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 110th birthday! Below, the virtiginous title sequence in question.
Alfred Hitchcock held an ambivalent position toward the sound elements of cinema. He remained faithful to the idea of pure cinema realized through shots and sequences, and considered dialogue as a lesser expressive resource due to its tendency to break down the narrative tension gained by the images.
On the other hand, he considered sound effects and music to be highly effective devices, with their ability to modify the rhythm of the action, or to voice the depth of characters and the hidden forces of dramatic situations. He often gave sound effects and music central roles in dramaturgy and structure.
The 1956 version of The man who knew too much is a film completely pervaded by music. The recurring song Que sera, sera is one of Hitchcock’s most remarkable examples of diegetic music, informing the audiovisual structures in concurrence with concepts developed by Gilles Deleuze in L’image-mouvement.
This according to “Immagine, suono, relazione mentale in The man who knew too much (1956) di Alfred Hitchcock” by Matteo Giuggioli (Philomusica on-line XI ).
Tomorrow is Hitchcock’s 120th birthday! Above and below, Doris Day’s iconic performance in The man who knew too much.
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →