Transposing from screen to stage : creating and implementing an analitical framework for incidental music during a theatre production

Bezuidenhout, Stephanus Abraham (2017-03)

Thesis (MDram)--Stellenbosch University, 2017.

Thesis

ENGLISH ABSTRACT: In this study the untrodden field of incidental music in theatre was inspected. Due to the lack of resources in this field, techniques used in film music were applied to incidental music in theatre due to the similarities in this field. Three channels of film music were identified to be analysed. This included the channels of music, visual and text. The solo and interactive functions between these channels were analysed and discussed to allow the construction of a new framework. Before this framework was constructed, the historical influences of incidental music in theatre and film were discussed by reference to a case study in each of these fields. The phenomenon of the success of incidental music during the melodrama was deliberated by referring to the music composed for the play Peer Gynt. The unique contributions of various film composers are conversed and the analysis of the compositional techniques applied to the film music in Psycho by Bernard Hermann were analysed. The emphasis of the analysis was placed on the modular approach that Hermann consummated in his later films. These case studies, as well as the analysis of three channels of film music, allowed for the construction of a framework. With this framework a new score was composed for a theatre production. The themes composed for Die Reëngodin were discussed and analysed in the study and it was concluded that a strong analytical approach towards the construction of incidental music is not a successful approach. The framework constructed would allow for a successful analytical approach towards incidental music, but for not the construction of a new score.

AFRIKAANSE OPSOMMING: In hierdie studie is die onbekende veld van insidentele musiek ondersoek. Weens die gebrek aan voldoende navorsing in hierdie veld is bronne in filmmusiek gebruik en oorgedra na teater. Hierdie bronne sluit in die elemente musiek, visuele effek en teks. Die solo- en interaktiewe funksies tussen hierdie bronne word ook ondersoek. Die besonderse bydraes van verskillende filmkomponiste is bespreek. Die komposisietegnieke deur Bernard Hermann, toegepas in die film Psycho, is ondersoek. Die klem van die ondersoek val op die sogenaamde modulêre benadering (“modular approach”) wat Hermann toegepas het in sy latere films. Die fenomeen van die sukses van insidentele musiek in teater gedurende die melodrama is bespreek. Die insidentele musiek gekomponeer vir die toneelstuk Peer Gynt word bespreek om ’n beter konsep van musiek gedurende die melodrama te kry. Hierdie gevallestudies, met die klem op die analise van musiek, visuele effek en teks, het uitgeloop op die konstruksie van ’n raamwerk. Hierdie raamwerk lei uiteindelik tot die skep en analise van insidentele musiek. Hierdie raamwerk is toegepas op die komposisie van musiek vir ’n teaterproduksie. Die temas gekomponeer vir Die Reëngodin sal ook bespreek word met verwysing na die elemente musiek, visuele effek en teks.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/101265
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