![]() The Force lies at the heart of the films’ mythology: Obi-wan Kenobi describes it as an energy field that surrounds all living things and binds the galaxy together. Indeed, the famous title music for Star Wars uses many characteristics found in famous Western scores such as “ The Big Country” (1958) or “ The Magnificent Seven” (1960), including a chord sequence known by music theorists as “the cowboy half-cadence”.Ĭomposer John Williams scored the original "Star Wars" trilogy and is back again for "The Force Awakens." Carlo Allegri/Getty Images North America/Getty ImagesĪlthough the musical score has many functions, one of its most important roles might be to tell us something about the nature of “the Force”. The sound of the score likewise drew upon the nostalgic idiom of Korngold – an early 20th-century romanticism spiced with an understanding of modernist harmony – combined with the acerbic spikiness of Prokofiev’s ballet scores, the grandeur of William Walton’s ceremonial marches, and the aural signature of the Western. Read more: Star Wars lead surprises fans at screenings That’s not quite the case in “Star Wars,” but principal characters and ideas within the Star Wars universe are certainly connected intimately with recognizable musical motifs. Musically, too, the models were the scores of classic-era composers Max Steiner and Erich Korngold in which, to quote Steiner, “every character has a theme”. Such was his desire to evoke something universal, Lucas even drew upon the mythological theory of Joseph Campbell. His narrative design owed a great deal to episodic movie serials such as “ Flash Gordon,” the aerial dogfight sequences of war films, and the swordplay of Errol Flynn swashbucklers. Just like Burtt, Williams has been involved from the beginning of the franchise, and his music plays a vital role in the film’s narrative strategies.ĭespite happening in a galaxy far, far away, George Lucas rooted much of his story in the familiar. It rooted the drama firmly in the soundworld of the first trilogy (1977-1983).īut it’s John Williams’ score, that epic music that countless people know and love, that will have me most interested. Even in the woeful prequel trilogy (1999-2005), Ben Burtt’s distinctive sound design – which encompasses the hum of lightsabers, the screech of laser blasts, and the electronic language of R2-D2 – helped offset the deluge of CGI and dodgy dialogue. Although the initial trilogy was justly celebrated for its use of groundbreaking visual effects, for me, the sound of the films has always been more significant. When I finally see the new “Star Wars” film, I will be keeping my ears open. ![]()
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