Herrmann-induced vertigo

For his main title music for Alfred Hitchcock’s Vertigo, Bernard Herrmann used alternately ascending and descending arpeggiated chords in contrary motion in the treble and bass voices; no clear direction, up or down, is established, nor is a harmonic center confirmed. With its almost uninterrupted, destabilizing undulation, the music provides a musical evocation of vertigo that is reinforced by Hitchcock’s spiraling geometric images.

This according to “The language of music: A brief analysis of Vertigo” by Kathryn Kalinak, an essay included in her Settling the score: Music and the classical Hollywood film (Madison: University of Wisconsin Press, 1992) and reprinted in Movie music: The film reader (London: Routledge, 2003).

Today is Bernard Herrmann’s 100th birthday! Below, the virtiginous title sequence in question.

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Filed under 20th- and 21st-century music, Film music, Mass media

4 responses to “Herrmann-induced vertigo

  1. This is one of my favorite film scores. Thanks for calling attention to it. Hermann is more well known for the Psycho theme, but I prefer Vertigo because it’s understated and more original, while the Psycho song sounds so much like some of Shostakovich’s darker compositions. I was greatly upset recently to hear Hermann’s Vertigo score featured in a Lady Gaga video.


  2. Pingback: The day Herrmann’s score stood still | Bibliolore

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