Researching Claudia Gorbman’s Unheard Melodies
Like the previous research I have done this book talks about the power of music within film and the ways music can work within film. She begins by taking a semiological approach into music’s abilities within film. What I find particularly interesting about Gorbman’s work comes later when discussing music composition. Here are what she describes as principles to music within film:
I. Invisibility: the technical apparatus of nondiegetic music must not be visible.
II. Inaudibility”: Music is not meant to be heard consciously. As such it should subordinate itself to dialogue, to visuals – i.e., to the primary vehicles of the narrative.
III. Signifier of emotion: Soundtrack music may set specific moods and emphasize particular emotions suggested in the narrative (cf. #IV), but first and foremost, it is a signifier of emotion itself.
IV. Narrative cueing: – referential/narrative: music gives referential and narrative cues, e.g., indicating point of view, supplying formal demarcations, and establishing setting and characters.
– connotative music “interprets” and “illustrates” narrative events.
V. Continuity: music provides formal and rhythmic continuity- between shots, in transitions between scenes, by filling “gaps”.
VI. Unity: via repetition and variation of musical material and instrumentation, music aids the construction of formal and narrative unity.
VII. A given film score may violate any of the principles above, providing the violation is at the service of the other principles.
(Gorbman, 1987, 73)
This list of principles is a good way of knowing what music can do. All these aspects are important to take into account when creating music for film – as these are techniques are aspects which make film music great. However, I do find with Gorbman’s ideas don’t take into account that people perceive films differently at the end of the process; therefore I think it is better to look at the ‘principles’ as a focus when composing not when looking at the end product of a film. It is also a great example of what music can do – which is what interests me a lot, especially when taking the music supervisor role. I have noticed my music already uses a fair few of these techniques for example signifier of emotion, continuity, narrative cueing etc. However from reading this I want to try and include as many as possible. One particular one of interest to me is ‘invisibility’, this will be able to test how well my music goes with the visual, as some of it is not there to be noticed – just help move the story itself along. I also agree with principle number 7, that although all these principles are important that they aren’t all necessarily needed as long as it is justified.
I found Gorbman’s work very insightful in separating what makes film music great and the overall capabilities of what music can do in relation to film. I will definitely be using some of these techniques within George.
Gorbman, C. (1987) Unheard Melodies: Narrative Film Music. London: BFI Publishing.