A Musicological Study of Ken Russell’s Composer Films – Part 6 (Mahler).

Part 1. Part 2. Part 3. Part 4. Part 5. Mahler (1974) and the Balance Between Personal Reception and History. Mahler is an apt end for this period in Ken Russell's musical exploration for a number of reasons.  It firstly completes the transition in the director's popularity as well as the full fledgling of creative … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 6 (Mahler).

Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 3 (Musical Narrative)

Part 1. Part 2. 2001: Narrative and Musical Parallels. "Ultimately, 2001 is a film that suspends that coordination of the human body, and thus human nature, in such conditions- even as it suspends our final judgments about human nature in its open-ended conclusion about our future development." Decker - (2007, p.101). One of the biggest … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 3 (Musical Narrative)

Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Music for Strings, Percussion and Celesta in Stanley Kubrick's The Shining (1980). Though not as fuelled by repression and eroticism as The Miraculous Mandarin, Music for Strings, Percussion and Celesta also made the slight transition from eroticism to horror.  With its use on Doctor Who, … Continue reading Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).

Eroticism in the Music of Béla Bartók – Part 3 (The Modernist Jungle)

Part 1. Part 2. On the other hand, The Miraculous Mandarin presents a set of characters who are, by contrast, in the aesthetic stage; satisfied with the quick, disposable type of pleasures and unconcerned with future development.  Carlisle states that " The aesthetic mode of existence is characterized by the pursuit of personal satisfaction.  The … Continue reading Eroticism in the Music of Béla Bartók – Part 3 (The Modernist Jungle)

Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).

Part 1. Bartók as a Post-Wagnerian Composer and The Confronting of Eroticism in The Miraculous Mandarin. "Thus, at first, there came a weariness of the productions of the Romantic Period, and then, as a consequence of this weariness, a search for points of departure which represented the greatest possible contrast to those of the Romantic … Continue reading Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).

Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).

The Insertion and Removal Through Post-Wagnerian Ideals and New Media of Eroticism in the Music of Béla Bartók. Introduction. The music of Béla Bartók sits with some uncertainty between the last dying cries of Romanticism and the encroaching presence of Modernism.  With this clash of ideals producing the composer's early work, Bartók's music appears to … Continue reading Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).

Solitary Music In Melancholia and The Turin Horse (von Trier and Tarr).

This article contains spoilers. Considering the large amount of time and effort that goes into creating and putting together the soundtrack to a film, one of the most interesting creative choices for filmmakers (often outside of the mainstream) is to use a piece of music continuously throughout rather than use different music for different scenes … Continue reading Solitary Music In Melancholia and The Turin Horse (von Trier and Tarr).