criticized a great deal over the years, it is thought to be worthy of investigation due to its idiosyncratic nature in terms of music. Colourfully, in their discussion in view of Dune’s scoring approach Odell and Le Blanc state (2007) that ‘while the main theme by the variable genius Brian Eno is perfectly acceptable, all credibility vanished whenever Toto’s painfully pompous bombastic prog-rock drivel crashes it. It manages simultaneously to cheapen and date the film, with quite breathtaking ease (p.46)   

 

The film’s score makes a dramatic entrance with the introduction of the main theme:

As it has been observed this main thematic process, as well as its variations including a frequent cut-down version of the first two bars, has been repetitively used in a number of scenes throughout the film. Most of the time it is used in the opening of new scenes as presented in these examples:

At most times the score has a rich orchestral character emphasizing the picture on dramatic scenes, as it is demonstrated below:

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In addition, the symphonic choir is used frequently in order to add a layer of drama on top of the already rich instrumentation.

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What is also distinctive, and concerning the above, is the speed at which the score is developing. Despite the fact that Toto use a full orchestra to musically dress the vast majority of the film, there are a number of busy and fast-moving action scenes in which the score does not follow the pace of the picture. On the contrary, the score repeats its main theme in minor variations mainly in view of the instrumentation. This can be observed in the following example:

 

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Another point worth mentioning is the use of sound design in combination with the symphonic orchestra. Even this is a common aspect, as demonstrated in previous examples, in this case, what is interesting is the moments were the score is consisted entirely of synthetic instruments. A characteristic example is shown below:

Last but not least, there is no obvious use of Eastern-related scales or instrumentation even though there are many moments in the film in which the score could have the potential to introduce something different in terms of originality, Eastern colouration, et. cetera. A characteristic example of this would be the possibility to implement ethnic elements in a number of different desert scenes. Similar cases, although in different film genres (drama/history, war), and discussion on the composers' approach has been previously identified and discussed in the films Lawrence of Arabia (1962), The Ten Commandments (1956)' and 300 (2006). Middle Eastern instrumentation and composition were not the dominant angles of the composers, although Maurice Jarre in his score in Lawerence of Arabia uses scales and modes, predominantly Hijaz (dominant Phrygian) and Hijaskar modes, that create an essence of Eastern music idioms. 

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One of the key aspects that make the score memorable, besides the repeated main theme that has been mentioned before, is the use of distorted guitars as a signature sound of the Toto rock band:

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The fifth element Link/Anchor

The Fifth Element (1997 – Score by Eric Serra)

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The Fifth Element score is an important paradigm of innovation and experimentation that differentiates itself from the rest of the films chosen. The soundtrack has always been a controversial subject, profoundly critiqued and in some cases described with characterizations such as ‘postmodernism failure’ and ‘decedent fashion show without human content’ (Schubart, 2005, p. 74). Nevertheless, its ethnic diversity and multicolour music amalgam was found to be rather intriguing and useful, or as Hayward states ‘intrinsically musical’ (2009, p. 91) offering an aesthetically innovative experience. A film which certainly worth exploring, especially in view of the music and how it is connected with the vivid, unusual picture.

 

Sierra is essentially combining a number of different music genres and techniques in order to provide the viewer with a polytimbral and multicultural experience. It is rather unique in terms of emotional direction as it manages to create a cartoonish character which eventually communicates with the film's overall imaginative and humorous character. In addition to the comic scenes and script, the score functions accompanying the visuals' vivid colours and diversity.

 

 

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The score also excels in providing a wide variety of rhythmic textures. Its techno like style especially by using electronic percussion instruments reflects the artistic, low-fi, futuristic picture:

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The composer’s experimentation can be also observed in the quite famous operatic scene. Starting with a classical music orchestration with a female soprano as the only performing artist the music serves a double purpose by transforming into a more popular style by following a second action scene that has been taking place in parallel. During this fighting scene, the composer is blending popular elements, such as synthetic drums, resulting in a vivid dance-like score.

