Vertigo and the Pyschological

Hitchcock's Vertigo.  It is hard to know what to say!  As my first Hitchcock film, I was blown away.  Although many complained that the movie was too slow, I beg to differ.  Hitchcock masterfully built the tension of the film and I was never bored. Instead, I was engaged and constantly on the edge of my seat, wondering when one of the character's psychological stability would break. 

Adding to the tension was the musical score, composed by Bernard Herrmann.  The score highlighted the psychological instability of all of the main characters.  For example, the mirror theme, which opens the movie, seems to represent the delicate state of the character's mental state.  With an ascending melody and a descending melody working in conjunction,  an interesting musical effect is created.  The music seems to swirl in a circular motion, never going anywhere.  Even listening to it makes my brain spin, creating an unhinged effect that is significant to the story.

The Carlotta theme, which reminds me of Carmen, was very important to my enjoyment of the movie.  I was actually a firm believer in Madeline's weird psychological problem.  I actually believed that Madeline was being possessed by a dead spirit.  I assumed that this spirit was the spirit of Carlotta.  When the real Madeline was thrown out of the window, I assumed that "Madeline" had really died.  And probably the most embarrassing conclusion I made during the movie was in regards to Judy.  When Scottie first talked with her at her apartment, I assumed that Madeline's spirit had moved to a new body, Judy's body.  How embarrassing!  But I was only convinced of this because of the music.  Herrmann's music gave no hint that he knew the truth about Madeline/Judy.  Rather, his music added to the tension, confusion, and mystery of Madeline's "condition".  Finally, in the final scene, I was convinced that the black shadow was the spirit of the dead Madeline, coming for revenge.  But of course, this wasn't true either.  But before that, I was convinced that Scottie was going to push Judy off of the ledge and completely finish his psychological break.  But, of course, this wasn't true either.  And when the movie is done, there really isn't anything special about the story.  A man is sick of his wife, so he hires someone to take his wife's place in order to carry out the perfect murder. Pretty cut and dry.  But the beauty of Vertigo is its ability to convince the audience that the mystical aspects of the story are true and viable, which is only possible due to Herrmann's musical brilliance.

Composers from this unit all deal with the psychological, but in very different ways.  Herrmann's music dealt with the spiritual and mystical of the human brain.  Reich's music dealt with the reality of the human psyche, the horrors of human ability.  Finally, Coltrane's music dealt with the power of the human spirit, pride of the soul.

Herrmann's theme "Love" in Vertigo is quite beautiful.  The main theme is rather "typical" in the sense that this love seems to embody all of the great aspects of love.  However, in the "Return" scene, the love theme has a very scary edge to it, almost as if it is mocking the love.  Also, the love theme has similarities to Wagner's theme in Tristan and Isolde.  If the audience was aware of this fact, it may send unconscious "psychological" signals to the brain, signifying the a tragic final outcome for the characters.

Reich's "Different Trains" is completely psychological.  Not only does in invade the horrors of Nazi Germany, but it also has a very personal touch.  Reich became aware that his trips from New York to Los Angeles mirrored the trips the prisoners took to labor camps.  He realized that if he had been in Germany, he would have taken these trips instead of the trips in America.  What a horrific thought!

Coltrane's music was completely virtuosic.  In a time when black people were considered inferior to white people, and when segregation was still rampant, reminding black people of their inferiority, it was difficult to find black pride.  But the technical difficulty of Coltrane's music, his ability to jump from high to low, and his ability to show the world could only mean one thing, pride.   Like the other composers, this pride represents the psychological.  But unlike the others, this is a positive view of the human psyche.

Different Trains

Steve Reich (b. 1936) is an innovative minimalist composer and musician.  Arguably his most revered piece is Different Trains.  Different Trains has three movements.  The first movement takes place before WWII.  It recalls Reich's own childhood travels on trains.  He would travel frequently between Los Angeles and New York in order to visit his father in New York and mother in Los Angeles.  The voices heard in this movement are the voices of his governess (who traveled with him on the four day trips) and a man (Lawrence Davis) who also frequented the train.  In this movement, there is something quite "American".  There is an energy and excitement, almost a sense of "manifest destiny".  The second movement is the most disturbing of the three movements.  It takes place during WWII.  Unlike the trains in movement 1 that were harmless means of transportation, the trains is movement II are the trains that will lead victims to concentration camps.  This train in particular is the train that leads to Auschwitz, the largest death camp.  The voices heard are voices of survivors themselves, taken from historical archives.  The final movement takes place after the war.  It is a combination of the first two movements with the survivors of the Holocaust making their way to America.  The voices heard are those of the Holocaust survivors heard in the second movement.

