Skull Island Act 1 Scene 2 Essay

The same applies to a dramatic scene where the music may be deep and frantic to convey to the audience the feeling of anticipation. A scene i would like to focus on is the scene in which Garry and his father have a final ‘showdown’, if you will, at the front of the house. The scene consists of the father imposing himself on Garry and proceeding to continually beat him down time after time only for Garry to rise up and face his father on each occasion. This scene evoked a feeling of pride and admiration from the audience as to Garry’s courage and determination to convey the message to his father that he is ready to stand on his own two feet and defy him. This is a very powerful scene within the movie which initiated powerful emotions within the audience. All of this was accomplished with the notable absence of music of any form. The omission of music in this scene created an atmosphere in which the dramatic affect was amplified due to the silence.

Now that the young girl is in the sea, we being to hear the theme of

A slow universal crescendo is audible until bar 29, when the dynamic then holds at a fortississimo (fff) – ‘as loud as possible’. Tr.1 provides a rest from the constant dissonant chords in bars 40-42 before returning to the regular rhythmic figure. This opening successfully displays the unpredictable intensity and discomfort of war through is constant rising and falling in dynamics and unexpectedly changing texture. At the end of bar 67 (after B1), all instruments quickly crescendo to another fff, before moving directly into the next section (C1 – see figure 2.2). This presents a triumphant mood through the melody of the brass instruments moving strictly along the D major scale (making regular use of its’ tonic, octave tonic, subdominant and dominant notes), and the lack of minor harmonies and dissonant intervals so commonly used in A1 and B1. The segment slowly begins to incorporate these dissonant harmonies in canon, bringing about an eventual sense of dread as the dynamic builds to a gradual fortissimo (ff) crescendo. Following this crescendo, all instruments participate in an ff universal decrescendo, combining to create an irregular Am (not native to the tonic chord) on a lower register (predominantly A2).

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

0:00- The beginning of the song we hear a very slow tempo. There are a piano and digital effects. The beginning is marked by a piano solo that creates a very dramatic tone. The digital effects help build up the suspension before the singing begins. The piano accompanied by the digital affects gives the beginning of the song a polyphonic texture. The beginning of the song is important because it builds up the suspension and evokes the emotion that the person was feeling.

The first movement, Mars, the Bringer of War emphasizes bass and low brass using an unusual 5/4 rhythm. The greatest moment in war-torn Mars comes shortly before the end as the orchestra rises to a massive climax, supported by organ and gong. It is a moment of sheer terror, transformed into a still darker terror, as the same two-note motif is repeated in a lower register but still highly dissonant. This is the first 'spiritual' moment of the work, in my opinion: the wrath of God at the warring, sinful nature of Man and the consequences of this, as I

At this point, the music keeps growing because the mother is begging the father not to do it; so the audience gets nervous because we do not know whether he would whip his son. Also, the parents were arguing with each other and the music at here is kind of creating a call and response between the woodwind and the rest of the orchestra. It is trying to simulate the argument through music. Also, the music is building up when the father grabbed the boy into the room, and we all know he whipped him and at that part, music gets faster in tempo and when the boy came out from the room, he was crying and the music at here changed into a more empathetic feeling which helps the audience to build our own emotions as well. The other scene that starts at (47:18) uses the same section that the previous scene used, but this time the climax for this scene is when his father shouted at him that jazz could not be sung in their house, and it is a dramatic turn. Audience may think that since it has been a long time for the father to see his son, he may change his attitude a little bi; however, it turns out that he still could not accept this genre of music. The feelings and emotions are different at here. Before when Jackie was young, he was sad because his father whipped him and forced him to do something that he did not like the most; however, at here, he was more

Later on in the day, after a field trip to the local planetarium, Jim meets a group of kids that are troublemakers and want to fight with him. As a conversation begins, music also begins in the background, yet quickly changes when the gang wants trouble. The music becomes fast, louder, and more suspenseful. The style of mickeymousing, "type of score [that] uses music as a literal equivalent to the image" (Giannetti, 231), was also used in this same scene. Jim and the character of Buzz are fighting each other with knives, and at every jab of the knife the music changes and becomes more dramatic and even more suspenseful. It is said that, "music can serve as a kind of overture to suggest the mood or spirit of the film as a whole" (Giannetti, 233). Later on, James Dean's character is asking his father for advice, and the music becomes quiet, slow and mysterious. Another scene where the score plays a vital role in the atmosphere is during an argument with Jim and his parents. Jim and his father are yelling, and when Jim grabs his father as if to hit him, the music turns scary and very intense.

In this scene the music becomes eerier, darker, and more suspenseful. The music choice mirrors and helps emphasize the town's feelings towards

After this continued for a little while, a sort of twirling sound began to arise and then fall back into the same melody that was at the beginning of the movement but this time it had sounds almost like footsteps along with the beat. Again, something evil seems to arise and has a dark feeling to it and then it slowly fades out, almost like it’s waiting for something to happen. Then you begin to hear a soft tip toeing for a little while as it becomes louder and louder and everyone in the orchestra starts to play in a monophony, which is the same notes at the same time. Then the chasing sounds begin along with the same melody that was at the beginning of the movement. It starts to get faster and faster and you begin to hear horns as the composition

The tempo plays a significant role in creating this exhilarating mood because of the drastic tempo changes. This mood has help from the violin’s pitch along with their tempo creating an anxious feeling. There are a few sudden changes throughout the piece, especially in the beginning, but overall gradual changes in tempo are more common. The piece begins with a nice flow with a dynamic level of piano and suddenly changes to fortissimo, which coincide with the tempo changes. These sudden changes work together in order to create dissonance, with simultaneously accenting the trombone and its low key throughout the entire piece. This dissonance is a major part of the piece and plays an important role in the tone color. Overall the piece has a light, carefree feeling to it, but this back and forth of dissonance brings a heavier feeling, but it does not completely weigh down the overall light feeling. The high strings, such as violin and viola, and woodwinds, such as the flute, oboe and clarinet, bring about the light feeling. Then the brass instruments, bass, and percussion come in to bring the countering dissonance, and also creating a fuller sound. A kind of back and forth between consonance and dissonance is created that keeps the listener on edge, waiting and then fulfilling their expectations.

Brass fanfares are used during the film to enhance and build upon the action scenes. The choruses of strings are used to create scenes of grace within each scene. Together, these two groups of instruments create the memorability that the film is known for. The film’s themes

This motif used to symbolize that the Rebel forces are present and relevant in the scene and the film as a whole. This is achieved through the use of brass and various percussion instruments. The melody of this section is written in major scale. It ascends to a point, then descends back down, this is an ostinato and is played twice before the next session starts. Williams incorporates a wide range of largest intervals and octaves throughout.

music, as we do not yet know what is in the water. The director keeps

These screams have an interesting connection to the rhythm of the film; each scream happens at a different point in time. In the first scenario, it happens in the beginning, then in the middle during the second scenario, and at the end in the final scenario.