and the

, Tufts University

@fmlehman, franklehman.com

Presentation given at

Society of Music Theory

Annual Meeting 2019

TTHEMATICHEMATIC TTRANSFORMATIONRANSFORMATION

Thematic Catalogue in 2015

Thematic Catalogue in 2019Download Me!:

franklehman.com/starwars

Questions:

Can mainstream film practice sustain

advanced thematic-transformational processes?

Simple thematic transformation (―mutation,‖ Bribitzer-Stull 2015): • ornamentation

• reharmonization

• re-orchestration

• rhythmic alteration

• truncation, fragmentation, sequencing

AdvancedAdvanced thematic transformations (―evolution,” ibid.): • profound reharmonization

• contrapuntal interpenetration

• leitmotivic ‗family‘ networks

• transformation of thematic form

• tonal motivicism

• concealed repetition

• developing variation

• motivic de/reconstruction

•• teleological genesisteleological genesis

Require a broad temporal canvas;

Potentially dialectical in character

Questions:

Why are simple thematic-transformational processes

ubiquitous while advanced ones disfavored?

• Redirection of attention away from music

• Subordination of music to extramusical considerations

• Composers given limited time, information, and incentive

• Lack of univocal musical control over composition

• Aesthetics of film music do not place high value or priority on

advanced forms of thematic development

What about film franchises?

Alien Lord of the RingsLord of the Rings Pirates

DCU Matrix Planet of the Apes

Fast & Furious MCU Star Trek

How to Train Your Dragon How to Train Your Dragon Mission Impossible Transformers

James Bond Narnia X-Men

Jaws2/4 films

Superman1.5/4

Indiana Jones4/4 films

Home Alone2/5 films

Jurassic Park2/5 films

Harry Potter3/10 films

John Williams: Multi-Film Franchises

Advanced Thematic Transformation in John Williams

Discussed in Schneller 2014, ―Sweet Fulfillment: Teleological

Genesis in John Williams.‖ Music Quarterly, 97.1: 98-131.

Treatment of Flying Theme Treatment of Dies Irae,Mountain Theme, etc.

The Star Wars Saga

Prequel Trilogy (1999-2005)

Original Trilogy (1977-1983)

Sequel Trilogy (2015-2020)

+ Galaxy’s Edge, Solo, Concert Arrangements, etc.

Advanced Thematic Transformation in Star Wars?

Imperial March — Vader‘s Mature Leitmotif

Young Anakin — Vader‘s Embryonic Leitmotif

Substantive

de-compositional thematic work

Absent

re-compositionalthematic work

Discussed in Eschenfelder 2019, ―Musical Narratives: Thematic Combination & Alignment inFantasy and Superhero Films.‖ MA Thesis, 106-124.

Advanced Thematic Transformation in Star Wars ?

Buhler’s Critique – Recurrence without Change

―…All musical development in the trilogy is without consequence, as time

and again the music merely celebrates a return to what has already

occurred…. The absence of substantive thematic works means that the

music lacks a dialectic that could justify [any particular musical

transformation]… Nothing actually happens musically in any of these

scores. The themes simply remain the same; none of them are really

born of a thematic process, despite the obvious motivic relations

among themes. The musical logic throughout Star Wars remains

that of an original and its derivatives. … [The] purpose of thedevelopmental passages in Star Wars is not Durchführung, a leading

through into a dialectical synthesis as in sonata form; like Wagner‘s

sequences, if more incoherently, they are a means of marking time. The

development is only apparent. Rather than pushing music forward to

something new, development simply agitates… Williams’s

[leitmotifs[ thus prove inadequate to enacting a musical process

beyond marking musical time as mere duration…‖

Buhler 2000, ―Star Wars, Music and Myth,‖ 51-53.

Advanced Thematic Transformation in Star Wars !