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This together with the ecstatic performance of the alien soprano contribute to presenting a futuristic blended genre of popular and classical music. Technology plays an important role at this point since the soprano’s voice has been sampled, computer-generated and performed in a mode that is almost impossible to achieve with an actual human vocal due to its fast tempo and wide range of notes.

 

An additional and quite noticeable aspect that can be observed is the frequent reference to song-like structure, particularly when composing ethnic oriented music styles. The sense of ethnic music character is strong, not only apparent in the harmony that the score uses, for example the use of Eastern music scales, but also in the use of the actual ethnic instruments that portray each genre. Hence, we do not observe, for example, a symphonic orchestra performing a score that uses Eastern-colour scales to bring out the exotic atmosphere but actually experiencing a more accurate picture of the genre itself.

 

As a first example of the above statement the next video demonstrates the use of ethnic style percussion and rhythmic texture in combination with Hijaskar mode variations, which is particularly distinctive in the clip’s beginning, performed by ethnic style violins and accordion:

 

The next video clip demonstrates the film’s multiple personality by presenting a different tactic in ethnic style implementation. Thus, this taxi chase scene contains an Eastern-oriented popular song structure with world music influences. We have the mixture of a Latin music piano motif, accordion, and diverse rhythmic combinations such as heavily processed drums and Eastern tumbek setting the ground for the main vocal performance of the Algerian musician/singer Khaled Hadj Ibrahim.

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It is also interesting that Khaled, as he is widely known as, is a worldwide acclaimed artist with a long history in world music amalgamations in composing and performing experiments involving especially Eastern traditions and Western music methodologies.  

 

This diverse orchestrated theme fits well to the highly energetic chase scene as well as to the overall easy-going, undramatic character of the entire film.   

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What is also quite interesting is the intriguing history behind the song’s genre called ‘Rai’ which was banned from countries such as Algeria until the 1980s and still remains a controversial music style in North Africa. As Al-Deen (2005) states:

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‘Rai has been regarded as the symbol of cynicism and has become as essential to the identity of the Algerians as the blues was to the Blacks in America’.   

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Below is a very interesting article by Louis Werner containing historical and musical information considering Rai Arab popular music:

Finally, an additional distinctive example of ethnic music implementation, a reggae style theme with no relation and coherence to the presented score up to this point, can be found in the following airplane scene in which the music literally translates to the presented Caribbean character:

 

Alien Vs Predator Link/Anchor

Alien Vs Predator (2004 – Score by Harald Kloser)

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In this film the composer, Harald Kloser distinctively uses the classic orchestra together with sound design. His scoring approach is creating a fuller and more impressive-sounding spectrum than the original Alien film as well as the newer Alien Covenant which is going to be discussed further on.

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The composer achieves this music style by relying more on the grandeur of a large symphonic orchestra set, frequently using brass flutter tonguing, strings bowing techniques and sound effects as tools for immersion. Moreover, it is worth mentioning that there is no apparent use of leitmotifs that could be connected with a specific character nor explicit motifs which could be used with the aim of giving the score a more distinctive memorability. 

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What is also interesting is the obvious rhythmic structure that characterises the film in many cases. This becomes apparent from the very beginning of the film in which Kloser uses a set of orchestral percussion in order to interpret an action scene of the alien predator chasing a human. This together with the overall use of percussion and drums can be demonstrated in the following examples:

 

Since it appears to be a quite common technique for composers to describe alien civilizations and the overall idea of ancient and primitive cultures with aspects that might directly or indirectly expose similarities with any kind of ethnic music aspects, this seems to not be the case with this film’s score.

Even though there are scenes that could directly imply the angle for writing such a score, or adding some musical elements in that respect, there is evidently no actual attempt to follow that route.

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These are two distinctive examples to demonstrate this view:

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As one can observe, discoveries of hieroglyphs and ancient buildings, such as the pyramids, have been musically described with rich cues that contribute to the dramatization of the selected scenes. Simultaneously though, it proves the absence of any ethnic element which might add a sense of authenticity, or even experimentation, to the score.   

