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Cuadernos de Música, Artes Visuales y Artes Escénicas 2005, 1 2

Author: Tom Schneller

Source: http://www.redalyc.org/articulo.oa?id=297023446002


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Cuadernos de Música, Artes Visuales y Artes Escénicas ISSN: 1794-6670 revistascientificasjaveriana@gmail.com Pontificia Universidad Javeriana Colombia Schneller, Tom DEATH AND LOVE: BERNARD HERRMANNS SCORE FOR VERTIGO Cuadernos de Música, Artes Visuales y Artes Escénicas, vol.
1, núm.
2, abril-septiembre, 2005, pp. 189-200 Pontificia Universidad Javeriana Bogotá, Colombia Available in: http:--www.redalyc.org-articulo.oa?id=297023446002 How to cite Complete issue More information about this article Journals homepage in redalyc.org Scientific Information System Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Non-profit academic project, developed under the open access initiative 189 Tom Schneller∗ DEATH AND LOVE: BERNARD HERRMANN’S SCORE FOR VERTIGO Abstract Bernard Herrmann’s score for Alfred Hitchcock’s classic film Vertigo (1958) is a clear example of the composer’s uncanny ability in translating the basic thematic premise of a film into a compact musical structure.
The connection between love and death that is a central issue of Vertigo finds its musical counterpart in the derivation of the love motif and of two motifs associated with death from the same ‘Primal cell’ in the main title.
The structure of the main title itself reflects this link by juxtaposing the basic motifs associated with death and love.
To further illustrate the way Herrmann reinforces this connection, I will examine one of the key sequences of the film, in which the first four notes of one of the love motifs are subjected to a systematic process of transformation, which progressively eradicates the motif’s original identity.
The disintegration of the motif that is inscribed into the structure of this passage powerfully expresses a doomed–indeed, fatal–love. Keywords: Bernard Herrmann, Vertigo, Hitchcock, Analysis, Film Score. Resumen La partitura musical de Bernard Herrmann para el film clásico Vertigo (1958), de...





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