Hector Berlioz — Hector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts. Berlioz made significant contributions to the orchestra with his Treatise on Instrumentation.
The film music analysis below will examine thematic transformation in three prominent leitmotifs from the film: It is first heard when Esther is introduced as she elegantly descends a staircase while Judah looks admiringly upon her.
In this form, the theme has a warmly romantic feel with its scoring for strings, slow rhythmic motion, and emphasis on the positive sound of major chords, all of which confirm the deep-seated love Esther and Judah have for one another hear up to 0: Here are these versions of the theme from This version of the theme occurs below at The Friendship and Hatred Themes Introduction of the Themes These two themes and their transformations, particularly that of the friendship theme, musically describe the relationship between Judah and Messala and are given clear statements in their normal form before being transformed.
At the start of the film, the two are delighted to revitalize their close friendship from childhood. The music here participates by announcing the friendship leitmotif, which is based almost entirely on the positive sound of major chords warmly scored Thematic transformation the sustained strings in a pleasing middle register from When Judah refuses, Messala gives him an ultimatum: At this point, the music wavers between the friendship and hatred themes.
On the heels of the hatred theme, for example, the friendship theme reappears for two statements but now lacks its major-chord support, instead beginning with the dissonant interval of the tritone against the bass.
Two statements of the hatred theme then return essentially in its original guise before yielding once more to the friendship theme, which is now harmonized with melancholic minor chords. Such quick alternations between the two themes, along with the transformation of the friendship theme, suggest an erratic emotional state in Judah, one in which his strong sense of friendship for Messala is being poisoned by his new-found hatred.
Hear these versions of the themes below from While we might expect the hatred theme to accompany this scene, it is actually the friendship theme that makes an appearance. Even so, the friendship theme is transformed by its slower tempo, its harmonization with funereal minor chords, and its scoring, which is now in the low register of the violins and violas, doubled by the cellos and basses, with sustained chords in the horns.
Thus, in its scoring, the theme has taken on aspects of the hatred theme, suggesting the devastating toll the hatred between the two men has had on their friendship.
Listen below from The Crucifixion Scene This scene presents the final transformations of the friendship and hatred themes in the film.
As Christ is being nailed to and raised up on the cross, we hear the hatred theme.
This time, the tail end of the hatred theme is inserted as a repeating motif in the low trombones between the notes of the friendship theme.
The use of these themes at all in this scene is surprising since Messala is no longer in the film at this point. The hatred theme, for example, can easily be understood as applying to the Romans and their hatred of Christ. Similarly, the transformed friendship theme could well represent the consequences Christ faces due to hatred of his teachings of a sort of friendship among all people, or more specifically, of a love and tolerance of others.
Hear the hatred theme, then its combination with the friendship theme below from 1:Thematic transformation and some of its methods will be the focus of this quiz/worksheet. Multiple-choice questions will address the definition of a leitmotif and a type of process in which the pitch of a melody does not change when transformed.
Select from a letter above to find a music term in the Artopium index, or enter your music word into the search box provided by Google Search.
Mar 08, · Best Answer: Ahh, "thematic transformation." One of the wonderful terms that musicologists (I think I first came across this one in Donald Grout's book) have created without giving a Status: Resolved.
His thematic transformation parallels Wagner's use of leitmotives and Brahms's developing variation. Anton Bruckner () (see HWM Figure ) Trained in counterpoint, Bruckner served as organist of the cathedral at Linz and as organist in Vienna from to his death.
He brought Wagner's style and ethos into his symphonies and choral music. About This Quiz & Worksheet. Thematic transformation and some of its methods will be the focus of this quiz/worksheet. Mar 12, · During the 19th century, thematic transformation became a major force in determining the form of pieces.
Composers such as Liszt and Wagner would create large scale works from just a handful of themes which they'd manipulate to for almost a kind of narrative.