 

Avatar (2009 – Score by James Horner)

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Avatar is an example of a film in which the score has multiple functions and covers a wide range of different approaches to different scenes. It is not overly adventurous in terms of originality and experimentation but it nevertheless manages to cover a lot of ground by putting the viewer in a certain musical-atmospheric scope when the script dictates it to. All of the above have been pragmatised by spinning around a certain core which is no other than a large symphonic orchestra. Therefore, the analogy of the film’s score is leaning towards more conventional instrumentation that falls into the Hollywood blockbuster category.

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In certain points there is a tendency of moving in small steps by using big orchestral chords and building the harmonic development mostly around the dynamics. This can be shown in the examples below:

 

Avatar Link/Anchor

What is also interesting is the scoring in heavy action scenes. Horner characteristically uses low drums and brass instruments to give that extra dramatic emphasis, a technique that has been repeatedly observed by different film composers and has been also discussed previously. In the specific film an example of this can be found in the following video:

Another aspect that characterises the Avatar film score is the repeated four-note motif Horner is using throughout the film. This is a quite memorable motif performed exclusively by the trumpet which contributes to magnifying the importance of dramatic scenes. This can be shown in a combination of scenes in the following example:

In view of ethnic music implementation, one could state that the score is well balanced by keeping its initial Western composing angle but also by adding certain aspects that contribute in proving an ethnic scoring orientation or at least the attempt to put the viewer into that mood. It is a fact that James Horner has created this score with the input of ethnomusicologist Wanda Bryant from the California Institute of Arts. A quite interesting article considering this cooperation can be found following the link below:

The most distinguishing example of the previous is the connection which Horner is trying to create between the Avatars and the native cultures and tribes that exist today in many areas of the planet. Since some of them are indeed sharing similarities considering the instruments that they use, and the overall aesthetic of their music, it, therefore, cannot be entirely determined from which exactly the composer might have been inspired.

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One might suggest that at some points the score carries elements and can be parallelized with certain tribes in Africa, observing the tendency to use rhythmic structures together with solo female vocal or small vocal choirs. At times Horner, usually noticeable in slow motion directed scenes, make use of the above observation to reinforce the dramatic atmosphere. A characteristic example can be found in the following video clip:

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The previous ethnic scoring angle is also reinforced by the visual since there are moments in which the alien tribe is holding hands singing and praying around their spiritual tree. At this point, it is worth pointing out that the music does not seem to achieve an ultimate degree of ethnic-oriented musical implementation since this might not be acceptable for the very nature of the film and also the audience that the film targets to address. In this angle of authenticity, critics and reviewers have been quite unconvinced by often expressing their scepticism. In his relevant discussion MacDonald (2004) states:

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‘Film music, which seeks to represent indigenous people, might need to explore anthropological and ethnomusicological literature for instances of how music is used by indigenous people, not just how it sounds… If Hames Horner had considered Pandora acoustemologically, Avatar’s soundscape might have been as captivating, imaginative, and immersive as its visual images’ (p.273).

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Some examples in terms of how the composer is approaching the alien natives can be found in the examples below: 

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There is also a reference to flute music when the scenes are set in the woods, which is the ritual centre of the alien Avatars. It is worth noting that the flute, and woodwinds in general, is a relevantly common feature when music is parallelized with the woods, trees, rivers etc. Also, rhythmic structure is quite evident, with usually a number of different smaller wooden percussion, as well as the strong character of themes with a song-structure resemblance.

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Examples of this kind of scoring approach can be shown below: 

Lastly, an interesting observation that is directly related to the score’s orchestration is the gradual build-up of ethnic implementation. Horner often uses a repeated motif as a centre thematic idea on which all the instrumentation is based on and eventually reaching its given climax.

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One of the scenes in which this can be observed is the one below:

Moon Discussion

Moon (2009 – Score by Clint Mansell)

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The score of the film Moon was found to be quite intriguing. The composer, Clint Mansell, has composed a rather unique soundtrack which differentiates a great deal considering the other science fiction films discussed previously. That is also true considering the film’s plot since this film has only one actor, which in the plot development plays two characters, and the overall aesthetic is quite dark and gloomy.