In particular, I find the different trains whistles heard in movement 1 and movement 2 to be quite interesting.  Reich talks about this himself, saying "American trains whistles of this period in the '30s and '40s are mostly long held perfect intervals of fourths and fifths.  European train whistles of this same period are mostly in short triadic shrieks." (48 Answers to Questions About Different Trains).  Although Reich had no control over the sound of the train whistles, the difference is hauntingly striking.  The American trains help give the "American" sense of manifest destiny, journey, and adventure.  In contrast, the European train whistles sound like every emergency whistle that I am familiar with.  They sound like ambulance whistles, tornado whistles, and every type of warning I can think of and contribute greatly to the ethos of the piece.

Although I don't talk about my emotional reactions to a piece very often, Different Trains affects me in a very different way.  To be quite honest, it gives me the heebie-jeebies and it makes my skin crawl.  All at once, it makes me feel completely out of my body and at the same time like I am being watched.  I don't feel safe, I cry for (apparently) no reason, and I feel like I am going to be sick.  This isn't only in the second movement; I feel this way in every movement, even the first.   In class, it was brought up that many felt that the recorded human voices turned the orchestra into machines.  However, I think it is exactly the presence of the recorded human voices that gives me the heebie-jeebies.  Although I cannot quite explain it, the presence of the human voices is what makes this piece special.  Most importantly, they had to be the real voices.  It is the only thing that makes the suffering real and makes this piece the most authentic musical expression that I have ever heard. 

Black Pride

John Coltrane transformed the world of Jazz.  He pushed the boundaries, creating music that was virtuosic and prideful.  Able to play notes at an amazing speed, his technical ability was astounding.  He was also a very spiritual person and found meaning in all religions.  Although his involvement in the civil rights movement was limited, I would like to talk about the way in which he embodied the spirit of the movement. 

Malcolm X was a major leader of the civil rights movement.  As a member of the Nation of Islam, he sought to reinstall the pride of the black people.  In a speech by Malcolm X, “The Black Man’s History”, he says “It is what he (Elijah Muhammad) is teaching that is make our people, for the first time, proud to be black, and what’s most important of all, for the first time it makes our people want to know more about black, want to know why black is good, or what there is about black that is good”.  Like Malcolm X, Martin Luther King was also trying to reinstall black pride.  Although many believe there was animosity between the two, they actually respected each other as political activists.  Martin Luther King sought to reinterpret Christianity.  He found a new interpretation of Jesus by looking to India.  Gandhi helped King see the importance of this world (instead of the next world) as well as the importance of non-violent resistance.  Although Coltrane never described himself as a political activist, his music is the embodiment of non-violent resistance.

Coltrane’s music pushes the boundaries. Through his virtuosic ability to fly through the notes, it forces people to listen and pay attention.  He music is prideful and joyful; it is the manifestation of Malcolm X speech “The Black Man’s History” about black pride.  Later in Coltrane’s career, he did become more involved in the civil rights movement.  He played for benefits for Martin Luther King and even dedicated some of his music to him.  When four girls were killed in Birmingham by a bomb explosion, Coltrane wrote his piece “Alabama”.  “Alabama” has many symbols within the music.  In the middle of the song, the drums rise to a dramatic high.  This represents the rise of the civil rights movement.  Most of all, the music represents black pride in the midst of oppression.   

Golijov, Boundaries, and Intent

The interesting thing about Golijov is his ability to transcend boundaries, and this makes him very hard to categorize.  His piece “La Pasión Según San Marcos” is a passion setting of the Gospel of Mark.  However, it is very different than a typical passion setting, such as those of Bach.  For example, the typical roles are reinvented; Jesus is played by multiple vocalists, including female vocalists.  The music itself has a distinct Latin swing, the chorus has a dramatic importance, and, in a way, the music almost comes across as a celebration.

At first glance, this music seemed to be a direct result of Liberation Theology.  Liberation Theology first originated in Latin America.  It claims that religion is only legitimate if it addresses the needs of the helpless – the impoverished and starved lower class.  In this way, Jesus acts as a very earthly man.  The mystical, divine Jesus takes a back seat, and the political Jesus of this world is emphasized.  This is apparent in the music and the performance.  Where western passions seem separated from the action in reverence to this divine Jesus, Golijov’s passion highlights the suffering of Jesus and the people and yet, at the same time, making the passion seem like a big party. 

