Point counter point: Interactions between pre-existing music and narrative structure in Stanley Kubrick's "The Shining" [and] "Child's Play" for woodwind quintet (flute, oboe, clarinet in B♭, horn in F, and bassoon).
Item
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Title
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Point counter point: Interactions between pre-existing music and narrative structure in Stanley Kubrick's "The Shining" [and] "Child's Play" for woodwind quintet (flute, oboe, clarinet in B♭, horn in F, and bassoon).
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Identifier
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AAI3083685
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identifier
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3083685
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Creator
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Lionnet, Leonard.
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Contributor
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Adviser: David Olan
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Date
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2003
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music | Cinema
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Abstract
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Part I. This dissertation offers close analyses by juxtaposing picture and pre-existing concert music in The Shining. This will reveal the unique and unprecedented interplay, interaction, and relationship between music and picture. By analyzing select sequences, I explore the function of music and its interaction with picture while asserting the following proposition: While the traditional methods of Hollywood film scoring were based upon organic developmental practices and representational techniques with respect to the narrative, Kubrick created a contrapuntal relationship between music and picture, one that was mutually reciprocal and where the music was not traditionally subordinate. Thus, while the pre-existing music and picture were independent of each other---both were created separately without the other in mind---these dimensions brought together in The Shining, created telling interactions with regard to the entire motion picture.;Chapter One identifies and introduces the music used in The Shining . Chapter Two extensively and closely analyzes the use of Bartok's Music for Strings, Percussion, and Celesta in The Shining . The principles of film/music interaction are defined and investigated. Chapter Three considers the interpolation of pitch specific and non pitch specific musical organizations and provides a thorough film/music analysis of the entire scene, "Come and Play." Chapter Four considers the impact of the interactive principles discovered in Chapters Two and Three, in the concluding areas of the film.;Part II. This work consists of eleven character movements based upon events in a child's world. It is dedicated to my niece, Sarah Kugler and my nephew, Benjamin "Benny" Kugler.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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D.M.A.