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The music comes to agree with the melancholy of the plot. The overall minimal character and emptiness of the sound spectrum emphasize the character’s depression, as well as the use of dissonant chords, which describes the relationship between him and his clone. In his discussion of Moon score, Johnston (2012) states:

‘In Moon, music and silence counterpoint Sam’s initial loneliness; the lack of silence and change in music once his clone appears matches the more dissonant tone of the character’s relationships’ (p.20).

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Following these minimalistic steps, which is rather to be expected, Mansell introduces the piano as his main colour in the palette of an otherwise rich polyphonic, hybrid score. This intention becomes apparent from the film’s beginning titles:

 

Though the use of electronic synthesis is of significant importance in the enrichment of the scenes’ technological aspect, the piano was found to play a key role as a core to the rest of the instrumentation which is evolving around it. In this way, the composer magnifies the tension in action scenes and also adds perspective to the characters’ sense of despair and nostalgia in emotional scenes. This can be demonstrated in the following examples:

 

Adding up to the previous, Mansell quite often makes use of the cello as a complementary instrument to the already introduced piano. This instrumentation movement emphasizes the film’s dramatic atmosphere as shown below:

 

Another aspect that was observed occurring repeatedly throughout the film is the performance of piano right-hand octaves making small semitone movements. This motif repetition is an alternative, more simplistic version, of the main theme which can be found in the film’s introduction as presented previously. This altered motif is demonstrated below:

 

The rhythmic structure is also present at certain moments in the film. Mansell is using synthetic drums and percussion for that purpose, providing an even tenser atmosphere, usually when the scenes are presenting the character in a mysterious, adventurous situation.

This can be shown below:

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Finally, there is an additional technique that the composer uses which was found to be rather intriguing and therefore worthy of discussing. Mansell scores a glockenspiel motif which is accompanied by the piano and a static background pad in scenes that are closely connected with the ready-made clones. It is a musical statement that indicates the raw realisation of the truth in the bigger context of newborn life and innocence. This is mixed cleverly with the synthetic pad in order to create a divergent picture between the last and the mysterious, and at some points tragic, progression of the narrative. Ultimately it serves well the overall depressive atmosphere.

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Musicwise this was found to be a rather inspiring approach, in view of what it translates and how it connects with the actual picture. It is a technique that can be commonly observed in modern mystery/horror films in diegetic and non-diegetic scenes where the innocence is projected with glockenspiel or music box sounds usually in children’s characters or objects, e.g. Dolls, clowns, music boxes et al. Some examples of this characteristic are demonstrated below:

 

John Carter Link/Anchor

John Carter (2012 – Score by Michael Giacchino)

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John Carter portraits a more conventional use of science fiction’s films scoring. It is following a more common Hollywood recipe in presenting the viewer with a sense of magnificence. The style remains the same throughout the film without major alternations and obvious repetitions of motifs. The first video clip is used as a first example of the overall scoring approach:

 

In order to contribute to the gloriousness of the picture, what was found to be quite pronounced is the use of brass instruments. A rather common scoring tactic in which low brass instruments enrich the score by adding the extra weight required for dramatic scenes while high pitched brass, mainly trumpets, with its staccato performances contributes to the increment of climax.

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One can observe this in the following example where brass plays a major role in describing the combat scene:

 

What is also worth mentioning is the similar scoring angle that has been taken in describing more sentimental scenes. In this situation, the strings play a central role in increasing emotional strength. Again, we can observe the big orchestration which has been used in the following:

 

In terms of scoring outside the Western symphonic orchestra, there are only very few moments that include some hints of ethnic scoring. This happens more frequently in rhythmic sessions but usually with minor length resulting in being more or less unnoticed. A characteristic example of this can be found in the following clip:

 

In view of ethnic instruments, there is no apparent attempt to include anything within the bigger context of the classical orchestra. In addition, there is no scene that contains any ethnic solo instrument that could be used for that reason.

