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Blackburn

B. Kyle Blackburn

Mrs. Carpenter

AP English Lit.

18 January 2013

Music: More Than A Motif

Music: a combination of rhythm, melody, and harmony. In scientific terms, music is a combination of resonating frequencies that change the chemical balance in the brain. Music, however, within the context of George Orwells 1984 and Anthony Burgess A Clockwork Orange, is used as a tool of mental manipulation. Through the use of music in both works, the authors give liberation to the protagonists, who so desperately require the freedom that their music provides, proving that music goes beyond the pages on which it is written to affect the emotions of Alex and Winston.

When analyzing both works of literature, the first distinction to note is the use of the operatic aria form. Both 1984 and A Clockwork Orange are divided in to three parts, with the rising action, intermediary, then resolution sections indicative of a classic aria. This format, which is as old as the art of music itself, is well represented within the three divisions of each novel. Also to note is the similarity in format to the archetypal Greek tragedy.

Beyond the format of the novels themselves, both Orwell and Burgess create metaphorical music in the lives of their respective protagonists, Winston and Alex. In the eyes of both characters, rebellion lies within the music of society. While Winston sees it in the proles, who are the only group of people that sing in 1984, Alex sees it in his droog society within A Clockwork Orange.

The music of Orwells 1984 is first to be examined. Placed in a society where musical performance is uncommon, Winston is inspired as the woman outside his window sings, But a look an a word an the dreams they stirred,/They ave stolen my eart away (Orwell Part 2, ch. 4). The irregularity of the event, compounded with Winstons rebellious nature, creates a sense of liberation within Winstons mind. As previously stated in the novel, Winston considers the proles to be the force behind his revolutionary dreams. The singing woman furthers this idea, as she represents the remaining pieces of a culture Winston remembers.

Compared to the music within 1984, the music mentioned in Burgess A Clockwork Orange is universal in nature. First, and the most recognizable work, is Beethovens Symphony No. 9. Alex, about to commit sexual abuse and rape, begins to play the fourth movement on his stereo. The words, as they boom through his head, are translated from the native German to English as Joy and I Embrace Ye O Ye Millions (Burgess ch. 5). The words of the movement give Alex mental release, as his sexual appetite is satisfied in the two girls. Driving his passion and desires is a single musical phrase, which presents itself with the choir boldly proclaiming the joy on pages twenty-three through twenty-six. Only Winston Smith, whose mental liberation also occurs in music, matches the connection to music Alex possesses.

Similar in nature to Symphony No. 9, Mozarts Symphony No. 41, in C major, is a piece related to both Alex and Winston. One is presented within the first eight measures with ebb and flow patterns in dynamics and scoring. The heavily orchestrated phrasing is reminiscent of the power both protagonists possess, while the lighter string sections represent the moments of physical calm among their dystopian surroundings. Ironically, the same symphony that shows the changes within Alex and Winston was the final change in Mozart, as this was his last symphony.

Remaining on the topic of last symphonies, an interesting point to note is that the composer to whose music Alex attempts suicide, Otto Skadelig, is a work of fiction. The use of a fictional symphony to drive Alex to suicide is symbolic of Alexs life, as he is forced to live a fictional life following his treatment.

A shift is present within both Alex and Winston at some point in their respective novels. This shift is well represented in Mozarts Symphony No. 40, a piece favored by Alex. Within the first three pages of the score, both the instrument of focus and the musical motifs shift extensively. Just as these shifts occur, changing the outcome of the symphony, so too do they occur in the lives of Alex and Winston. Alex battles against the adverse reactions of his treatment, while Winston battles against the tyrannical Party.

While a shift is presented that alters the mindset of both protagonists, a duality exists among them before that shift. With its sweeping melodies through minor and major keys, Bachs Brandenburg Concerto No. 6 personifies that duality. Beginning on page 4, Bach uses a motif of louder motifs in minor keys, while the major keys, through syncopation and use of the upper ranges of the strings, creates a lighter feel. This motif corresponds to the personal lives of both protagonists. Alex commits acts of violence, but his actions are a subconscious reaction to the conformity around him. Winston shows either loyalty or rebellion towards the Party, giving him a duality as well.

As a whole, the music within 1984 and A Clockwork Orange present themes which transcend the limits of the pages where they are discussed. To Orwell and Burgess, music is more than a combination of sounds, and more than a motif; music, to these authors, has become an overwhelming source of character liberation. Every time they write about music, a phrase that defines the human condition within their characters is written. Burgess and Orwell, like Bach, Mozart, and Beethoven, write their work with paper and ink, giving the same emotional connection when read as when these famous composers are heard. Music, as well as the music that is written about in 1984 and A Clockwork Orange, will provide emotional reactions for as long as they are performed and read. The composers have captured the ears of the audience; The authors, their hearts and minds.

Works Cited

Bach, Johann Sebastian. Brandenburg Concerto No. 6. New York: Dover Publications,

1986.

Beethoven, Ludwig Van. Symphony No. 9. Mainz: Schott, 1826.

Burgess, Anthony. A Clockwork Orange. London: Penguin Books Ltd., 2000. EPUB file.

Mozart, Wolfgang Amadeus. Symphony No. 40. Leipzig: Breitkopf & Hrtel,

1880.

Mozart, Wolfgang Amadeus. Symphony No. 41. Leipzig: Breitkopf & Hrtel,

1880.

Orwell, George. 1984. New York: Houghton Mifflin Harcourt, 1987. Nook file.