Film Score Monthly
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 
 Posted:   Apr 18, 2017 - 9:35 PM   
 By:   OnyaBirri   (Member)

Are there any "classical" pieces that were not written as program music, but which you listen to as program music? If so, did the music itself evoke those particular images or stories, or was there another association, such as the use of that music in a film?

 
 
 Posted:   Apr 20, 2017 - 10:25 AM   
 By:   ZardozSpeaks   (Member)

Excluding choral music and operas as well as programmatic sources of inspiration, there aren't many 'absolute' music compositions that concern themselves with story-telling more so than musical principles.

Nonetheless, the creative process is doubtlessly motivated by some sort of external (non-musical) influence ... most of which is likely to be known only to the composer.

First thing which came to my mind is the CPO disc on Benjamin Frankel's 2nd & 3rd symphonies.
This CD includes tracks of expositional ruminations narrated by Mr. Frankel himself.



Frankel describes one of the movements as music depicting marauding monsters.
So far, my brain can only muster this one example of a classical music form (the symphony, the quartet, the sonata, etc.) which can lend itself to fictional narrative. I'm sure there are more specimens out there which could be conjured, but this depends upon the membership's collective listening experiences and available leisure time with which to contemplate.

I saw this thread the other day, Onya, but honestly didn't have time to reply until now ...

 
 
 Posted:   Apr 20, 2017 - 10:59 AM   
 By:   John McMasters   (Member)

I think most of the music (popular, musical theatre, film, classical etc.) that I listen to always provokes associations with people, places, photos, movies, books, works of art – virtually everything that has been in my life up to the time of the musical experience, including dreams. This would, of course, include an intellectual response to the music. Or imagining an intellectual response from others in addition to imagining their emotional response. A moral nexus.

Or perhaps the music evokes its own world, unique to itself.

I remember a discussion that I attended between the American novelists/writers John Gardner and William H. Gass. They postulated a sentence in a work of fiction, “By the side of the road grew a red rose.” Mr. Gardner argued that reading this sentence about this rose could only evoke flowers that he remembered, for example a rose in the garden of his grandmother, or a rose in a park when he was in love. Thus, it became inexorably linked to an outside world with a certain associational moral force and impact. Mr. Gass argued that, no, the rose created by the sentence was a singularity in the mind of the reader – existing in and of itself with no moral compass other than the word and its evocation.

Or something like that.

 
 
 Posted:   Apr 20, 2017 - 12:03 PM   
 By:   Thor   (Member)

Are there any "classical" pieces that were not written as program music, but which you listen to as program music? If so, did the music itself evoke those particular images or stories, or was there another association, such as the use of that music in a film?

Well, most of the classical pieces in a film like 2001 -- both those that are programmatic in origin and those that are not -- are now more or less intrinsicably tied to the film in the public consciousness. Is that the type of things you had in mind?

 
 
 Posted:   Apr 20, 2017 - 4:58 PM   
 By:   OnyaBirri   (Member)

Well, most of the classical pieces in a film like 2001 -- both those that are programmatic in origin and those that are not -- are now more or less intrinsicably tied to the film in the public consciousness. Is that the type of things you had in mind?

Yes, that would be one kind of example. I don't know how anyone can hear that music without thinking of the film.

Not sure how big they were in your part of the world, but Bugs Bunny/Warner Brothers cartoons would be another example. How could anyone in the US see a production of the Barber of Seville and not think of Bugs Bunny at all through the entire performance? (I realize that this would be an example of program music taking on a very different programmatic meaning.)

But the other kind of example would be a piece that simply on its own creates particular imagery or narratives. For example, Bartok's "Music for Strings, Percussion, and Celesta" has always sounded to me like outer space music. I can't think of anything else when I hear that music.

 
 
 Posted:   Apr 21, 2017 - 2:27 AM   
 By:   Thor   (Member)

But the other kind of example would be a piece that simply on its own creates particular imagery or narratives. For example, Bartok's "Music for Strings, Percussion, and Celesta" has always sounded to me like outer space music. I can't think of anything else when I hear that music.

Well, that's a far broader category. Music is non-representational, so we are the ones attributing meaning and narratives to it, regardless of genre. True, we may be slightly "steered" through certain musical conventions ('minor mode' meaning 'sad' etc.), but other than that, all is fair game.

This is how I approach all music, also film music. Whether I have seen the movie or not, I try to disassociate myself as much as possible from the source/original program and create my own moods and narratives in my head.

 
You must log in or register to post.
  Go to page:    
© 2024 Film Score Monthly. All Rights Reserved.
Website maintained and powered by Veraprise and Matrimont.