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Similarly, in view of Eastern-influenced scales, the score contains just a few moments in the film in which there seems to be an attempt to generate more connected music to the visual. Yet again this seems to be fairly imperceptible because of the masking occurring by the large symphonic orchestra.   

 

'Gravity' Discussion

Gravity (2013 – Score by Steven Price)

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Gravity is another characteristic example of the current decade’s Hollywood approach to music for science fiction movies. It consists of hybrid instrumentation with both classic orchestra and sound design to have equally strong characters that coexist and evolve simultaneously. It is an overall minimalistic approach, in terms of harmonic development and chord progression, as it seems to recycle an idea followed by added layers in order to emphasize it. It feels like an instrumental crescendo beginning with something simplistic enough, for example, a two-note motif, which gradually gets magnified by both dynamics and extra instrument and/or sound layers. Representative examples of this observation can be found in the examples below:  

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An additional central aspect of the film’s score is the way the composer is actually using the instruments at his disposal. One can observe the close connection that exists between the on-screen movement and the music.

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In her discussion considering Gravity score and the thematic connections between this and the female astronaut character Walker (2015) states comments:

‘Along with being anchored in Stone’s voice, the soundtrack of Gravity is structured so that everything she feels is aurally reinforced. We feel the terror of her endangered life through the many closely miked sounds of her physical aloneness, especially her solitary breathing and her isolated voice’. (p.411)

 

As a consequence, instruments are quite often used in a more unconventional manner introducing performing techniques that create interesting sounding effect. Ultimately this palette of creative textures seems to work by increasing the viewer’s emotional state as it also shares sonic similarities with the computer designed sounds that are used in combination.

Another common characteristic that exists in the twenty-first-century science fiction’s scores, as well as in other genres such as adventure and action films, is the repetition of strings performing simple movement ostinatos. This is by far one of the most used techniques to accompany film music, especially during action scenes. The strings performance will typically embrace a two or three-note leitmotif which is going to be repeated several times as the overall dynamics rise.

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This can be observed in the following example:

Interstellar Discussion

Interstellar (2014 – Score by Hans Zimmer)

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Interstellar is yet another film in which one can observe the close scoring connection between the classical orchestra and sound design. The composer, Hans Zimmer, who is widely recognized for his frequent use of computer-generated sounds, produces, in this case, a score that has an overall minimalistic perspective.

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In the discussion considering the score’s conception Lawson and MacDonald (2018) state:

‘As well as Zimmer’s trademark ostinato and almost hypnotic, minimalist sounds, he also decided to include some more avant-garde moments. He asked the woodwinds players to make unusual noises on their instruments’ (p.130).

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 A first noted facet is that Zimmer is using very long notes in lengthy cues contributing in the minimal tonal character. What is also recognizable is the progression of the simplistic note cues that the score repeatedly uses. This occurs more frequently when the composer needs to introduce a new scene where he uses this movement as a core material for music for added layers to evolve around it.

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This aspect can be demonstrated in the examples below:

Zimmer is also using the same repetitive technique, most frequently with the use of a piano, in order to describe the sense of space emptiness and mood of loneliness in a character:

In addition, action scenes have been also found to be represented by music using the same repetitive pattern. Repetition is mostly observed by using minimal chord progressions in a relatively large amount of time.

Also, with the use of a pipe organ, perhaps synthetic, Zimmer is emphasizing the scenes by offering a sense of grandeur and drama due to the instrument’s rich harmonic nature. Interestingly, this instrument, or a similar type of organ sound at least, was also found to be used as a thematic foundation in Ennio Morricone’s score in Mission to Mars (2000).

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Examples of the above can be found in the following clips:

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As there seem to be no apparent motifs with a more straightforward memorable harmony, nor following classical orchestration or thematic enrichment in that respect, another aspect that seems to be apparent in the composer’s scoring palette is the use of rich chord’s crescendos.

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This becomes apparent in several scenes in the film including the one demonstrated here:

Last but not least it is worth mentioning that there is no obvious effort of describing the otherness or the unknown with the use of any ethnic-exotic instrumentation.

