Leitmotif Principle in Opera and Film - Essay Example

Leitmotif principle in opera and film By Introduction Leitmotif principle is associated with musical themes that are recurring usually applied in symphonic poems and operas. The principle entails repetition of phrases, words, themes and images in literary work. Music composers have continuously employed the principle in films and operas around the world. The approach is used to produce character’s psychological insights, reinforce dramatic action and to suggest extra musical ideas to the listeners. The extra musical ideas suggested are usually relevant to the dramatic event presented (Citron, 2010). The transformation and repetition of themes in music and film is usually intended to provide cohesion directed at large scale works. Operation of Leitmotif principle in ninenteen century film and opera Leitmotif principle was on the first occasion associated with Richard Wagner even though the term was coined by writers who were analyzing his drama and music. It was applied to the representative theme associated with his works. Some of his drama work that presented the principle include; Die Meistersinger and Tristan Und Islolde. Richard Wagner’s work demand keen intelligence and skillful contrivance in application of the themes and to ensure it works well in a symphonic manner and to enrich the dramatic event at the same time. The principle is associated with tswo dramatic functions that either work separately or together. One of the functions is transformation while the other is allusion (Cohen, 2001). The two functions were utilized in film and operas before the time of Wagner. Leitmotif principle was more associated with romantic music post Wagner’s period. The association enabled the composers to aim higher and create music that was more appealing to the people. The audience were aware of the code associated with the music and could relate it to the situations and characters involved. Operas those days were more demanding than cinema. The tasks of the composers were reduced by the use of leitmotif principles. A good example in 1931 is the use of leitmotif in Fritz Lang’s M. the film present new approaches to the principle. The effective rhythmic theme and repetition is easily retained in the memories of the listeners. The approach makes it easier for the listeners to associate the themes and sound with the character who is the murderer in this context. The whistling made by the murderer helps the audience to identify and recognize him through the use of sound (Egorova, 1997). The use of a phrase, Cosi fan tutte in Wolfgang Amadeus Mozarts’s opera present a better example of allusion. The other example of application of the principle is in the Magic Marksman, a Carl Maria von Weber’s opera. Weber’s application of the leitmotif principle was purely instrumental. In one of his operas called Euryanthe, thirteen motifs were developed in the orchestra. The principle has also been brought out well in Symphonie fantastique, a type of drama that was associated with Hector Berlioz. The leitmotif principle in the opera is presented in various forms (Franklin, 1991). First as a nightmarish vision connecting her to the witches’ Sabbath and secondly, brings out the thought of the poet toward his beloved. Belioz’s idée fix however, was not considered a symphonic fabric part. Wagner’s work present rich abundant of both transformation and allusion. Transformation has also been presented in the Rhinegold. Transformation of the song about their treasure has been done .Musical allusion has been presented well in Richard Straus’s opera called Rosenkavalier. The thematic transformations presented not based on dramatic references rather than musical developments. Leitmotif principle is utilized in most of his symphonic poems. Little has been done on the extension of the principle after the demise of Wagner. Wagner is believed to have contributed majorly to the use of allusion as a leitmotif principle in most of his work. The other form of the principle, transformation had been utilized by those who came before him. Leitmotif stands for a phrase in music that keeps on recurring. The phrase is usually associated with an idea, place or person involved (Paulus, 2000). The use of leitmotif principle in film and opera dates back to the eighteen century and majorly on the ninenteen century. A musical motif has most often been defined as melodic, short musical idea, rhythmic or harmonic. Leitmotif principle in music and films can be in terms of orchestrations, harmony, rhythms or accompaniments. The principle is beneficial to the composers since they can utilize it to relate a story without utilization of words, help them bind work together and to add an extra level to an existing story. The use of leitmotif principle in films and operas has been applied by many composers following the time of Wagner. Some of the examples include, Richard Straus and Claude Debussy. Claude for example utilized the leitmotif in one of his operas presented in 1902 by the name, pelleas et Melisande. Composers often utilize the principles to illustrate or characterize a subject, personage, idea, emotion and particular phenomena experienced in the world. Composers in the nineteenth century utilized the principle in ballet, opera and instrumental music. Apart for Wagner, several composers in Russia such as Mussorgsky, Tchaikovsky and Rimsky- Korsakov used it in a more convincing manner by combining it with other principles associated with music (Powrie & Stilwell, 2006). Influence and legacy of leitmotif principle on twentieth century art Leitmotif principle has long retained its vital role in music, opera and films in the twentieth century. A good example is Prokofiev’s opera whose approach relies mainly on the principle. Leitmotif has grown as a representational figure which is often attributed to situations, moods and character presented in the opera. The use of the principle has acquired symbolic, psychological and ideological depth. For example in Chekhov’s novella, the Bride, the noise produced by the watchman’s rattle is transformed into a symbol for dullness and monotony of the philistine life. Several poets have applied the principle in bringing out the sound, the intonation and the rhythm (Powrie & Stilwell, 2006). The approach has also presented a common broader meaning that define the theme in