As I began to learn more about Golijov, I started to question whether or not this piece was really a response to Liberation Theology.  There have been multiple complaints about Golijov, such as his inability to finish pieces in time (forcing the commissioners to replace the work with something else), Golijov’s inability to follow guidelines, such as composing pieces that are considerably shorter than the commissioner requested, and Golijov’s tendency to produce compositions that are, quite simply, the work of someone else.  These apparent character flaws make me question whether or not his passion is really a response to Liberation Theology.  If someone where really concerned with the liberation of a people, they would put there all into their cause.  For Golijov, this would mean composing politically inspired works.  However, his seemingly lack of care makes me question his motives.  And although one can still find meaning in his passion, I find it less inspiring, less thought provoking, if his motives have no real political intent or inspiration.

This unit of composers is linked by their ability to push the boundaries of what is considered music.  John Cage pushed the boundaries of music itself, making us reconsider the basic elements that create music.  His 4’33’’ suggests that time itself is music.  He also pushes boundaries by using household items in order to create new and interesting effects.  In fact, he even used a star chart as inspiration for his composition.  This suggests that music is in the facts themselves, the elements of life.  Music is not necessarily entertainment for the bourgeois; music may simply be the splash of a puddle or the crunch of leaf beneath your foot.   

Laurie Anderson pushed the boundaries of the music art form itself.  The manner in which she used her body, the technology to she used to alter sounds, the seemingly random lyrics, and the visual effects all seem to suggest the creation of a new, complete art form.  Laurie Anderson is not simply a singer; she is an ultimate performer.   In addition, her pieces cannot be viewed as simple music compositions.  Rather, she is truly creating a new art form.  This art form combines art, poetry, music, and technology in a completely new manner and in a very meaningful and inspirational way.  In addition, she questioned the use of words.  Where many people view words and the thing itself as the same thing, Laurie Anderson believes the real thing is the thing itself and words just bring thoughts to our mind.  In this way, words don’t have to have meaning. 

As we have already seen, Golijov pushed the boundaries of sacred music in his “La Pasión Según San Marcos”.  It is a complete departure from typical passion settings, and the setting itself almost seems like a celebration.  This begs the question “What is sacred music, and should Golijov’s passion be used as sacred music”.  In many ways, I question Golijov’s intent, and can no longer appreciate his passion the way I did when I viewed it as a reaction to Liberation Theology.  However, if a listener finds something very spiritual about this work, if someone finds true suffering with in this work, then I think it should and must be used as sacred music.  At the same time, it may be legitimate and appropriate to use the work in a concert setting.  Although the text is sacred, this piece is a true production (almost like a mix between Oratorio, Opera, and Broadway) and deserves the recognition it has garnered.    

Laurie Anderson's "O Superman"

Laurie Anderson is an interesting character within the music world.  Using her body as an instrument, and technology as her main tool, she created music that crossed the boundary of typical western music.  But music wasn’t her only art form.  She was also writer, authoring poems for her music. The musical elements within her compositions are not very complicated on an individual basis; in fact, she often uses just a few, simple chords.  However, her compositions are more than just music; they are a complete work of art.  This complete picture is very hard to analyze, especially using a typical western approach.  But there is meaning to her work, and that is what we will try to discover today in her piece, “O Superman”.

                “O Superman” begins on a simple sung “Ah”, amplified through the use of technology.  This note continues throughout the entire piece.  The most interesting part of the lyrics is the combination of “Oh Superman, o judge, o mom and dad” and “Cause when love is gone, there's always justice.  And when justice is gone, there's always force.  And when force is gone, there's always Mom. Hi Mom!”  It appears to me that Superman represents force, the judge represents justice, and mom and dad represent love.  But because the lyrics start with “cause when love is gone” and end with “and when force is gone, there’s always Mom”, it appears to me that this is a new Mom, because the old mom (that represented love) has now gone and been replaced.  This is evident in an earlier passage, where Mom leaves a phone message that says “Are you coming home?”  The question is not answered, suggesting that the person in question does not return to mom. Then, the music seems to pause, and an unknown person, “the hand that takes”, comes in as replacement.  This “hand that takes” seems to be a warning to us.  The “planes are coming” and we better get ready.  And because Mom is gone, we have turned to a new Mom, a technical, mechanic Mom.  Anderson makes the distinction that the planes are American planes, and it seems that this new Mom could be America.  Regardless of who the new Mom is, it seems clear to me that this new Mom is not a loving mom like before.  Rather, this mom is the “hand that takes”.  Anderson is warning us that we may have put out our trust in the wrong place.  I think that is the purpose of the sustained “Ah” throughout the work.  Through the technical amplification, it sounds more like a “ha”; she seems to be laughing at us, for she has seen the error in our ways and the problems that we have created.  As a result, something is coming (the plane), and we must be ready when it does. 

