Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Chromatic Mediants and Narrative Context in Film

Chromatic Mediants and Narrative Context in Film This article examines specific narrative connotations associated with chromatic mediant motions in film music. Following the neo‐Riemannian work of theorists such as David Kopp and Richard Cohn, and film‐music theorists such as Scott Murphy and Frank Lehman, I propose a lexicon of harmonic motions and associative connotations. The article provides a survey of both major‐mode and minor‐mode chromatic mediant relationships in as many different genres of film as possible, with science‐fiction and fantasy films being most common. Through this survey I aim to demonstrate not only the extent to which chromatic mediants have become staple devices of film‐scoring harmonic practice, with meanings so consistent that they can be subverted for ironic and satirical purposes, but also to lay out a speculative path for future film‐music theorists to use these connotations in additional film contexts. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Chromatic Mediants and Narrative Context in Film

Music Analysis , Volume 37 (1) – Jan 1, 2018

Loading next page...
 
/lp/wiley/chromatic-mediants-and-narrative-context-in-film-BYFCi007CP
Publisher
Wiley
Copyright
Music Analysis © 2018 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12106
Publisher site
See Article on Publisher Site

Abstract

This article examines specific narrative connotations associated with chromatic mediant motions in film music. Following the neo‐Riemannian work of theorists such as David Kopp and Richard Cohn, and film‐music theorists such as Scott Murphy and Frank Lehman, I propose a lexicon of harmonic motions and associative connotations. The article provides a survey of both major‐mode and minor‐mode chromatic mediant relationships in as many different genres of film as possible, with science‐fiction and fantasy films being most common. Through this survey I aim to demonstrate not only the extent to which chromatic mediants have become staple devices of film‐scoring harmonic practice, with meanings so consistent that they can be subverted for ironic and satirical purposes, but also to lay out a speculative path for future film‐music theorists to use these connotations in additional film contexts.

Journal

Music AnalysisWiley

Published: Jan 1, 2018

References