This
month I’d like to revisit a fun, modern topic in musicology: music and cinema.
Everyone watches movies and thus, everyone has encountered the soundtrack to a
film. While some film directors use pre-existing music to underlie their
cinematic project, others will use a film composer to write a new score to fit
the images and plot they aim to create.
This
month, we’ll look at everything from classical music references in a 90s sitcom
to composer cameos in film but today, let’s begin by looking at several
impressive musical terms often used when referring to film music - diegetic and
non-diegetic.
Diegetic
music is the type of music that is not only heard by the viewer, but also by
the on-screen characters in the film. An example would be this. As in this example, typically the viewer can
see the source of the music on screen to help determine whether or not it is
diegetic. In this case, the scene begins with George Peppard at the typewriter.
The music begins and it’s not initially clear whether or not he can actually
hear the music. When he walks to the window and looks out, noticing Audrey
Hepburn singing, it’s then clear that this is a diegetic example. Henry Mancini
wrote the music to “Moon River” from the 1961 classic Breakfast at Tiffany’s. We will learn more about him later this
month.
The
opposite of diegetic music would be non-diegetic. This type of music serves as
a background to the film and can only be heard by the viewer, not the
characters on screen. An example would be this found in The
Good, the Bad, and the Ugly (1966). Here, the music enhances the plot for
the viewer during the final duel scene. The characters, however, cannot hear it
themselves. Ennio Morricone wrote the score to this film. We’ll look at more of
his work in a few weeks.
Can
you think of any examples of diegetic or non-diegetic music from your favorite
films?