Politics in Music

Throughout Unit 2, we have learned about the effects of politics on music.  Aaron Copland was accused of communism and involved in the McCarthy trials, Dmitri Shostakovich had to compose carefully in order to stay out of Stalin’s supervision, and Bob Dylan composed music that became the backdrop of the civil rights movement.

Copland, Shostakovich, and Dylan all used folk tunes in their compositions.  Their inclusion of folk tunes lends itself well to political activism; folk tunes that are familiar to the masses can be inspirational and a cause of activism.  However, Copland often used folk tunes simply because he liked them, and Shostakovich may have done the same as well. 

Although all three composers used folk tunes, they used them in very different ways.  Copland simply restated the folk tune.  This makes it quite easy to identify the tune and gives a distinctive American quality to his pieces.  The accompaniment around the tune tended to be fresh and new but also very simple and tonal.  Shostakovich used folk tunes in a manner that blended the styles of Copland and Stravinksy.  Often times, Shostakovich would simply state the tune but surround it with a plethora of other musical ideas.  He would also invert tunes and alter them to fit his needs.  Dylan used the most folk tunes the most simply.  The tune was sung to basic harmonies, and sections would often be repeated.  This made his music very attainable, especially for the general public.  It was music that everyone could sing and everyone could enjoy. 

                Shostakovich and Dylan were especially ambiguous in their compositional style.  For example, Shostakovich’s Symphony no. 11 is about the year 1905 and the Bolshevik uprising.  However, many scholars believe it is really about 1956 and the Hungary Uprising.  The reasons for this are Shostakovich’s use of folk tunes.  Along with many other folk tunes, he used the folk tune “O Czar” throughout the work, which could be interpreted as resistance to Stalin (although, again, he may have just liked the tune).  Another reason to believe that Symphony no. 11 is about 1956 is the effect the symphony had on the audience.  It is sad that at the premiere of the work, the audience left crying.  Although music tends to move the soul, it is likely that this emotional response was very personal and political.  Bob Dylan was also very ambiguous in his compositional style.  In interviews with Dylan, he almost makes it seem like he wasn’t trying to make his music political; he just enjoyed singing and performing.  Although it is unclear whether or not this is true, his music tends to reach an audience.  So the question must be “if Shostakovich and Dylan were not trying to compose music that was political, why was their music so effective as music of resistance?”

                In my mind, Shostakovich and Dylan were successful with the general public because their music was so accessible.  Both composers stayed in the realm of what was simple, comfortable, and familiar.  For example, Shostakovich could easily have followed in the footsteps of Stravinsky.   He could have composed music that was harmonically, melodically, and rhythmically complex.  However, he chose to compose music that was simple and harkened back to an earlier era.  For example, Shostakovich has some similarities with Verdi.  They both tend to compose vertically, with a thick middle and chunky accompaniment.  He also borrowed from Mahler and used Berlioz’ style of Idee Fixe.  And unlike Stravinsky, when Shostakovich borrowed tunes, he didn’t try so hard to cover them with other musical ideas.  Bob Dylan also didn’t do anything that was very new.  He continued the legacy of Woody Guthrie and brought folk music to the forefront of American music.  He sang tunes that were easy for an audience to grab a hold of; the music was almost styled in a way of “camp fire” music due to its simplicity.  Dylan also continued Woody Guthrie’s use of “call and response”.  This is also very similar to spirituals.  In fact, some of Dylan’s music seems like an early form of Contemporary Christian music.  The reason for this is its simple harmonies, catchy tunes, and use of the call and response. 

                The most important aspect of Bob Dylan’s music is its ability to stay relevant.  Although this music served as the backdrop to the civil rights movement, assassinations, the Cuban Missile Crisis, and the Vietnam war, his message is still applicable to today’s world.  When one hears A Hard Rain’s a-Gonna Fall, it is easy to think of the conflict in the Middle East, America’s continued prejudice towards people of other cultures and religions (such as Islam), the failing economy, and genocide in Africa. 

Bob Dylan, Aaron Copland, and Shostakovich were influenced by their political environment, and it is impossible to separate the two.  But this influence is important to recognize because it demonstrates the power of music to enrich the soul, give hope, and inspire human rights.   

 

Berlioz and Shostakovich

Shostakovich Sym. no 11, mvt. 4 "Varshavianka"
3:15-3:40

Berlioz "Symphonie Fatastique" mvt. 4
4:00-4:18