the chain of events and the activity of the person. The principle has been part of the current dramatic works especially operas. Composers have continued tom utilize it in game music, cinema and video. Leitmotif has been applied in the twentieth century be a number of musician such as Townsends’s Quadrophenia. In the opera, the principle has been utilized to represent the personalities in the album. Composers tend to use more than one leitmotif in their albums to relate to events, persons, time, phrase and location. Some of the albums notable for these include; Spoke’s Beard, the Snow (Van der Lek, 1991). The principle has been applied in several literature articles to represent emotions and themes in plays books and other literature works. Leitmotif in literature is represented as a recurring event, character or event that is used as a reference to the story. Leitmotif principle has offered composers a method of eliciting emotions and character development. The composers have utilized rhythms and intervals which have been combined well to produce contours and memorable shapes that imply harmony that is considered inherent. Composers such as Korngold have employed the principle in their film (Wintle & Keller, 2004). The principle has well amalgamated with the music presented. Wagner’s contribution toward the leitmotif principle utilization has not yet died. Many composers around the world have continued to employ several forms of the principle in their work of art. Wagner has been considered a role a role model and his work of art has made creation of operas and film easier. Music in the cinemas is still held together by leitmotif means. Wagner conceived the purpose associated with the principle in the field of opera and film. Wagner meant to connote the primal principle, the cosmic will and the sphere of sublimity. The invention of leitmotif principle targeted a number of symbolisms. However, there is no place for the principle in motion pictures that is intended to depict realities. In motion picture, leitmotif function has been lowered to a musical lackey. The use of the principle in motion pictures is therefore unnecessary since it can result to ineffective composition. The film scoring procedure is an idea that has been utilized by a number of Hollywood composers and is usually associated with the Wagner’s leitmotif technique (Wintle & Keller, 2004). Composers such as Richard Straus were able to employ the principle in most of his works due to the many vital role of the approach to music and film. Film projections were majorly associated by sounds such as talking tom the audience, gramophone record and piano accompaniment. Music was most often employed as a source of film sound. Sound was used to duplicate the presence of images. The present of the musicians was meant to reinforce drama, create an atmosphere and enhance variety of actions. The application of leitmotif principle in music by the composers was a vital component in understanding of dramatic situations involved. Richard Wagner developed a more advanced way of organizing the materials concerned with music into moods and actions. Wagner’s leitmotif was a difficult form of codification aimed at enhancing subtle association and sensation in the listener (Powrie & Stilwell, 2006). The approach has made modern composers to utilize the principle to symbolize or represent person, idea, place, state of mind and super natural power. Wagner gave leitmotif a better status as an element that was meant to determine the form of music. His flexibility in utilization of musical themes enables composers to deal with a lot of problems associated with creation of films and operas. The principle was effective in linking situations and character by music means. It also provided the necessary structure aimed at organization of materials related to music. Duplication of musical onomatopoeia, sound and image were minimized by utilizing the principle. Leitmotifs are still widely used in the music and film industry. The hyper codification of leitmotif principle with romantic music allows directors and composers to explain the link between the dead lady and the detective in Laura, an opera composed by Otto Preminger (Citron, 2004). In one of the sequence presented in the opera, there exists obsessive utilization of leitmotif. The audience is made to hear Laura’s leitmotif every time the detective smells her perfume and touch her belonging. Conclusion The application of leitmotif principle has made it easier for the listeners and the composers to recall and master some of the themes presented. Leitmotif idea has become popular beyond Wagner’s days. Leitmotif functions as trademarks through which people, symbols and emotions are easily identified (Citron, 2008). The principle is considered as a thread and mean of elucidation to the composers who are young in the field. The approach is easy to grasp as a result of persistent repetition. Leitmotif has been utilized in cinema music as a signpost even though the limited dimension presented by the approach has impaired the expansion of the principle. The Wagnerian leitmotif has continued to make an impact in the opera and the world of films due to its connective nature with the music drama. References Citron, M. J. 2008. An honest contrivance’: Opera and Desire in ‘Moonstruck. Music and Letters, 89(1), 56-83. Citron, M. J. 2004. Operatic Style and Structure in Coppolas" Godfather Trilogy". Musical Quarterly, 423-467. Citron, M. J. 2010. When opera meets film. Cambridge University Press. Cohen, A. J. 2001. Music as a source of emotion in film. Music and emotion: Theory and research, 249-272. Egorova, T. K. 1997. Soviet Film Music: An Historical Survey (Vol. 13). Psychology Press. Franklin, P. 1991. Distant sounds–Fallen music: Der ferne Klang as ‘womans opera’?. Cambridge Opera Journal, 3(02), 159-172. Paulus, I. 2000. Williams versus Wagner or an Attempt at Linking Musical Epics. International Review of the Aesthetics and Sociology of Music, 153-184. Powrie, P., & Stilwell.2006. Changing tunes: the use of pre-existing music in film. Ashgate Publishing, Ltd.. Van der Lek, R. A. J. 1991. Diegetic music in opera and film: a similarity between two genres of drama analysed in works by Erich Wolfgang Korngold (1897-1957). Rodopi. Wintle, C., & Keller, H. 2004. Hans Keller: Essays on Film Music. Film Studies, 5(1), 106-131. Read More