Profound Reharmonization: ex. Corrupted Force Theme in Ep. 3, ―Battle of the Heroes‖

Contrapuntal Interpenetration: ex. Force + Duel of The Fates in Ep. I, ―The Tide Turns‖

Leitmotivic ‘Family’ Networks: ex. Luke & Leia theme out of Luke, Leia leitmotifs

Transformation of Form: ex. Grammatical ―Throne Room‖ into Discursive March in Ep. 6

Tonal Motivicism: ex. LP(m) transferring to athematic underscore in Eps. 6, 1, 8, etc.

Concealed Repetition: Imperial March nestled in Ep. 5 End Credits, Duel of the Fates, etc.

Developing Variation: Rebel Fanfare as continually evolving substrate of ―Falcon,‖ Ep. 7

Motivic De/Reconstruction: Kylo Ren motifs drawing elements from Imp. March, etc.

Teleological Genesis: Yoda‘s Theme into Revelation Motif in Ep. 6

Teleological Genesis in Star Wars

Case Study: The Force Awakens, Last Jedi, ―Tension‖ & ―Desperation‖ motifs

Tension Motif (TFA, 1:43:50) Desperation Motif (TLJ, 1:51:02)

Teleological Genesis 2: Tension to Desperation

How do we get from this…

…to this?:

Tension Motif (quasi-definitive, The Force Awakens, “Shoot Out”

Desperation Motif (definitive, The Last Jedi, “Holdo’s Resolve”

Tension Desperation Motif(s) ,

Unmarked, Pre-Leitmotivic Tension in The Force Awakens

Proto-Tension, First Order March

Proto-Tension, The Beam is Released (Hux‘s Speech)

Tension Desperation Motif(s)

Tension Desperation Motif(s) ,

Tension Desperation Motif(s) ,

Telic Annunciation in ―Holdo‘s Resolve‖ (7m67A)

Frank Lehman Frank Lehman

Tufts UniversityTufts University

Selected Bibliography

Adams, Doug. 2011. The Music of the Lord of the Rings Films. Carpentier.

Adorno, Theodor. 1952 (R. Livingstone trans.. 2005). In Search of Wagner. London: Verso.

Biancorosso, Giorgio. 2013. "Memory and Leitmotif in Cinema." In Representation in Western Music, CUP.

Bribitzer-Stull, Matthew. 2015. Understanding the Leitmotif: From Wagner to Hollywood Film Music, CUP. .

Buhler, James. 2000. "Star Wars, Music and Myth." In Music and Cinema, Wesleyan UP.

Byrd, Craig. 1997. "Interview with John Williams." Film Score Monthly 2.1.

Darcy, Warren. 1997. ―Bruckner‘s Sonata Deformations.‖ In Bruckner Studies, CUP.

—2001. ―Rotational Form, Teleological Genesis…in Mahler Six.‖ 19th Century Music 25.1

Eschenfelder, Melinda. 2019. "Musical Narratives: Thematic Combination & Alignment In Fantasy & Superhero

Films.― MA Thesis, U. of Oregon.

Finngan, Denise. 2019. ―Understanding Thematic Development in How To Train Your Dragon.‖

Talk Given at annual MaMI conference.

Golding, Dan. 2016. ―A Theory of Film Music.‖ [YouTube Video Essay]

Hepokoski, James. 1993. Sibelius: Symphony No. 5. CUP.

Huvet, Chloé. 2017. "George Lucas et les partitions de John Williams pour "Star Wars Eps. I, II et III―

(1999-2005)?" PhD Thesis, Université Rennes 2.

Jackson, Timothy. 2000. ―Observations on Crystallization and Entropy….‖ In Sibelius Studies, CUP.

Richards, Mark. 2012-2018. Film Music Notes Blog. (https://www.filmmusicnotes.com/)

—2018. "The Use of Variation in John Williams's Film Music Themes." In John Williams: Music for Films,

Television and the Concert Stage, Brepols.

Satterwhite, Brian; Ramos, Taylor; Zhou, Tony. ―The Marvel Cinematic Universe.‖ [Youtube Video Essay]

Schneller, Tom. 2014 ―Sweet Fulfillment: Teleological Genesis in John Williams‘s Close Encounters.‖

Music Quarterly 97.1