Alien Covenant (2017 – Score by Jed Kurzel) 

 

In the film Alien Covenant the composer Jed Kurzel is approaching the score in a characteristic minimal viewpoint. The score has a slow pace especially when the scene is set in space. In addition, the frequent use of dissonant chords and chord progression contributes to the overall sense of the unknown and the grandeur of outer space.

This is also a connection that was observed concerning the first Alien film (1979) that was discussed previously. An additional aspect contributing to this sense is the buildup moments of rich classical orchestration, frequently moving in major chords with augmented fifths that are more clearly distinguished on the strings. This type of approach can be illustrated in the clip below:

Alien Covenant Link/Anchor

In terms of minimalism, the composer is using the piano for creating leitmotifs that are closely connected with specific characters. In these situations, the piano has the main role performing short fundamental phrases with a melodic context in order to transfuse emphasis to the scene’s expressive state, and ultimately the viewer’s appeal to emotion.

 

An example of this observation can be demonstrated in the video scenes below:

Another scoring characteristic is the strong relationship between synthetic instruments and sounds together with the classical orchestra. This is recurrently noticed in scenes considering the alien species where there is an array of synthetic sounds including rhythmic loops and wide stereo background pads covering the soundstage. Additionally, this contributes to giving a more advanced technological sense to the overall atmosphere of the scenes reinforced by an assortment of sound effects.

 

Additionally, there is no apparent use of ethnic instruments or Eastern-related music scales or modes. Nevertheless, there is a specific moment in the film where a solo, handmade, flute is being used with the intention of describing a primitive communication attempt between the two androids. The specific choice of instrument performing a motif on a Dorian mode indicates the composer’s attempt to relate primitive life with ethnic music; an important point that has been noticed in other films as well.

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This is demonstrated in the video below:

                  Dorian Mode                        

Black Panther

Black Panther – (2018 Score by Ludwig Göransson)

 

Black Panther is a distinctive case of film scoring in a number of different ways. It has an overall multitimbral character but it is always built around ethnic African colour which has a strong presence throughout the film. The last statement is mostly apparent in the drum and percussion instruments the score is based on.

The rhythmic structure is very strong and is almost always moving between structures that are ethnologically emphatic in view of African music authenticity. A characteristic example is shown in the video below: 

What is also quite strong and frequently observed, as it is also apparent in the previous video example, is the use of ethnic tribal vocals which is also an aspect synonymous with the African continent. In the specific example, rhythmic structure is also a diegetic part of the narrative.

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In many cases, music styles and instrumentations blend according to the visual. This of course is taking place around the ethnic musical core, either in terms of orchestration or composition. The composer is using two methods to approach the score; classic orchestra and sound design. This can be demonstrated in the following video example which contains three different case scenarios inside the film:    

A substantial role in classical instrumentation plays the repeated and dominant use of brass instruments. Symphonic brass has the ability to emphasize the picture with its weighty and dramatic tone, most of the times performing in big chords or intervals of fourths or fifths as it is widely used in all genres in film music when describing kingdoms, armies, large civilizations etc. This is the case here as well, as it can be observed at 00:12"-00:30" and 01:05"-01:31".

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On the other hand, music transforms into a sound designed style in cases where the visual are set into a more advanced technological environment as seen at 00:32"-01:01".

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Considering the vocals, what is also interesting is the decision of implementing a solo male vocal improvisation and using it as a core for generating a thematic idea. This is predominantly apparent in the following scene:

There is also a rather informative video of the composer considering the authenticity of vocal section and the music score in general:

Additionally, there is a small segment in the film where the music differentiates and uses a popular song to accompany a car action scene. This also demonstrates the score’s and hence the composer’s versatility by blending ethnic parts such as percussion and drums, though heavily processed, in order to maintain the connection between different genres and between traditional and modern popular styles:

As a final notice, it is worth mentioning that despite the fact that the score carries indeed a quite strong African ethnic character and at the same time musically evolving in an attempt to complement the visual, there is a problematic point that needs to be addressed and this is the fact that the film is not based or includes any sense of the otherness. There are no alien entities whatsoever and the film is entirely located in the African continent.  

