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Study of korngold s music featured in the

Excursion

Korngold’s composition inside the Adventures of Robin Cover

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One of the things that stands apart most about Erich Wolfgang Korngolds music is that, because discussed inside the module, his music is incredibly symphonic. Lots of the works in earlier films such as Removed With The Wind flow (1939), consisting by Maximum Steiner, and The Birth of a Nation (1915), composed by simply Joseph Breil, feel somewhat blocky in their compositing because the music appeared to jump via leitmotif to leitmotif. This may not be to say which the music wasnt good, although simply that it must be blockier.

In The Escapades of Robin the boy wonder Hood (1938), the music definitely feels organic in my experience because during your stay on island are leitmotifs in them, Korngold weaves together many more melodies and blends all of them together. For instance , many of the leitmotifs in the Birth of a Nation and Gone While using Wind had been either monophonic or experienced just one melody and 1 counter melody. In Korngolds work in Adventures of Robin the boy wonder Hood, the music is more intricate with many countermelodies going on at once. I find that individual music or leitmotifs seem to be even more balanced with regards to instrumentation. For example , the leitmotif for Scarlett Ohara (Vivian Leigh) in Gone While using Wind presented the woodwinds, with strings in countermelodies, but mainly the tune was carried by the flutes and piccolos. In contrast, throughout the feast in the woodsmen, the background music starts off with lower brass and woodwind instruments, then the strings get even louder, and then the piccolos grab the tune. Then all of the other musical instruments drop out leaving just the strings. This makes the music more interesting and fewer blocky because each instrument gets more equal rendering across a single song.

Another massive difference I noticed between the music of Korngold and the music of Steiner is the fact Korngold appears to use fewer micky-mousing. Inside the scene we all watched via Gone With The Wind, the opening song descended chromatically while Scarlett descended the staircase. After, the music was very coordinated to the pictures, like the music stopping once she threw the classic vase at the wall and increasing when she slapped Ashley (Leslie Howard). The same thing occurs in another of Steiners job King Kong, albeit more subtly, where the booming bassoon mimics Kongs footsteps. Conversely, the music inside the Adventures of Robin Engine does not line up as synchronously with the pictures. In a practice sword combat between Robin the boy wonder Hood and Friar Stick (Eugene Pallette), the music can be intense nevertheless the tempo will not line up with their choreography.

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