An Analysis of the Musical Aspects and Functions
In 1960 two creative talents combined and crafted a masterpiece horror film. The film, of course was Psycho and the talents were director, Alfred Hitchcock and the score composer, Bernard Herrmann. This collaboration was extremely effective and it had first begun when they worked together on Hitchcock's The Trouble With Harry in 1955. Hitchcock's imaginative and ingenious style in directing and Herrmann's chilling music makes this film, a classic film. My analysis of Herrmann's film score will consider the musical aspects of themes and form, instrumentation, motives, harmony and counterpoint, and unity and variety. This analysis will also discuss the functions of the music, the codes and how well it plays the drama.The first musical aspects of Herrmann's score for Psycho are the themes. In Psycho there are perhaps four main themes to discuss, with most of the other music being variations of these themes. The first theme is the main title (cue #1), which sets the scene for the film. This hard-driving theme reoccurs firstly, when Marion Crane is leaving Phoenix, right after seeing her boss (cue #5). It then occurs after the questioning by a traffic officer and continues when the officer follows her in her
The next theme is the music that begins in the 'Marion and Sam' scene (cue #2), this almost romantic music continues for forty-six seconds. This theme then reoccurs in the next cue, during the dialogue of Marion where she says "I'll lick the stamps". Psycho directed by Alfred Hitchcock, staring Anthony Perkins, Janet Leigh. Music composed by Bernard Herrmann, 1960. The most famous motive that occurs is of course the screeching violins that mimic the stabbings in Psycho. The first occurs in the famous shower scene, after a build up of tension with the combination of outstanding cinematography and haunting music. Then there are the sharp downward bow strokes and wild glissandos on violins in short-sharp sequences, that are almost unbearable to listen to, but they are viciously effective. This music is repeated in the following murder of Arborgast (cue #23) and when Bates is revealed to be the murderer in cue #31. (Palmer, 1990) (Lack, 1997) The motives of the theme that is associated with Norman Bates and his 'mother' are exceptionally successful. Firstly there is the motive that begins when Marion enters the parlour to have dinner with Norman. In this scene we hear violas quietly making soft jabbing sounds (cue# 12), these sounds reoccur when she leaves him (cue #14). Lack, Russell, Twenty-Four Frames Under: A buried History of Film Music. London: Quartet Books limited, 1997. This asynchronous counterpoint occurs again in the 'peephole' sequence. Here we are shown the relatively expressionless face of Bates spying on Marion undressing. When the violins suddenly change to a high pitch, we are given an insight to the thoughts that might be going through Bates' disturbed mind. Harmony and counterpoint do not seem to be prevalent in this score. But there is at least one good harmony in the cue titled 'Madhouse' here the music of cellos and basses are first based around the chords F, E-flat and D, but this is developed with enharmonic changes and it becomes a very effective piece of music. (Prendergast, 1992, p141)
Some common words found in the essay are:
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Approximate Word count = 1648
Approximate Pages = 7 (250 words per page double spaced)
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