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Nonetheless, it was worth investigating as it was found to be a greatly inspiring effort of mixing different instrumentation techniques but keeping the central focus in view of locational music authenticity. This is one of the key areas that this score was found to aim for and one of the aspects that validates the connection with this research:

Tenet

Tenet (2020 – Score by Ludwig Göransson)

 

Tenet has a quite different scoring approach that relies purely on the use of sound design and heavily processed audio. The composer, Ludwig Göransson, presents a score that has a highly rhythmic and atonal character that seems to follow closely the scenes’ development.

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Examples of this are presented in the video clips below:

There is also an intentional recurrence of instruments and performances with only a minimal harmony present throughout the film. It is obvious that it is relying mostly on rhythmic structures and building blocks of synthetic instruments which combine together to form a continuous movement of dynamics and small pitch variations.

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Similarly with the above, the next video example follows the same principles only that this time a mixing sidechain compression technique has been used at about 1:07" which gives the music a highly dynamic rhythmic style. 

Audio reverse techniques have been also applied in an extensive proportion contributing in this way to the visual sense of manipulating time and space. This has also been reinforced by continuous pitch variation of synthetic sounds:

Last but not least, a very important aspect that was found to have a distinctive impact on the score’s overall character is the use of distortion. Distortion was found to be a tool used for creating a highly tense and nervy environment. This seems to be an overall aesthetic angle since it is not only apparent in the music score but also in the dialogues as well, often enough in brave proportions.

5. Discussion

5. Discussion

The initial assumption that composers in science fiction films do have the privilege of producing scores with a variety of different techniques and aesthetic angles is found to be true. There were several occasions where one can observe the above, with some of the most characteristic examples coming from the highly experimental electronic score in the Forbidden Planet and the diverse serialism in Planet of the Apes.

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These two films have been a great source of information in view of creating diverse composing angles and the next scoring chapter has certainly been inspired especially in view of the alien robot’s electronic sounds in the Forbidden Planet. Planet of the Apes has also provided a wider sound spectrum as to how visually earth-like empty scenery can be approached, especially under the prism of the unknown. This was rather useful and similar aesthetic angles have been personally used particularly in the following score for the Voyage to the Prehistoric Planet film.

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On the other hand, music fantasy and freedom seems to be somehow tamed by the trend of each time period. Either intentional or unintentional, supposedly depending on the occasion, composers through the years tend to follow the sound and music signature of the time period in which they are composing for. Although there is evidence of scores that are closer connected to a composer’s style, it is nevertheless an aspect that was found to have a strong presence at most times.

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Ethnic music inspiration and motivation comes mostly from the films Blade Runner and The Fifth Element. Of course this does not, by any means, degrade the importance of tribal music idioms found in cases such as Avatar and Black Panther, as these two films’ characteristics will be used later on in the second scoring part of the science fiction chapter. However, the most significant difference is that the scores in the films Blade Runner and The Fifth Element do not use the Western orchestra as a grand cloak to cover the implemented ethnic elements. On the contrary, they let these characteristics sit in the frontal row with everything else, e.g. synthetic sounds, hybrid rhythmic textures, helping them to carry on with their protagonistic role. 

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In the next chapter where the scoring will take place, there will also be presented in a greater degree how the selected Middle Eastern instruments can be used in conjunction with sound design techniques such as granular synthesis. This aspect derives from this chapter’s Moon and Gravity films as they were found to be quite predominant in the way the composers use computer technology to create new soundscapes that implement in their composition.

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In addition, the following composed scores will try to keep in mind, and use at times when it seems appropriate, the fundamental angle of harmony and the use of melodic motifs as inspired from films’ scores like the original Alien by Jerry Goldsmith. It is of course a personal opinion but it is worth stating that in both preliminary reviews for the Intolerance and science fiction chapters it was a scoring feature that was fading away through time.   

 

In conclusion, the next chapter will present an amalgamation of the above outcomes that in conjunction with personal artistic perspectives will form and present the newly created scores.

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