“On the Waterfront” and the Music of Leonard Bernstein

Addam Farmer MUS 468I Written Project Professor Perry La Marca 3/19/2012 On the Waterfront and the Music of Leonard Bernstein (1954) On the Waterfront is a masterpiece video near a due north man ( terry Malloy) whom makes an attempt to stand up to the corrupt wad pommeles leading the Longshoremens Union. Just as primal as the plot of the film is the medication the sure score by Leonard Bernstein greatly influenced how other composers would approach film scoring.Bernstein combined the Ameri good deal characteristics of Aaron Coplands music (disjunct melodies, wide intervals, weensy but colorful ensembles) with the dark and sensibly disturbing elements of modernism. Bernstein did not shy away from racket, and he as well co-ordinated jazz elements (such as brass and rhythmic syncopation) into the equation. During the opening credits, we can peck a solo French horn followed by a small music ensemble. This is expected of the modernist technique to start off with one operat or followed by others mirroring the opening melody and/or providing contrapuntal contrast.What is amazing about On the Waterfront is not just the music itself rather, it is the way in which Bernstein employs his music. The mental picture score is not wall-to-wall there are long periods of dummy up in the film (other than sound effects and dialog. ) Strategic musical entrances and long periods of silence are carefully placed to help with the storytelling of the film. For instance, when the non-corrupt members of the Longshoremens Union ensure in the Church to discuss their problems, there is no music.Suddenly, thrilling danger music begins to play, followed by the mobsters attempt to break up the union meeting. The modify mobsters begin to beat up the union members, showering them with intimidation. The placement of the music plays a vital role in this scene as the absence of the music symbolizes the absence of conflict. Another way Bernstein helped the film is through his utili zation of non-homogeneous themes. The Waterfront theme serves as the frame of the musical score.Parts of the theme can be hear throughout the film, but the Waterfront theme is only heard in the complete form at the beginning and end of the film. There is also a love theme that acts as the catalyst for the portrayal of Edie and Terrys chemistry. Lastly, the dominant theme in the film is the effect theme, which is first heard in the second scene with the death of Joey. These themes help to tick the films elements the love story between Edie and Terry, the violent nature of the corrupt union bosses, and the overall message of the film.The greatest point in the music occurs at the climax of the film, when Terry gets severely bruised and beaten by the union bosss men. At this point, Bernstein utilizes the Violence theme surrounded by dissonance and jazz-style syncopated rhythms. Then, when we see Terrys bloodied face, a plainer version of the Violence theme is heard in the woodwinds. The opening Waterfront theme is then heard by a solo horn after Terry asks the others to displace me on my feet. The horn is joined by an orchestra.The proceeding music follows the nationalistic, proud, American music style of Aaron Copland Bernstein again shows the listeners where his own compositional influences come from. The marvellous performance of the theme suggests the unity of the union members standing up to the mob bosses. The theme also can suggest the courage held by the longshoremen as working citizens of American society. Leonard Bernstein was a musical genius in umteen different aspects. It is kind of a shame that On the Waterfront was his only original film score even West Side Story was later(prenominal) adapted for film.His intelligent use of various themes coupled with his great disposition for rests in the score create a mood that sucks the viewer into the piece of Terry Malloy. His careful decisions concerning where to place the silences also help to surprise the viewing audience in a way that is conducive to the film the viewer cant help but wonder what will happen next. It is no wonder that Bernsteins scoring for On the Waterfront was held in high consider by the very composers that inspired him.